Pasatiempo, Jan. 25, 2013

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

January 25, 2013

“Dinner isis not not what what you you do do

in in the the evening evening before before something something else. else.

Dinner is the evening.”

Happy Hour: all food & drink on the bar menu - $7 till 7pm

––Art ArtBuchwald Buchwald

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231 washington avenue / santa fe, nm

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Upcoming 1/30/2013 Merryvale Winery Dinner Join us for Dinner Wednesday, January 30th $75.00 per person 4 Courses See menu and information:

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January 25-31, 2013

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t e e w The S

SILVERADO GIVEAWAY

JANUARY 1 – 26, 2013 CHEVY SILVERADO GIVEAWAYS

Saturdays beginning January 12

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Qualifying drawings at 6 pm, 7 pm, 8 pm, 9 pm and 10 pm.

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January 25-31, 2013

The C.G. Jung Institute of Santa Fe Presents:

Jung In The World

Lecture & Workshop

Medora Woods, M.A., J.D.,

Jungian analyst practicing in Minneapolis-St. Paul

Marilyn Matthews, M.D.,

Jungian analyst practicing in Santa Fe & Albuquerque

Lecture: Western Consciousness as a Trauma to Itself and the World: What is the Sound of Two People Talking?

Friday, February 1st 7-9pm $10 2 CEUs We are living in terrifying, unprecedented and transformative times, but how do we talk about them? To ourselves? With each other? In our communities? Medora Woods and Marilyn Matthews had been colleagues in the Inter-Regional Society for some years when they unexpectedly discovered their mutual interest in these questions. Five years ago they began a friendship and a conversation which deeply enriched both their lives and their work. They have written, presented and published work which has come out of that collaboration. Join Medora and Marilyn in this conversation. It will begin with a brief presentation by Medora, followed by a brief presentation from Marilyn and then a general conversation with the group.

Workshop: Western Consciousness as a Trauma to Itself and the World

Saturday, February 2nd 9am-1pm $50 4 CEUs Western consciousness has run amok and is threatening to destroy the livability of our earth for humans and our fellow beings. We have already begun one of the most significant mass extinctions of life in earth history. How do we make psychological sense of the apocalyptic events that are happening all around us, to understand how our cultural Shadow has brought us to this impossible place? Medora Woods weaves mythology, Jungian psychology, theories of group psychological dynamics and her understanding of Indigenous consciousness into a story about where we are now and how we might go beyond our cultural Shadow and the ‘End Times’ archetype. The workshop will encourage participants to begin to imagine how we and our communities can together find ways to develop optimism and hope, a sense of purpose and direction, in a disintegrating world.

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Both events at Center for Spiritual Living, 505 Camino de los Marquez, Santa Fe For info & workshop pre-registration contact Marilyn Matthews, 471-9202 For expanded program details go to www.santafejung.org

EEL RANCHO DE LAS GOLONDRINAS PRESENTS

T H E TA O S U P R I S I N G O F J A N U A R Y 1 8 47

Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room • Bedroom • Entertainment • Lighting • Accessories

Our Warehouse Showroom on Airport Road features over 8,000 sq. ft. of Handcrafted Furniture.

Warm and inviting to the touch, our pieces reflect simple, attractive, and functional designs that will enhance the investment in your home.

We offer Southwestern Style Furniture, Great one-of-a-kind Pieces, Wonderful Hand-Forged Iron Lamps, and Unique Handmade Lamp Shades.

Locally owned and operated since 1987, our goal has always been to offer the best selection of quality furniture at the best value in Santa Fe. Please come in, you’ll be pleasantly surprised!

by Robert Tórrez, former NM State Historian Thursday January 31, 2013, 7 pm

Santuario de Guadalupe, at Agua Fria and Guadalupe Streets, Santa Fe

In the summer of 1846, America’s Army of the West occupied New Mexico, but Mexican patriots weren‘t going to take it sitting down. Secretly organizing their opposition, they came together and executed a bold plan to expel the “gringo” interlopers.This is the first of three programs in Las Golondrinas’ winter lecture series,“Speaking of Tradition: New Perspectives on Old Traditions.”

FREE! Arrive early for a good seat (505) 471-2261/golond 471-2261/golondrinas.org Support provided by the Santa Fe Arts Commission

Hopi Two Door Trastero w/ Three Adjustable Shelves Handcrafted in Santa Fe 18d x 32w x 59h $798

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

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PASATIEMPO

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THE SANTA FE NEW MEXICAN

January 25 - 31, 2013

On the cOver 28 grand illusionism Taos-based artist Ronald Davis has been creating three-dimensional graphics using computers since the 1980s. The images in Pixel Dust Renderings 2012, Davis’ latest exhibition, were crafted using advanced hardware and software. “Sometimes people think they’re looking at photographs of sculptures,” Davis told Pasatiempo. The show opens at Charlotte Jackson Fine Art on Friday, Jan. 25. On our cover is Davis’ Front Cube, a 2012 “pixel dust” rendering on aluminum; image courtesy the artist.

bOOks

mOving images

12 in Other Words The life and times of Geronimo 14 edith Pearlman Fine focus 16 Legacy of acceptance Judy Shepard speaks out

38 Pasa Pics 42 The Rabbi’s Cat 44 Beware of Mr. Baker

music and PerfOrmance 18 20 22 24 25 27 55

caLendar

matisyahu Jammin’ sans peyos Pasa reviews Cirque du Soleil Listen up Playful Poulenc Pasa tempos CD Reviews terrell’s tune-up Pere Ubu Onstage this Week Get funky with The Sticky sound Waves Los Caporales de Chihuahua

49 Pasa Week

and 8 mixed media 11 star codes 46 restaurant review

art and architecture 30 Filigree and FInery High style in New Spain 32 art of space Kate Chapman’s architecture

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

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

by The New Mexican. Our offices are at 202 e. marcy st. santa fe, nm 87501. editorial: 505-986-3019. fax: 505-820-0803. e-mail: pasa@sfnewmexican.com PasatiemPO editOr — kristina meLcher 986-3044, kmelcher@sfnewmexican.com ■

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

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

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

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

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

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

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cOntributOrs Jon bowman, Laurel gladden, robert ker, bill kohlhaase, Jennifer Levin, James mcgrath morris, adele Oliveira, Jonathan richards, heather roan-robbins, casey sanchez, michael Wade simpson, roger snodgrass, steve terrell, khristaan d. villela

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PrOductiOn dan gomez Pre-Press Manager

The Santa Fe New Mexican

© 2013 The Santa Fe New Mexican

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Robin Martin Owner

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Ginny Sohn Publisher

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advertising directOr Tamara Hand 986-3007

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marketing directOr Monica Taylor 995-3824

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art dePartment directOr Scott Fowler 995-3836

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graPhic designers Rick Artiaga, Dale Deforest, Elspeth Hilbert

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advertising saLes mike flores 995-3840 stephanie green 995-3820 margaret henkels 995-3820 cristina iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 art trujillo 995-3852

Rob Dean editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

An Artistic Dining Experience featuring Upton Ethelbah and Michael Peralta

Black Space PRINTS BY

DONALD JUDD,

ELLSWORTH KELLY, ROBERT MOTHERWELL, PIERRE SOULAGES January 25 through February 15 O PENI N G R E C E PT I ON

Upton Ethelbah

Friday, January 25 from 5 – 7 pm

Michael Peralta

Thursday, February 7th - 6pm Join us as we celebrate the visionary sculptures of Upton Ethelbah and Michael Peralta with amazing food and tempting libations. Meet with the artists and then indulge in a four-course dinner prepared by the Old House Restaurant’s Chef de Cuisine, Evan Doughty, and learn how each course was inspired by the artists. You will also receive a special gift from the artists. $120 with wine pairings

ROBERT MOTHERWELL detail

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

Reservations required. Limited seating. Please call 505.995.4530.

Located at Eldorado Hotel & Spa 309 W. San Francisco Street EldoradoHotel.com

PASATIEMPO

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MIXED MEDIA Whole Health Orthodontics is here in Santa Fe We are offering you a FREE consultation to discuss the future of orthodontics

myofunctional implant & iv sedation dentistry

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Astrology Santa Fe Presents

Jewelry with a purpose Wear jewelry that will bring positive energy and enhance the planets.

Diamonds for Venus.

Yellow Sapphire for Jupiter.

AFFORDABLE Vedic jewelry with proven results

Come and find out the right stones for you.

File photo

Bina Thompkins

Call for Appointments 505 819 7220

Throw hunger out of the game Through the generosity and hard work of its volunteers and community supporters, the Food Depot, Northern New Mexico’s food bank, recently opened a new storage warehouse on Siler Road. The space, which provides four times as much dry storage and close to 20 times more freezer capacity than the old one, makes it possible for The Food Depot to distribute the weight and nutritional equivalent of about 10 million meals annually.

Fundraising events are held each year to help the food bank continue its mission in New Mexico — a highly food-insecure state, according to a 2011 report by the USDA’s Economic Research Service. The biggie has always been the annual Souper Bowl, a friendly (most of the time) competition between New Mexico chefs and cooks who vie to take home the title of Best Soup. From noon to 2:30 p.m. Saturday, Jan. 26, the Santa Fe Community Convention Center (201 W. Marcy St.) hosts Souper Bowl XIX. Upwards of 1,000 attendees will determine the winners of Best Cream Soup, Best Savory Soup, Best Seafood Soup, Best Vegetarian Soup, and best overall soup categories through a rigorous tasting process. (We recommend saving spicy soups for last). More than 25 restaurants, caterers, and culinary schools are participating, including relative newcomers the Santa Fe Culinary Academy and the Airstream creperie Le Pod. Slurpers can also pick something special up at the event’s popular silent auction and buy a cookbook filled with soup recipes created by some of New Mexico’s culinary professionals. Tickets at the door are $30 for adults; $10 for children 6 to 12.

The Food Depot executive director Sherry Hooper told Pasatiempo that the expanded warehouse and growing need for more food donations in the state have led to the need for many more volunteers. To learn about volunteer opportunities, visit www.thefooddepot.org, call 471-1633, or email volunteer program manager Viola Lujan at vlujan@thefooddepot.org.

— Rob DeWalt

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January 25 -31, 2013

1 1 0 D O N G A S PA R , S A N TA F E B A B E T T E S F. C O M

According to the Brewer’s Association, the country’s largest craft-beer trade group, the number of independent U.S. breweries is higher than it has ever been in the past 125 years. The positive economic impact of craft beer is felt right here in New Mexico. According to Chris Goblet, the dapper “beer ambassador” of the New Mexico Brewers Guild (www.nmbeer.org), there were about 20 licensed independent brewers in the state during 2012, and by the end of 2013, that number is expected to climb to 35.

The guild, which was created out of a loose association of New Mexico brewers in an effort to coordinate with the Brewer’s Association, is responsible, in part, for presenting boutique and large-scale events highlighting the beers of New Mexico and related businesses, such as restaurants and tap rooms. From 4 to 8 p.m. Friday, Jan. 25, the guild holds its second WinterBrew, a craft beer and comfort-food festival, at the Santa Fe Farmers Market Pavilion in the Railyard (1607 Paseo de Peralta).

Among the breweries participating this year are Santa Fe Brewing Company, Second Street Brewery, Marble Brewery, Río Grande & Sierra Blanca Brewing Company, High Desert Brewing Co., La Cumbre, Tractor Brewing, Turtle Mountain, Blue Corn Brewery, Nexus Brewery, and Chama River, as well as local distillery Santa Fe Spirits.

Goblet has confirmed that Santa Fe’s newest craft-beer house, Duel Brewery, which is slated for a March opening on the southside with an array of Belgian-style beers and a tap toom, will also join the party. Restaurants slated to participate so far are Whoo’s Donuts, Blue Corn Café, Second Street Brewery, Taberna La Boca, Rooftop Pizzeria, and Río Chama.

Advance tickets, $15, are available online at www.nmbeer.org and include a commemorative pint glass, free beer samples, and five tokens good toward the purchase of food or a pint or half-pint of beer from a participating vendor. Tickets are $20 at the door, but space and tickets are limited (last year, the event sold out quickly). To keep the event casual and fun, food items are priced low (between $1 and $5) and are available for cash or token purchase only. (Extra tokens can be purchased).

And don’t fret, all you gluten-intolerant folks. Goblet said there is serious interest by experienced parties in opening up a hard cidery or two in Santa Fe. — RDW

(505) 989-3435

Grin and beer it

JOIN THE JOURNEY!

A BLESSED YEAR TO YOU ALL! Exciting changes have come to Taos Retirement Village with the New Year! We welcome Pamela Hovden as our Director of Sales and Marketing. Pamela brings her enthusiasm, passion for working with others and a wealth of experience.

Tammy Updike has a new role at Taos Retirement Village as Director of Life Enrichment. She and Pamela will work closely together to ensure a smooth transition on our Journey of Rediscovery.

Call us to schedule a tour of the community and attend a special event.

Rediscover yourself. Join the journey to Taos Retirement Village.

T AO S

RE TIREMENT VILL AGE 414 Camino de la Placita . Taos NM

575.758.8248 www.taosretirementvillage.com

PASATIEMPO

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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.

Pro Musica

Winter Classic Weekend

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.

Santa Fe

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How do

STAR CODES Heather Roan Robbins What is our domestic policy? The sun, Mars, and Mercury in Aquarius encourage us to take a step back and look at our life theoretically. Today’s moon in Cancer asks us to bring that view to our home life and homeland — then show up and do the work.

Think carefully as Mercury and the sun square Saturn and trine Jupiter this week. The squares to rigorous Saturn let us know things are not going to be easy. Hang in there — work we do this week can produce solid results. The trines to lucky, expansive Jupiter suggest there is help on the way. Good results are possible once we get going.

Today, depression can waver back and forth with determination as Mercury squares Saturn. The weekend gets busier and more celebratory under a full moon in Leo, with a few dueling ego issues along the way. Some bluster may hint of clashes that will need work in the months ahead as Mars semisquares Pluto.

It’s time to think about what we do and why we do it, to define the issues and not beat one another over the head with our differences — whether we’re thinking of household chores or the national budget.

Take any knotty problem, tap into the Aquarian musings, and ask the big questions.

It won’t be productive to push for action just yet; the mood is apparently open-minded but all too stubborn. If we find ourselves in a turf war, let’s try holding ground while avoiding direct engagement.

Midweek, Jupiter turns direct and allows us to return to plans that may have been sidelined mid-October when Jupiter turned retrograde.

Friday, Jan. 25: Get serious this morning as Mercury squares Saturn.

Think things through and work out the tough stuff, but don’t push people out of their comfort zones while defenses run high. Tonight, an expansive sun-Jupiter trine encourages positive perspectives.

Saturday, Jan. 26: A full moon in Leo calls us into the stream of life; dive in head first. If we recognize the divine in everyone we meet, it may be recognized in us. Egos and needs can collide as Mars semisquares Pluto. Energized camaraderie with a competitive streak make for an exciting evening. If personal drama turns into melodrama, back away, show some love, and deal with it next week.

GIRLS

Succeed?

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Girls’ School

Girls succeed when they develop academic strength, self-esteem, and social responsibility in a challenging single-gender environment.

Santa Fe Girls’ School • 310 West Zia Road, Santa Fe, NM 87505 • Grades 6-8 www.santafegirlsschool.org • 505.820.3188

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Sunday, Jan. 27: Coddle one another through post-full-moon aches this morning as the moon squares Saturn. Things may appear more stuck than they really are. The mood becomes fluid later; gratitude improves the flow.

Monday, Jan. 28: People are distracted by personal issues and may need to talk this morning. Avoid turf wars midday; instead, let’s celebrate our own turf and do what we do well. Energy becomes brittle tonight as the moon enters Virgo. Take care of health issues.

Tuesday, Jan. 29: Dreams linger and thinking may be fuzzy. Later, keep eyes open for a flaw in the plan — not in people — and fix it.

Wednesday, Jan. 30: Deal with little problems before they pile up.

Let them stimulate improvement as Mercury semisquares Uranus.

Prioritize safety around mechanical things. Tonight, our hearts need attention — sharing stories helps as the moon enters Libra.

Thursday, Jan. 31: Gently tend to relationships. It may be time to talk about how things are done at home. Invite people to problemsolve and come up with fresh egalitarian systems. Some things need to be said that have been waiting for the right moment. ◀ www.roanrobbins.com

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In Other wOrds Geronimo by Robert M. Utley, Yale University Press, 348 pages In 1901, at the Pan American Exposition in Buffalo, which would become famous as the site of President William McKinley’s assassination, fairgoers posed for photographs with an aging Apache who was dressed in a mix of Anglo and Native clothing and under military guard. He even consented to participate in mock battles between Indians and the U.S. Cavalry. The 78-year-old man was none other than Geronimo, perhaps the most famous North American Indian of all time.

There seems no sadder image in the new, enterprising biography of the legendary Apache

by Western historian Robert M. Utley than this moment. Here we watch as Geronimo, a figure of epic importance in Native American history, is reduced to a mere form of entertainment for the conquerors, paraded like a spoil of war.

Remarkably, the author remains unmoved. Instead, as with the entirebook, Utley is ever the scholar, striving to present an unembellished biography that strips away myth to reveal the man behind the legend.

In that effort, Utley succeeds. Without question, his Geronimo will be an important book, of immense use to researchers for years to come. However, the book’s dense and emotionless accounting will be a tough slog for many readers.

In defense of Utley’s approach, there is little in the way of accurate material on which to hang a story.

“The real person beneath the legend is more of a ghost,” Utley writes. “Much of his early life remains shrouded in mystery. Much of his later life must be inferred from both white and Indian sources. They tell where he was and what he did, but rarely why he did it.”

Instead of weaving a narrative tale of Geronimo’s life, Utley chooses to present each episode from both the Apache and white perspectives. This interesting and novel approach leaves the book without an omniscient voice. It feels almost authorless.

Utley’s main contention is that most of our images of and beliefs about Geronimo are incorrect. Even Geronimo was wrong about them. We learn in the first pages of the book that Geronimo stated the facts of his birth incorrectly, placing it in 1829 in Arizona. Rather, Utley explains, he was born in 1823 12

January 25 -31, 2013

to a family of the Bedonkohe band of the Chiricahua Apache tribe near the Gila River in what is now New Mexico. A biography that begins by correcting the details of its subject’s birth promises that many more such corrections await the reader. And they do.

The uncertainty is frustrating for both author and reader. For instance, on one page Utley explains that Geronimo’s involvement in a three-year battle can “only be speculated” and that, in other battles prior to 1870, “placing him definitely in all but a few is impossible.”

Nonetheless, Utley’s careful evaluation of his sources provides a portrait of a boy steeped in Apache ways who grew into a complex and contradictory leader, brave in his clashes with Mexican troops, brilliant in leading Apaches to safety in times of need, and ruthless in torturing and killing his enemies, especially Mexicans, on whom he blamed the killings of several family members.

Utley also explains why this particular Native American leader so captured the 19th-century public’s imagination — so much so that legendary versions of him have made cameo appearances in 20th-century movies and that the U.S. military used the code name Geronimo for its operation that killed Osama bin Laden.

Essentially, according to Utley, we remember Geronimo’s name for a two-year period, 1885 and 1886, when he was a preeminent war leader, fighting both Mexican and U.S. troops intent on capturing one of the last major Indian figures unwilling to accept U.S. occupation of Indian lands. His escapes, legendary and real, made him a darling of the U.S. press, providing entertaining daily fare to readers, most of whom were far from any danger. But, as Utley points out, “For vulnerable citizens in both Mexico and the United States, he personified the Apache menace. Ironically, despite the atrocities committed during raids on civilians, his fame grew not from war but his uncanny avoidance of war.”

In 1886, at Skeleton Canyon, Arizona, Geronimo surrendered with his few remaining warriors. The moment was more important than the players as it brought to an end four centuries of Indian warfare in North America. “As the last holdout, Geronimo acquired the most recent position in the American memory, one reason his legacy has so firmly endured,” Utley writes.

Geronimo spent his last years in loose custody as a prisoner of war, a figure in the press, favored at expositions, fairs, and parades. His end came one night in 1909, when he fell from his horse on the way back from buying alcohol and lay all night in the freezing cold. “A quart of whiskey, a fall from his horse, and pneumonia killed only the mortal Geronimo,” Utley writes. “The immortal Geronimo lives on, one of the most enduring sons of American and Native history.”

— James McGrath Morris

book reviews

SubtextS Shining a light on the Mesilla Valley Unlike most students, when William S. Kiser was a sophomore at New Mexico State University, he discovered a productive use for his mornings.

Each day, before classes, he would go to the library. There, until his eyes watered, he would read through 19th-century newspapers and documents on a microfilm machine.

The product of those mornings is now a comprehensive history of the Mesilla Valley during two tumultuous decades in the mid19th century. Turmoil on the Río Grande: The Territorial History of the Mesilla Valley, 18461865, published by Texas A&M University Press, is an engaging and diligent account that greatly enhances the state’s understanding of its southern portion. Rich in anecdotes, Kiser’s book details the story of what happened in the Mesilla Valley in the intervening years between when the U.S. Army secured the territory for the United States and the Civil War, when Confederate forces won a brief victory there.

In a kind gesture, Kiser gives Mesilla its moment in the sun. Though it is now a modest tourist stop for visitors to Las Cruces, Mesilla was once a place of great importance as the largest town between San Antonio and Los Angeles.

“I am not sure that I ever expected the project to reach the point of publication,” Kiser writes.

“Indeed, it began as a project I undertook mostly for fun in my spare time.” His pleasure shines through. He is now a graduate student of history at Arizona State University. If the quality of his first work is any indication, other books by this young man will soon enhance the shelves of Western history.

— J.M.M.

How do

GIRLS

The Twelve Tribes of Hattie by Ayana Mathis, Alfred A. Knopf/Random House, 243 pages Hattie Shepherd gave her children names of promise and hope, “reaching forward names, not looking back ones.” Their lives would not turn out to be easy or particularly remarkable, and as adults they would face their own struggles. It is through their eyes that Ayana Mathis allows Hattie to bloom as the central figure in Mathis’ first novel.

When Hattie’s mother brought her children from Georgia to Philadelphia in the 1920s, they were fleeing Jim Crow and the unspeakable. Life in the North for blacks just had to be better. In some ways it was. But she didn’t escape squalor, indignity, and the hunger that made the cheeks of her children hollow, and her own will to love them flags at times.

The structure of the book calls on each of Hattie’s surviving children to remember their mother, a woman who in her brusqueness was not easy to love. There’s no doubt Hattie was angry a lot of the time, and she let it show. She plodded through, keeping her children “alive with sheer will and collard greens and some old southern remedies.”

The story is told with the backdrop of a rented rowhouse in the Germantown neighborhood in Philadelphia, contrasted with fields that form only a memory of life in Georgia. The economic divisions between Hattie and her sister Pearl and between Hattie’s daughter Alice and the rest of the family are other recurring contrasts — clear instances of “us and them.”

Alice finds her way to the “colored elites” as the wife of a doctor, and she realizes that it is a hard and isolating life. Where Hattie packed three children or more into each room, Alice is approaching 30 and going half-crazy in her large, childless house, “a great maw that had swallowed her whole.”

Hattie’s brand of love was hard. She didn’t want her children to dream too big because she knew their lives — even in the North — would require strength. Floyd, who had the nerve to become a traveling musician, sees his parents as “refugees from the South.” His knowledge base, Mathis writes, is made up “of their terror and nostalgia and rage.”

While the book features mostly female perspectives, Mathis also shows compassion for the men in the story. Her windows into tender, terrifying relationships between partners, parents and children, and siblings are realistic; her writing is clear and lovely. When she wants you to feel devastated, you are. Take, for example, the moment when Hattie and August have a battle over an issue that’s been brewing for years — you can hear the bitter pain in Hattie’s soul. “You wonder why I don’t smile at you? You’re lucky I don’t stab you in your sleep. A better woman would.”

In her acknowledgments, Mathis nods to Toni Morrison, “whose words are both lighthouse and anchor, and whose work has made a way for all of us.” It’s bold for her to name Morrison, but Mathis’ work already pays her homage. She isn’t imitating Morrison’s style but is following her own way along a deep trajectory of society, culture, and family. Morrison, who has been awarded a Nobel and a Pulitzer prize, has published 10 novels and dozens of other respected works. It remains to be seen whether Mathis, a graduate of the Iowa Writers’ Workshop, joins those ranks.

— Julie Ann Grimm

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FINE FOCUS Short-story writer Edith Pearlman illuminates the human condition.

Bill Kohlhaase I For The New Mexican

Jonathan Sachs

ame, such as it is in the literary world, took its time coming to short-story writer Edith Pearlman. Since her first stories appeared in the ’70s, she has been published in journals little and large and collected her share of prizes, including two O. Henry awards prior to 1985. Still, her audience remained modest. Winning prizes became her path to acceptance and her entry into publishing books. Her first collection, Vaquita, won the Drue Heinz Literature Prize in 1996, earning publication by the University of Pittsburgh Press. Her second, Love Among the Greats, was awarded publication by Eastern Washington University Press after it won the Spokane Annual Fiction Prize in 2002. Sarabande Books published How To Fall in 2005 after it won the Mary McCarthy Prize in Short Fiction. It wasn’t until her fourth shortstory collection — Binocular Vision: New and Selected Stories, published in 2011 and nominated for a National Book Award among other honors — that she drew the attention of the reading public at large. Writing in the introduction to Binocular Vision, author Ann Patchett admits to not knowing who Pearlman was when she selected her story “Self-Reliance” for the Best American Short Stories edition of 2006. “Why isn’t Edith Pearlman famous?” Patchett asks in her introduction.

In a Sunday-morning phone call from her home in Brookline, Massachusetts, Pearlman said she didn’t resent those years writing for a tiny audience. “I really wasn’t in the shadows,” Pearlman said. “My following was big enough for me.

Now it’s bigger. Being unnoticed is actually helpful. I certainly couldn’t get smug; I wasn’t after fame. That was never one of my high desires. I loved winning prizes, but they were part of the game I was in. I didn’t feel like I was rushing to another height when I won. It was just enough, my occasional due.”

14

January 25 -31, 2013

Pearlman’s characters aren’t dashing, wrestling with poverty, or facing harsh environmental conditions. Her stories aren’t full of thrills and action. Instead, they center on the day-in and day-out puzzle of being human. Parents lose sight of their precocious 7-year-old daughter outside a Boston subway. An unlikely vagabond couple set up housekeeping in a new town and stay for a quarter century, raising three sons as they do, and then depart just as suddenly as they appeared. A husband and wife spice up their marriage by picking up loose change and go on to shoplifting. A young girl, with the aid of binoculars, monitors the routine life of the couple across the way. Emotions are never spelled out, motivation comes as clues, and themes — honesty, fidelity, mortality, futility — are offered in symbols. “I also didn’t like the coin-operated telescope on our Connecticut city’s twenty-four-story building, the tallest in New England; as soon as I managed to focus on something through the telescope, my nickel ran out,” says the girl in the title story. Occasionally, conclusions come with a modest surprise. Despite Pearlman’s quiet plots, the stories range across time and location, often dealing with unlikely associations between different sorts of people, or by contrast, focusing on tight groups of family and acquaintances.

Bringing unlikely characters together is a Pearlman trademark. In her story “Allog,” a widower, a high-school girl, a Moroccan family, an 85-year-old woman, and her feeble husband, all living in the same Israeli apartment building, have their lives touched by a Southeast Asian immigrant. “I think I do a sort of matchmaking metaphorically in my stories,“ Pearlman said, while admitting she has fun as an occasional matchmaker in real life. “All those people in ‘Allog’ are so different, and it was interesting bringing them together. I like to be open to similarities that aren’t immediately apparent, not just with people but with streets,

towns, backgrounds, things that do not normally flow one to another, and then ram them together to see what happens.”

The title of her last collection suggests how she can write about disparate characters in such detail: a close scrutiny, magnified. “I am observing all the time. Unless I am reading or sleeping, I am observing. I do keep notes if there’s something I want particularly to remember.” But then how does she write as convincingly as she does about a Jewish doctor from Prague doing charity work in a South American dictatorship or that lost, 7-year-old girl?

“I feel close to everybody’s childhood. That is, I like to imagine them. To write from the point of view of a child you have to restrict your vocabulary and the sophistication of your outlook. To write from the point of view of people with unfamiliar careers and backgrounds, experiences, circumstance, I have to do a lot of research: reading, talking, listening, going to galleries of photographs. I have never written about a soldier, a murderer, or a laborer of either sex. That would take some work. But [it’s been said], if you’ve seen a street fight you can write about a war.”

Another facet of her craft, contrary to the notion of the alienated writer toiling alone in her room, is inviting criticism. For some 25 years, she has belonged to a group of four women who discuss their nonfiction writing (Pearlman has published travel stories and essays in addition to short fiction.) She shares her short stories with author Rose Moss, something she’s done for 30 years. “You can get to the point where imagination has exhausted itself,” she said. “That’s when other readers become so valuable.

They have a clean view of the thing that’s being read. I would not wish to work alone in isolation. As long as the group, however big it is, is not too caressing, not too soft, it’s valuable. Ruth and I are ruthless with each other.

We’ve known each other a long time, and we can afford to be ruthless.”

Pearlman’s stories are valued for their polish. Every word does service; nothing is superfluous. This, she said, comes from her style of revision, one that might be considered old-fashioned. She writes on a typewriter, not on a computer, a process that slows her down and makes each word stand out.

“I start with an idea — usually two intersecting ideas. I imagine the characters who are going to act out or embody those ideas, and I imagine how their adventure is going to end. It always ends differently. Sometimes I make an outline. It always vanishes. Then I start to write. I write a page, or a portion of the page, on my typewriter. I rip the paper out of the platen and alter just about everything, and I insert a scene, and perhaps I invent a character. Then I start again, retyping this first page, now more than one page, and since a typewriter has no memory and does not allow you to [return to the original], as it were, I type over not only the words I’ve changed but all the other words; and since I’m typing them over I might as well reconsider them. And that’s what I do with every page. And when the story seems done — of course, it isn’t — I begin all over again, retyping. It is inefficient and lengthy, but it does help the process of finding the word that most suits my meaning; and it also encourages detail; and more than detail, simile, metaphor, and metaphoric verbs.” So how does she determine when the story is finished? “I stop when the adventure seems over, and I force myself not to explain what the story means. Sometimes, though, the story seems thinner, and I write more, using the same method.”

She believes that coming up with explanations regarding motivations, actions, or simply what it all might mean is better left to those doing the reading. “I respect my readers. I count on them to supply the things I’m not supplying. I’d rather hint at those things, hint at what might happen, rather than be straightforward about them. That’s what makes a story interesting.” ◀

details ▼ “An Evening With the Short Story,” talk by Edith Pearlman ▼ 7:30 p.m. Friday, Jan. 25 ▼ Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, 984-6199 ▼ No charge

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Students and teachers broaden the discussion on equal rights

Oct. 7, 1998, an openly gay University of Wyoming student named Matthew Shepard got into a car with Russell Henderson and Aaron McKinney. The two strangers had offered Shepard a ride home from the Fireside, a local bar in the university town of Laramie, Wyoming.

Less than 24 hours later, Shepard was discovered unconscious, savagely beaten, and tied to a wooden fence outside of town. He was found by a bicyclist who thought Shepard’s body was a scarecrow when he first saw it. On Oct. 12, 1998, after spending days in a coma and on life support, Shepard died at a hospital in Fort Collins, Colorado. Henderson and McKinney were arrested and tried for the crime, and each is serving two consecutive life terms.

Shepard’s murder and the public’s reaction to it laid bare the level of hate and violence directed toward the LGBTQ community, instigating a nationwide rallying cry for more effective and broader-reaching state and federal hate-crime laws with stronger penalties. In 2009, the Matthew Shepard and James Byrd Jr. Hate Crimes Prevention Act was signed into law by President Barack Obama. The act criminalizes violence (and attempts to commit violent acts using a dangerous weapon) when motivated by the actual or perceived gender, disability, sexual orientation, or gender identity of any person. It is the first federal hate-crimes 16

January 25 -31, 2013

Teri Thompson Randall/The New Mexican

Rob DeWalt I The New Mexican

law to extend legal protections to transgendered people. In his groundbreaking Jan. 21 inauguration speech, President Obama furthered his previous vocal support for marriage equality, saying, “Our journey is not complete until our gay brothers and sisters are treated like anyone else under the law.”

Much of the congressional support for the Shepard/Byrd legislation was guided by activists with a personal story to tell — including Judy Shepard, who, since her son Matthew’s death, has been a tireless advocate for gay rights and an outspoken supporter of anti-discrimination and anti-hate education in communities throughout the U.S. In cooperation with the Lensic Performing Arts Center, Capital High School’s Capital Arts and Production Academy (CAPA), the Santa Fe Community Foundation, Santa Fe Mountain Center, the Matthew Shepard Foundation, and others, Judy Shepard appears at the Lensic to present her program, The Legacy of Matthew Shepard, on Tuesday, Jan. 29. The program, in which Shepard discusses her son’s life and death, hate crimes, and the need for more acceptance, is free and open to the public. Besides Shepard’s appearance, CAPA presents a number of events throughout 2013 and beyond that focus on the mission of the academy’s anti-bullying campaign.

At the time of Matthew Shepard’s murder, he was 21 years old. In Judy Shepard’s memoir, The Meaning of Matthew: My Son’s Murder in Laramie and a World Transformed, she tells his story as it is, not as the media has framed it to be over the years, and reminds readers that he wasn’t perfect.

As a college student, Matthew did what many 21-year-old college students did. He smoked too much. He drank too much. His study habits weren’t the best. He suffered from depression. When sharing Matthew’s story, especially with younger people seeking acceptance and equality from their families and peers, looking back on her son’s life is both a blessing and a curse.

When Pasatiempo asked Shepard if it was difficult to mine the memories of her loss and subsequent journey when writing The Meaning of Matthew, she replied, “Yes and no — yes because these particular memories do not define Matt and no because it is an important part of who he was. Our mistakes as well as our successes make us who we are. I wanted the reader, regardless of age or anything else, to understand that Matt was a young man searching for himself, as we all do.”

With President Obama now in his second term and a contentious midterm election on the horizon, the Matthew Shepard Foundation continues to strengthen its resolve. “We are trying to raise awareness about the basic civil rights being denied the LGBT community — socially as well as legally,” Shepard said. “Visitors to our websites are educated on issues of marriage, job security, and DOMA [the Defense of Marriage Act].

However, because the mission of the foundation itself concentrates on young people, bullying has become an extension of our hate crime work. We also provide information for the members of the straight community to help their friends, co-workers and family deal with issues facing the gay community.”

Despite the impact of the foundation, James Lecesne’s The Trevor Project, Dan Savage’s It Gets Better Project, and similar entities doing positive work to combat harassment aimed at LGBTQ youth, teen suicide due to bullying and hate speech continues to be a pressing social problem. A 2012 survey by the Human Rights Campaign titled “Growing Up LGBT in America” reports that four out of 10 LGBTQ youth say the community they live in is not accepting of them. They are also twice as likely as straight-identified youth to be harassed and physically assaulted outside of school. A 2011 study by the American Academy of Pediatrics indicates that teens who self-identify as homosexual are five times more likely to attempt suicide than their straight-identified peers.

CAPITAL HIGH STUDENTS FIGHT BULLYING

Our journey is not complete until our gay brothers and sisters are treated like anyone else under the law.

fter hearing that one of the theater instructors at Capital High School was interested in mounting a production of The Laramie

— President Barack Obama in his 2013 inauguration speech

Project during the 2012-2013 school year, CHS film instructor Michelle Andrews, students and teachers from the school’s Capital Arts and Production Academy (CAPA), and others decided to create an antibullying program for the high school.

“We all started talking about how important it was that the play didn’t Judy Shepard

So, in an age of rampant online harassment as well as an ever-present fear of physical harm or peer rejection, what effective lessons can parents and educators pass on to their children and students to help change the sad state of affairs for many LGBTQ youth?

“Let’s first include the ‘A’ in the LGBTQ acronym,” Shepard said, “because the allies knowingly make themselves targets when they defend anyone being harassed. I think empathy in many of our fellow men and women has become less natural. In a world dominated by technology we have forgotten what it is like to put ourselves in someone else’s situation and feel their pain. We are bombarded by the inequities of the world constantly — perhaps we have become overwhelmed and numb to the horror. As parents and educators, we need to make it local, and so we understand that it is still possible to help many. It doesn’t have to be worldwide.”

In places such as Santa Fe, which is often perceived as a fairly tolerant community, there is still a sense of fear among many lesbians and gays — including adults — that coming out will have a negative impact on their careers, social lives, and even their physical safety.

Shepard said that it is an ongoing problem in some states that lack effective hate-crimes legislation and lawmaker allies in the community and local government.

“That is what residents of Wyoming face as well,” she said. “It is the Catch-22 of the LGBT community. We all want change, but change doesn’t happen unless everyone speaks out. In my work since Matt’s death, I have found that straight allies can be invaluable to the movement toward equality. They speak with a voice that others can relate to, and relate to in a different way. I seriously doubt that there is anyone in our communities who does not have a tie to the LGBT community. It is just as important — perhaps more important — that they use their voices to advance equality and acceptance.”

Shepard explained that anyone can get involved with the Matthew Shepard Foundation (www.matthewshepard.org), and that those who want to become involved with the work the foundation does to further acceptance and equality should focus on the needs of their particular community. “Sometimes it is as obvious as a GSA [gay-straight alliance] in the public school system or even doing The Laramie Project [a widely produced play

by Moisés Kaufman and members of the Tectonic Theater Project] to show how discrimination can be both obvious and covert. Making these issues part of the public forum can result in great changes.”

Pasatiempo asked Shepard what the most important lesson she and her family have taken away from her family’s story. “Love is all that matters,” she replied. And what would she tell parents about their relationship with their LGBTQ children living amid so much hate in today’s world? Again: “Love is all that matters.” ◀

details ▼ “The Legacy of Matthew Shepard,” a talk by Judy Shepard

become an empty vessel,” Andrews told Pasatiempo. “If the kids didn’t know or understand who Matthew Shepard was or what happened to him or why, then we had to fill in the gaps and do something more.

Matthew Shepard was, in a sense, bullied to death, and we have seen bullying in our own schools here. Something had to be done. We decided not to just talk about tolerance, because that just means you’re putting up with something instead of accepting it as the truth.”

CAPA runs the school’s anti-bullying program, called Erase Hate, and there are a few student ambassadors on the organizing team.

“It’s basically our theater kids who are taking on the anti-bullying initiative,” Andrews explained, “and they’re risking a lot. Some kids had to pull out of the production because their parents didn’t approve of the subject matter; the need to foster more acceptance is obviously bigger than we thought, and that need reaches far beyond the school walls.” Monthly themes and projects that involve anti-bullying activities and messages that deal with cul-

Some kids had to pull

tural differences as well as gender

out of the production

and sexuality differences will be

because their parents

integrated into the CHS curricula throughout the year.

There are two complementary

didn’t approve of the subject matter; the

events to Judy Shepard’s appear-

need to foster more

ance in the days ahead. At 7 p.m.

acceptance is obviously

Friday, Jan. 25, the CAPA Dancers

bigger than we thought.

present Dancing to Erase the Hate: Let’s Trade Shoes, a selection of new works with themes about bullying

— Michelle Andrews, instructor, Capital High School

and acceptance. Performances take place at the Bryan Fant Theatre on the CHS campus, 4851 Paseo del Sol. And at 7 p.m. Friday and Saturday,

▼ 7 p.m. Tuesday, Jan. 29

Feb. 1 and 2, CAPA’s theater students present a production of The Laramie

▼ Lensic Performing Arts Center, 211 W. San Francisco St., 988-1234

Project at Bryan FantTheatre.Tickets for the dance and theater performances

▼ No charge

are $5 at the door and can be reserved by calling 467-1124. — RDW PASATIEMPO

17

Sparking a new Sound Casey Sanchez I For The New Mexican

or much of the 2000s, Matisyahu stalked across the stage at arenas, singing like Jimmy Cliff and looking like an extra from The Chosen. His path to international stardom took him through an unlikely musical blend of lyrical Jewish mysticism and funk-heavy roots reggae. During shows, he would routinely stage-dive into a an audience culled from the rap, ska, dancehall and rock scenes. His 2005 single “King Without a Crown” became a Top 40 hit, and his song “One Day” was used by NBC in advertisements for the 2010 Winter Olympics.

But the artist, who performs an all-acoustic set on Friday, Jan. 25, at the Lensic Performing Arts Center, no longer looks like the selfdescribed “Chassidic reggae superstar” he was in the 2000s. In December 2011, he shocked his fans by appearing shorn of his trademark beard and peyos. Even his yarmulke had been replaced by a defiant fop of dyed-blond hair. “Change is organic. It flows and happens daily. But there are also major transitional moments. This was certainly one of them,” Matisyahu said in a phone interview with Pasatiempo.

18

January 25 -31, 2013

The singer had not rejected his faith in the Lubavitch movement of Judaism so much as found a new path to live out its major tenets while letting its civic rules governing how a man should groom, dress, and eat fall where they may. He still maintains a vegan, macrobiotic diet.

“It is 100-percent kosher, though it may not always carry the stamp of the local rabbi,” he said.

Matisyahu’s transition from Brooklyn Lubavitcher to L.A. pop star might have scandalized a certain orthodox crowd who saw in him a transcendent pop-culture figure who could rock a tallit katan while performing on Late Night With David Letterman. Yet to most of his longtime fans, Matisyahu’s shave-over is just one more move, playful and philosophical, by an artist from whom they have come to expect nothing but change. “I don’t regret anything. I feel freer, and I wouldn’t have gone about it any differently,” he said.

Born Matthew Paul Miller in 1979, Matisyahu is both a stage moniker and an Ashkenazic Hebrew rendering of his given name. As a Jewish

Natalie Zigdon

The evolution of Matisyahu

teenager from the New York suburbs, he discovered reggae and dancehall at an early age. “Reggae gave me a certain empowerment; it was my gateway into the music,” he said. “Every teenager in college smoked their first joint to a Bob Marley record. I fell in love with the music. It rang true to me and connected me to a Jewish symbology in the lyrics, to the authority of the Torah and the Old Testament. It didn’t matter whether you were a Jamaican fighting for political freedom or a white Jewish teenager struggling for freedom against the authority surrounding school or parents.”

After a couple of wild years hitchhiking around the country following his favorite bands, Matisyahu settled in New York in 2002, where he immersed himself in the Lubavitch sect and recorded reggae music with equal passion. He also brought a fair measure of hip-hop beatboxing and the prayer-singing style of Jewish hazan to bear on his playful music. An indie-label deal followed, and by 2006, he had a certifiedgold album — Youth, released on Epic Records. Over time, fans and critics would learn that his blend of Marley-era reggae, orthodox Jewish mysticism, and Hasidic self-reliance wasn’t so much a novelty act as a way of breathing new meaning into the Lion of Judah and Zion imagery that runs through Rastafarian and cabalist mysticism.

Now living in Los Angeles, a continent away from the closed-circle Hasidic community of Crown Heights, Brooklyn, that he called home for a decade, Matisyahu has revealed a new sound on his album Spark Seeker, released in July 2012. With the help of Nicki Minaj producer Kool Kojak, Matisyahu recorded his new album in Israel and Los Angeles, abandoning his roots-reggae sound for international pop that mixes Middle Eastern strings and flutes with the anthemic club hip-hop that is dominant on the airwaves.

“I met this producer and that was the direction we went in. It was the opportunity to make more polished, pop-friendly beat-driven music,” Matisyahu said. Despite its dubstep sonics and dance-floor drops, the album’s lyrical spirit is classic Matisyahu. His reggae patois, vastly improved from that in previous efforts like Youth and Light (2009), sounds so natural and effortless at this point that his singing sits comfortably and authentically alongside contemporary Jamaican dancehall stars like Gyptian and Vybz Kartel.

Matisyahu is as devoted to chronicling the spiritual challenges of Judaism as ever. Amid all the club bangers on the new album, there’s a song called “Bal Shem Tov,” named for the mystical 18th-century rabbi who founded Hasidic Judaism. The artist chooses to dwell on the rabbi’s expansive religious spirit rather than the doctrinal rigidity with which his movement later became identified. Matisyahu raps “It’s your life to live, I can’t live it for you” — a surprisingly carefree sentiment, given the song’s subject.

“In general, it’s basically about one common thing. As I’m growing and I’m getting older, I’m writing about personal emotional ideas,” Matisyahu said. The singer plans to release a live, acoustic version of the album called Spark Seeker: Acoustic Sessions as a digital download in early 2013.

For years now, Matisyahu’s concerts have been a mixture of mannered and raucous performance. He makes dancehall raps out of what are essentially prayers, and he stage-dives with the grace and aplomb of a teenage jam-band fan. For his acoustic concerts, though, audiences can expect an intense if refined show. Now touring with a bare-bones band, playing stripped-down versions of his songs, he has swapped massive arenas for intimate venues. “I’m enjoying the emotional quality of performing the acoustic stuff.” ◀

details ▼ Matisyahu, acoustic concert ▼ 7:30 p.m. Thursday, Jan. 31 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $29-$47; 988-1234, www.ticketssantafe.org

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Cirque du Soleil presents Quidam Santa Ana Star Center, Rio Rancho, Jan. 16

Inward bound

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uidam, the ninth spectacular by Canada-based entertainment juggernaut Cirque du Soleil, was first presented as a big-top show that premiered in Montreal in 1996 and began touring the U.S. as an arena show in 2010. The production’s five-day run at Santa Ana Star Center wrapped up on Jan. 20; and opening night, Jan. 16, proved that — since its humble beginnings as a small troupe with strong ties to street performance — Cirque du Soleil’s longevity lies not in big-budget effects but in the dedication and stunning athleticism of its players.

Quidam offers a simple narrative thread — the story of Zoé, a young girl with disaffected parents who is looking for answers about life and its meaning. With mom and dad living in their own quiet bubble of existential malaise, Zoé retreats inward, where she discovers a sense of wonderment so lacking in her waking life.

Until the final third of the show, Quidam relies heavily on a ceiling-mounted five-rail aluminum scaffold/pulley system that arches from upstage to just beyond stage-center toward the crowd. And the circular stage rotates. From these rails, Spanish-web performers, contortionists, hoop and silk aerialists, and trapeze artists dazzle and fly while dangling from pulleys — sometimes without safety lines — with most acts separated by gags from Cirque du Soleil’s legendary clowns.

Perhaps there were “plants,” or apprentice performers, peppering the front row, whom the clowns relied on for some of their vignettes. It may have been a combination of Cirque staff and innocent bystanders. Either way, some of the material came off a bit harsh, both physically and psychologically. With so many small children in the audience, the sight of male clowns wrestling violently with supposed female strangers mixed with a staggering amount of sexual innuendo (allusions to breasts were plentiful) elicited more than a few awkward stares among parents and their tots sitting in the audience.

Kudos to the band, sound designers, singers, sound engineers, and composer Benoît Jutras for setting a stellar French-Cajun mood riddled with electrosymphonic crescendos and surprises.

Quidam thrills, even in its quietest sections. In the act titled “Statue,” two performers use each other’s bodies for balance in slow motion in ways that seem humanly impossible. In “Banquine,” 15 acrobats and tumblers create columns and pyramids more than four performers high. It is moments like these that draw you into the magic — and make you promise to hit the gym.

— Rob DeWalt

tonight . january 25, 2013 . 5-7pm

L as t Fr i day a r t WaL k In Santa Fe’s Vibrant Railyard Arts District tonight . july 30 . 2010 . 5-7pm last friday every month

charLotte jackson Fine art Ronald Davis, Pixel Dust Renderings 2012

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READ ST.

WAREHouSE 21

james keLLy contemPorary The Art of Renewal: A Selection of Works by Gallery Artists

LeWaLLen gaLLeries Winter Group Show

tai gaLLery Japanese Bamboo Art

david richard gaLLery Baldwin & Guggisberg, Eric Zammitt, Ted Larsen, Ward Jackson, & Wall Batterton

cAmIno DE lA FAmIlIA

WiLLiam siegaL gaLLery Gallery Artists

zane bennett

zane bennett contemPorary art Black Space, Prints by Donald Judd, Ellsworth Kelly, Robert Motherwell, & Pierre Soulages

SITE Santa Fe is closed for installation and will reopen on February 22 with a suite of three interrelated exhibitions: State of mind: New California Art Circa 1970 linda mary montano: Always Creative mungo Thomson: Time, Money, People, Crickets Robert kinmont, 8 Natural Handstands (detail), 1969-2009

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

We invite you to come and experience all we have to offer.

PASATIEMPO

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LISTEN UP

James M. Keller

The good-humored composer: Francis Poulenc

Top, Francis Poulenc at the piano with baritone Pierre Bernac

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January 25 -31, 2013

Wednesday, Jan. 30, marks the 50th anniversary of the passing of Francis Poulenc.

Although the commemoration of a death is not usually a mirth-filled occasion, one can’t help smiling when the subject is Poulenc. It’s not that every shred of his music is amusing, but much of it is, and even those of his compositions that are overwhelmingly serious may admit at least something by way of a musical joke.

This made him extraordinary in his time. Musical humor had gone rather out of style in the course of the later 1800s, and by the 20th century it found itself practically in hostile territory. A few figures traded in it now and again, and the French held on to its vestiges more successfully than composers elsewhere (until the rise of Boulez, that is). But no 20th-century composer of great stature came close to Poulenc in conveying musical merriment so often.

The stars aligned nicely for Poulenc, who was born in 1899 into a well-to-do family, his forebears having had the good sense to establish a chemical company that would grow into the pharmaceutical mega-corporation Rhône-Poulenc.

His father was on the proper and conservative side and was not inclined to encourage his son’s musical talent in a direction that might become a career.

He accordingly resisted pressure from his wife and her friends to enroll him in either of Paris’ most respectable music schools, the lofty Paris Conservatoire or the quasi-ecclesiastical Schola Cantorum. It was probably for the best, since at that time both institutions were renowned for thrashing experimental tendencies out of their pupils. When he was 18 years old, Poulenc did gain an interview with the composition professor of the Paris Conservatoire, the nowforgotten Paul Vidal, and handed him the manuscript of a Rapsodie nègre he had just finished, a work for singer and chamber ensemble that sets a nonsense text purportedly by a Liberian poet named Makoko Kangourou. After examining the piece (Poulenc reported), Vidal “rolled his eyes furiously, got up and yelled these very words: ‘Your work stinks, it is ridiculous. … Ah! I see that you are running with Stravinsky, Satie, and company. Well then, good day!’ and he all but threw me out.”

Vidal was almost right about Poulenc “running with Stravinsky.” Poulenc was indeed running on the same track with Stravinsky, though about half a lap behind, in a pack that included five of his similarly energetic composercolleagues. In 1920, a music critic dubbed the bunch the “Groupe des Six” following a joint concert they gave. Les Six (as the group became known) was more a cluster of friends than an aesthetic collective, and its members would go their separate ways before long. Still, for the brief time they were linked, they embodied the liberated spirit of the incipient Roaring ’20s, and for years Poulenc remained especially close to two of his associates from Les Six, Georges Auric and Darius Milhaud. Unlike his colleagues, however, Poulenc did not have to worry about earning a living, and for most of his adult life he split his time between a comfortable apartment (though one with squeaky floors) overlooking the Luxembourg Gardens in Paris and a country château in the Loire Valley that boasted formal gardens and a productive vineyard.

Poulenc was particularly well prepared to play a good-humored role. Among the strands of luck that intersected in his upbringing was his “Uncle Papoum,” his mother’s brother. A boulevardier in the grand tradition, he saw no reason not to take along his young nephew as he made the rounds of spirited cabarets and cafés-concerts. This provided part of Poulenc’s “alternative” musical education, with the rest coming from his piano teacher Ricardo Viñes, a brilliant Catalan pianist who apparently never met a piece of contemporary music he wasn’t eager to master. Under his tutelage, Poulenc became an impressive pianist. Indeed, he was the only member of Les Six to produce a notable body of piano music, and he toured widely as a pianist, both as a soloist and as an accompanist to singers, who recognized him as one of the peerless composers of art songs.

There was a more somber side to Poulenc, to be sure. It emerged suddenly in 1936, in reaction to the death of a close friend in a horrific automobile accident.

Poulenc’s immediate response was to dash off to Rocamadour, a major pilgrimage site for the faithful of France, and to compose his very serious choral work Litanies à la Vierge noire. From that point forward, sacred music would flow from his pen at regular intervals, but very often mixing a tincture of humor into the ostensible solemnity. Among Poulenc’s most beloved works, for example, is his Gloria, composed in 1959-1960, and although the liturgical text of the Gloria is on the whole joyful, its musical treatment isn’t usually quite as rollicking as Poulenc’s. “When I wrote this piece,” the composer explained, “I had in mind those frescoes by Gozzoli with angels sticking out their tongues. And also some serious Benedictine monks I had once seen reveling in a game of soccer.”

For Poulenc, even religion was infused with a sense of unburnished humanity.

For the record

I have been immersed in Poulenc in recent weeks, thanks to an outstanding collection of his complete works released by EMI Classics just in time for the semi-centennial. The assemblage covers 20 CDs and is priced to sell; internet sources will provide it to you for between $40 and $60, more or less, which is not much, considering we are talking about 25 hours of music. (One recalls the comment of Graham Johnson, the distinguished collaborative pianist, who remarked that “the size and range of his output is that of a self-confessedly lazy man who is astounded to discover that he has been surprisingly productive.”)

But it’s not just any old 25 hours of recordings. These are for the most part legendary recordings, some of them equaled but not excelled by later interpretations, others defying comparison with any successors.

Where does one begin with such a set? Perhaps with CD 6, which opens with the Piano Concerto, played ravishingly by Gabriel Tacchino, a benchmark Poulenc interpreter, with Georges Prêtre conducting the Orchestre de la Société des Concerts du Conservatoire (obviously the Conservatoire had come around to Poulenc by the time this record was cut, in 1966). It’s a quintessential work in Poulenc’s oeuvre, its hands-across-the-sea finale bouncing comically about, encountering a Parisian music-hall dance number, Stephen Foster’s “Old Folks at Home,” and “The Star-Spangled Banner,” the whole thing threatening at any moment to break into an ode to Captain Spaulding, the African explorer.

(Poulenc actually does that almost literally in his Trio for Oboe, Bassoon, and Piano, on CD 4.) And then, the Concerto for Two Pianos, in which Poulenc performs along with his friend Jacques Février, with the same orchestra but now conductor Pierre Dervaux, in a famous reading from 1958; here the first movement shimmers in emulation of a Balinese gamelan he had recently heard in Paris, and the slow movement is a salute to Mozart, replete with glancing quotations of that Classical master (who, like Poulenc, was no stranger to a good laugh).

Vocal recitalists often program Poulenc’s songs, and no wonder: few composers have been so gracious to singers — assuming the singer has a “Poulenc” kind of voice. Characterful interpreters delve the scores in this collection: soprano Elly Ameling and Mady Mesplé, tenors Michel Sénéchal and Nicolai Gedda, baritones Gérard Souzay, William Parker, and José van Dam, and many others. Among the most essential entries, on CD 17, is the astonishingly beautiful song cycle Tel jour telle nuit, in which Poulenc accompanies his closest friend and musical partner, baritone Pierre Bernac; he not only provided the ultimate vessel for Poulenc’s vocal crafting but also pulled the composer out of the doldrums with dependable regularity, whenever one of Poulenc’s boyfriends proved, yet again, not to be as perfect as the composer had imagined.

Three CDs are given over to Poulenc’s stage works, including his adorable setting of L’histoire de Babar le petit éléphant, with Prêtre conducting and Peter

Ustinov narrating (in French). For the operas, Poulenc’s beloved soprano Dénise Duval stands at the center of the madcap Les mamelles de Tirésias (an unforgettable surrealist romp conducted by André Cluytens), and also as the desolate woman wronged in La voix humaine, a 41-minute monodrama conducted over the telephone. It is true that in his last years Poulenc complained that he was starting to find his Dialogues des Carmélites boring, but he was wrong, a point made clear by revisiting this gripping performance starring Duval, Régine Crespin, and Rita Gorr, again with Dervaux at the helm. There is scarcely a performer in this collection who does not possess “the French style,” an elusive confluence of clarity, detail, and elegance without which this entire body of work might sink rather than swim. Nearly all the singers display it, and so do the instrumental soloists: in the Organ Concerto, the eminent Maurice Duruflé; in the three late-in-life solo-woodwind sonatas, flutist Michel Debost, oboist Maurice Bourgue, and clarinetist Michel Portal (in every case accompanied

by Février).

To many music lovers, listening to these performances will be like reencountering old friends. Many of them qualify as reference recordings that essentially defined the performance tradition of these works. Listeners may naturally gravitate toward the “biggest hits” — and Poulenc left many — but some of the most fascinating listening arrives with little-known pieces. On the first disc, Tacchino’s crisp piano-playing seduces us with such familiar pieces as the 3 Mouvements perpétuels and the Suite française, but once we are hooked we will find our ears opened with less-accustomed Poulenc, such as the Chopinesque filigree of the 15 Improvisations or the quite rabid avant-gardism that surfaces in his Promenades.

There is scarcely a performer in this collection of Poulenc’s complete works who does not possess ‘the French style,’ an elusive confluence of clarity, detail, and elegance without which this entire body of work might sink rather than swim.

Cognoscenti tended to write off Poulenc as a lightweight, and the most high-minded critics found him easy to ignore, training their sights instead on the century’s parade of dodecaphonists, serialists, and other practitioners of aesthetic “isms.” That did disturb him, but he kept on writing in the listenerfriendly style that came to him naturally. Near the end of his life, he assessed his oeuvre in a letter to his biographer Henri Hell: “I know very well that I am not exactly in vogue but I need at least to be recognized. And this has happened. ...

The important thing is that these old compositions should stand the test of time. What counts is not what is played but what is played again and again!”

Listening through EMI’s tribute collection, one is struck by how very many of Poulenc’s pieces are indeed “played again and again.” Poulenc has shown remarkable staying power through the half-century since his departure, thanks in no small part to his irresistible good humor. He got the last laugh, and that laugh continues to resound in posterity. ◀

PASATIEMPO

23

PASA TEMPOS

album reviews

DroPKiCK Terri Lyne MUrPHyS Signed and CarringTon Money Sealed in Blood (Born and Jungle: Provocative in Blue Bred records) Released on Dropkick (Concord Jazz) Drummer and composer Murphys’ vanity label, Signed and Sealed in Terri Lyne Carrington, who won a Grammy Blood finds the 16-year-old Massachusetts for her last outing, The Mosaic Project, honCeltic-punk septet in top form. Frontman ors Duke Ellington’s 1962 record Money Al Barr and his boys have become the Jungle. Her liner notes include tributes to kings of the stomp-and-jig-inflected punk Ellington and his trio-mates on that album, anthem, and on this newest release, Dropkick has exponenMax Roach and Charles Mingus, and for their roles she brings tially opened the throttle on traditional Celtic instrumentation. in pianist Gerald Clayton and bassist Christian McBride. Jungle There’s no shortage of bagpipes, whistles, bouzouki, and mandolin, drums open the title cut and then yield to spoken word — “People and the band has a much better grasp of subtlety in its arrangements are basically vehicles to just create money, which must create more and melodies. But make no mistake: guitarist James Lynch, bassist Ken money to keep the whole thing from falling apart.” — then just great, Casey, and drummer Matt Kelly fill the album with enough full-bore punk kickin’ music. McBride starts a heavy repeating line, Carrington abetpoundage to keep the die-hards happy. “The Boys Are Back” gets things ting the groove on crashing cymbals and skins, and then the proceedings started fiercely, with a drumroll attack, a fuzzed-out Steve Jones-style guitar open into straightahead jazz, with Clayton laying out beautiful licks. This line, and the refrain, “You’ve got nowhere to hide, you’ve got nowhere to run! is a totally hot band; it’s primarily a trio session, but there are occasional We’re back in town and we’re looking for trouble! ... From you!” spots for guests Robin Eubanks, trombone; Tia Fuller, alto and Equal parts merrymaking, memoir, and mayhem, Signed and flute; Antonio Hart, flute; and Clark Terry, scat and trumpet.

Sealed reveals that the band continues to broaden its narrative Among the highlights are the blues “Very Special” and the scope without losing the three things that make them fun to sprawling, sometimes raucous “Switch Blade.” At the end listen to: pride in their Irish heritage, true grit, and technical is “Rem Blues/Music,” a spoken-word piece featuring Stirred with chorus skill. Bonus — this album includes a holiday track titled Shea Rose and Herbie Hancock, the latter quoting Duke “The Season’s Upon Us.” If you plan on doing some on the subject of jazz as freedom of expression. Besides and Western orchestral whiskey drinking when the in-laws arrive next Christmas, the Ellington works, there are two cagey originals by this song is the perfect soundtrack for it. — Rob DeWalt Carrington and one by Clayton. — Paul Weideman

touches, Mychael Danna’s ‘Life of Pi’ soundtrack is at once exotic, meditative, and lush.

Life of Pi original Motion Picture Soundtrack (Fox Music/Sony Classical) Composer Mychael Danna’s use of East Indian musical influence goes back to 1994 and his soundtrack for Atom Egoyan’s film Exotica, which centered on a Toronto strip club. Life of Pi, recent winner of the Golden Globe for best original score, provides Danna with a better context for Indian orchestration and microtonal scales. Stirred with chorus and Western orchestral touches, the sound is at once exotic, meditative, and lush. The Indian bansuri, a bamboo flute, takes the central melodic role. Recalling Indian religious song tradition, “Pi’s Lullaby” is lyrically entrancing, instilling what follows with a sense of loss and promise. Much of the music, in line with the film’s spiritual themes, is refreshingly reserved, surprising for a story that revolves around a ferocious tiger. Instead, subtle changes in tone and temper reflect the film’s dramatic moments.

The exception is “God Storm,” whose sweep, majesty and occasional minor-key tilt suggests something larger and angrier than ourselves. Cross-cultural influences add depth to “Piscine Molitor Patel,” a tune that borrows from Hubert Giraud’s “Sous le Ciel de Paris” (written for the film of the same name), as sitar, bansuri, accordion, celeste and mandolin suggest the cosmopolitan life that Pi leaves behind. The soundtrack’s programming gives the disc a contemplative, organic feel, worthy of the film’s spiritual aspirations while avoiding New Age cliché.

— Bill Kohlhaase

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January 25 -31, 2013

PHiLiPP DULiCHiUS Sacred Motets (CPo) Through this impressive CD, Manfred Cordes and the WeserRenaissance Bremen ensemble breathe sound into long-forgotten scores by Philipp Dulichius (1562-1631), who plunged into obscurity for more than 250 years following his death. When he finally attracted a smidgen of musicological attention, in an 1896 monograph, it was because the historian who dusted off some of his music called him “The Pomeranian Lassus,” thereby hitching his reputation to that of a more celebrated composer. Dulichius actually belonged to the generation that followed Orlande de Lassus and was a closer contemporary to Monteverdi.

Nonetheless, his 232 motets were conservative in their time, and their masterly counterpoint, attentive text-settings, and dense textural interplay do mirror a cerebral strand of Lassus’ output, though not Lassus’ exorbitant breadth and adventurism. Dulichius spent 43 years — practically his whole career — as a church and court music director in Pomerania, today the northern border regions where Germany abuts Poland. Most of his pieces use Latin texts; only two of the 18 motets performed here are in German. Every track is imbued with dark-hued sturdiness born of sumptuous choral forces divided into five, six, seven, or eight parts, often employing striking polychoral effects. Here the motets are performed with instrumental doublings by period winds, strings, organ, and chitarrone, yielding a gorgeous sonic tapestry that is at every turn delightful, de-lovely, and Dulichius.

— James M. Keller

TERRELL’S TUNE-UP Steve Terrell

The sound of synths: Pere Ubu When I first heard that Pere Ubu’s new album was called Lady From Shanghai, I figured it might have some weird connection with the 1947 Orson Welles and Rita Hayworth film with a similar title. Ubu has already saluted the shadowy world of noir with its 2006 album Why I Hate Women, which Ubu’s singer David Thomas described at the time as “my idea of the Jim Thompson novel he never wrote.”

However, if there is a connection between the new Ubu album and Orson Welles, I’ve yet to unravel that thread. Instead, Thomas and crew, this time around, are apparently obsessed with dance music. I’m not kidding.

“Smash the hegemony of dance. Stand still.

The dancer is puppet to the dance. It’s past time somebody put an end to this abomination. Lady From Shanghai is an album of dance music fixed.”

Cryptic as it is, this quotation from Ubu’s website just about says it all.

Just about.

Pere Ubu has some strange parallels with “dance music.” The band arose from the Cleveland rock ’n’ roll scene, recording its first album, The Modern Dance, in 1977, around the same time that disco music began to sweep the world. Of course, even back in the hazy ’70s, nobody in his right mind would confuse The Modern Dance with disco. (It wasn’t really punk rock either — Ubu was more complex — though that’s how the group was tagged in its early days.)

Synthesizers have been a key part of Pere Ubu’s sound, as they had been in disco and the electronic dance music that followed. However, Ubu’s synths — otherworldly, post-apocalyptic soundscapes provided by Allen Ravenstine (who eventually quit the band to become an

Pere Ubu’s ‘Lady From Shanghai’ sounds as if the Huns have laid siege to the dance floor, with frightened club kids fleeing for their lives as the beat goes on. airlinepilot) — were a lot different from the clean, corporate sounds heard in disco. On the new album, synth man Robert Wheeler goes for those Ravenstinesque effects, all the screeches, beeps, bleeps, buzzes, gurgles, and whooshes.

Those, along with Thomas’ wounded warble and oblique lyrics, reassure listeners that this is indeed a Pere Ubu album. But the band also incorporates elements of dance electronica — a throbbing bass line and industrial drum sounds.

Lady From Shanghai sounds as if the Huns have laid siege to the dance floor, with frightened club kids fleeing for their lives as the beat goes on. It’s New Year’s Eve in the nuthouse, and the party is beginning to get dangerous.

Thomas decided to record this album as a game of “Chinese whispers,” another name for the game also known as “telephone” and “town gossip,” in which the first player whispers something to the next; that person whispers what he heard, or thinks he heard, to the next person; and so on down the line. Usually, by the time the message reaches the last person, it has changed dramatically.

Doing this in a musical context means that the band did not rehearse, and each member recorded his or her part in isolation from the others. Lyrics were improvised with no vocal retakes. “The musician should not be allowed to see the Big Picture until the composition exists in a near-finished form, and, ideally, only after he has contributed to it,” Thomas writes in Chinese Whispers, a recently released book about the making of Lady From Shanghai. “The goal should be to capture the unique and distinctive voice of the individual as he struggles to cobble Meaning together out of a soup of confusions, contradictions, hopes, and fears, information, and misinformation. Such is the nature of real life.

Real life is the only worthwhile ambition for art.”

Don’t ask me to explain the exact logistics of how this worked. But considering all these strange self-imposed rules, it’s a wonder the album is as cohesive as it is. Somehow, it hangs together in its own peculiar way.

The album kicks off with a song called “Thanks,” but gratitude doesn’t seem to be the major theme. It’s a bizarre regurgitation of the old

disco hit “Ring My Bell.” But Thomas changes the refrain to “Go to hell.” This isn’t the only song with strong echoes of an old pop hit. Fans of The Chambers Brothers will recognize that group’s late-’60s hit “Time Has Come Today” coming through the fog in Ubu’s song “Musicians Are Scum.” This cut also has my favorite lyric on the album: “Why don’t you get in line with all those others whose lives I have ruined?”

The beginning of “Free White,” which starts with Thomas crooning, “It’s a wonderful world, it’s a beautiful thing,” reminds me a little bit of another Ohio band that started out about the same time as Ubu. I’m talking, of course, about Devo and the song “Beautiful World.” But while Devo was obviously being ironic, with singer Mark Mothersbaugh sounding purposefully smarmy, Thomas, as he sobs the lyrics, sounds like some nuclear-winter survivor trying to convince himself that all is well.

The drums turn fierce on “Feuksley Ma’am, the Hearing.” There are no vocals here except some spoken-word mumbling and some wind sounds that make this track sound like winter in hell. Meanwhile the song “And Nothing Happened at All” starts out urgent, like some forgotten Pearl Jam song. But about a minute and a half into it, the whole thing seems to dissolve into a sound collage.

Another standout is “Lampshade Man,” a sturdy tune that starts out with Thomas moaning, “They say the truth hurts.” Actually there’s not much more to the lyrics. The beat intensifies as the song goes on. “The Road Trip of Bipasha Ahmed” sounds like variations on a horror-movie theme. Thomas sings, “She calls me Johnny Rocket, but I don’t know why.”

Unfortunately Lady From Shanghai ends not with a bang but a thud. “The Carpenter Sun” features Thomas singing a ploddingly slow tune (“She is a curtain” is one of the few lines I can make out) over what comes off as spare Wheeler sound effects that didn’t fit anywhere else. It’s a pretty safe bet that nobody will dance to this one. But even though the band doesn’t leave its best for the last, the latest offering makes me happy to share a planet with Pere Ubu. Visit www.ubuprojex.net. ◀ PASATIEMPO

25

What’s happening TonighT

gallery conversations

■ january 25 friday 5:30–7:00 pm

The artists of Alcove 12.8 share an open conversation. Meet Susanna Carlisle and Bruce Hamilton, Yoshiko Shimano, Cristina González, Diane Tintor and Cedra Wood. Free.

CoMing up

music at the museum “Note by Note: the Making of Steinway L1037”

Kingston Residence Supports Souper Bowl XIX! Executive Chef, Tony Quintana has been creating memorable dining experiences for Kingston residents for over 12 years.

Tony also enjoys supporting worthy causes like the Souper Bowl and encourages everyone to come out and join the fun.

Don’t forget to stop by and sample Tony’s entry.

■ february 1 friday 5:30–7:30 pm

Enjoy a screening of award-winning documentary “Note by Note” with music and commentary by Joe Illick, Santa Fe Concert Association. Free.

opening reception Back In the Saddle and Georgia O’Keeffe ■ february 8 friday 5:00– 8:00 pm

Two new exhibitions explore the traditional art of the Southwest, through horse imagery in all media, and the work of Georgia O’Keeffe. Free.

See you at the Santa Fe Convention Center on January 26, 2013 at Noon

New Mexico MuseuM of Art

107 West Palace avenue · on the Plaza in santa Fe · 505.476.5072 · nmartmuseum.org

swenthearing.com

Hearing Loss Seminar

Do you think you have hearing loss? Are you overwhelmed with receiving non-stop print material and listening to sales pitches? Do you want to learn about hearing loss from a medical perspective?

You are invited to the FREE Southwestern Ear, Nose and Throat Hearing Loss Seminar! No sales, just education.

SWENT physicians and audiologists will explain hearing loss and balance disorders and the different therapies and technologies used to address these problems.

Friday, February 8 at 12:30 pm Inn and Spa at Loretto 211 Old Santa Fe Trail Lunch will be provided as well as hearing assistance for those who need it.

You must RSVP to attend this event: 505-946-3935

Learn the facts from a physician and not a salesman!

Southwestern Ear, Nose and Throat is proud to have served the people of northern New Mexico for 25 years with offices in Santa Fe, Espanola, Las Vegas, and Los Alamos.

E VALUATION • TRE ATMENT • CONTINUED C ARE 26

January 25-31, 2013

ON STAGE Rumi, rhythms, and renewal: Zia Singers

At 7 p.m. Saturday, Jan. 26, and 3 p.m. Sunday, Jan. 27, the Zia Singers women’s chorus presents By Winter’s Light, a program of songs and readings that celebrate the renewal of spring, at the Immaculate Heart of Mary Retreat and Conference Center Chapel (50 Mount Carmel Road). The concert includes classical choral works and more contemporary pieces such as “A Chuisle Mo Chroi”

by Zia’s director, Karen Marrolli (pictured). Between songs, choral members and others present readings of work by Rumi, Kathleen Jones, and Marrolli. Tickets, $20, can be reserved by calling 225-571-6352. There is no charge for those under 18.

THIS WEEK

A study in études: pianist Jan Lisiecki

Jan Lisiecki photo Mathias Bothor

Jennifer Esperanza

Frédéric Chopin published his piano études principally in two collections, op. 10 and op. 25, both of which the 17-year-old Canadian pianist Jan Lisiecki (pictured) plays in his recital at 7:30 p.m. on Friday, Jan. 25, at the Lensic Performing Arts Center (211 W. San Francisco St.). Chopin dedicated the earlier set to his friend Franz Liszt and the later one to Liszt’s girlfriend, the Countess Marie d’Agoult, Liszt being one of the few pianists in history who could have read through them without breaking a sweat. On the following two days — Saturday evening, Jan. 26, at 6 p.m. and Sunday afternoon, Jan. 27, at 3 p.m. — Lisiecki joins conductor Thomas O’Connor and the Santa Fe Pro Musica Orchestra at the Lensic to perform Beethoven’s Piano Concerto No. 4, in a program that also includes the same composer’s Creatures of Prometheus Overture and Haydn’s Symphony No. 101, the Clock.

For tickets ($20 to $65), call 9881234 or visit www. ticketssantafe.org.

Preconcert talks at 5 p.m. on Saturday and 2 p.m. on Sunday are free to ticket holders.

Funking it up with The Sticky

When you want to hear the dirtiest funk around these parts, the question isn’t, Where do I go? It’s, Where is The Sticky playing tonight? The Sticky can take the least expected tunes and drench them in plucky bass and pulsating rhythmic grooves.

The seven-member ensemble covers the necessities, such as Parliament-Funkadelic, but it dares to be different, too. Ever heard Lady Gaga funkified? You want to. Aside from supreme covers, grrrl power, and wacky costumes, vocalists Amy Lindquist and Katy Kidd, bassist/vocalist Jozelle Anderson, guitarist Ross Hamlin, keyboardist “Mr. E,” drummer Richard Reed, and bassist-vocalist Pete Williams round out their set with some smokin’ originals. Catch The Sticky at 9 p.m.

Saturday, Jan. 26, at the Railyard Performance Center (1611 Paseo de Peralta). Tickets, $10 (discounts available), may be bought at the door.

Arthur Miller on love?

When we hear the words “love story,” our associations may range from adrenaline-tinged first kisses to Ali MacGraw and Ryan O’Neal, but we don’t usually jump straight to dysfunction. At least in the beginning, love eschews misery. Arthur Miller’s Two Way Mirror — two one-act plays presented by Teatro Paraguas and the nonprofit Southwest Rural Theatre Project — examines the ways romantic entanglements can sour, even from their inception. Both plays feature Sheridan Kay Johnson and Graham Gentz (right). The first play follows a man trying to extract information from a prostitute (and falling in love with her in the process), while the second is about a man shopping for his dying mistress. “They’re both dark, interesting takes on what love is and how we quantify it,” said director Jessica Osbourne. Two Way Mirror plays at 8 p.m.

Friday, Jan. 25; 7 p.m. Saturday, Jan. 26; and 2 p.m. and 6 p.m. Sunday, Jan. 27, at Teatro Paraguas’ studio (3205 Calle Marie). Tickets, available at the door, are $12, $10 for students and seniors; Sunday matinee is pay-what-you-wish. Call 424-1601 for reservations.

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Grand illusionism

Sometimes viewers think they’re looking at photographs of sculptures. ...

One of my rendered images could hypothetically exist as a cellophane cube, for example, but it’s unlikely.

Left to right, Ronald Davis: Holed Cube, 2012, pixel dust on aluminum.

24 x 24 inches

ronald davis’ pixel-dust renderings

Glass Box III, 2012, pixel dust on aluminum, 42 x 42 inches Upright Dodecagon VIII, 2012, pixel dust on aluminum, 36 x 36 inches

Michael Abatemarco I The New Mexican

THE

two-dimensional surfaces Taos artist Ronald Davis uses for his recent body of work on view at Charlotte Jackson Fine Art are in seeming contrast to the images on them that convey the illusion of depth. The images, each one printed on an aluminum substrate, are as flat as the surfaces. Davis, whose exhibition is called Pixel Dust Renderings 2012, begins with computer generated forms. Since the 1980s he has been exploring digital programs as mediums for producing art. The works in the show were created using state-of-the-art hardware and software.

Davis models his pieces in Maxon Cinema 4D and then renders them in VRAYforC4D; both programs are used for 3-D animation. The resulting geometric designs — cubes and dodecagons, for example — look like real objects. “Sometimes viewers think they’re looking at photographs of sculptures,” Davis told Pasatiempo. “A superficial viewing of these renderings could lead one to perceive them as photorealism; however, given the artificiality of the images, they really could be considered as photo-surrealism. Think de Chirico or Duchamp and the Chocolate Grinder. One of my rendered images could hypothetically exist as a cellophane cube, for instance, but it’s unlikely.”

Often, the geometric forms in Davis’ 3-D renderings appear to be made out of physical materials. His Glass Box III looks like a rectangular construct composed of tinted glass, and his Holed Cube seems like it was molded out of pink plastic.

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January 25 -31, 2013

These illusions are not merely tricks of the eye as in photo-realistic painting or trompe l’oeil. The possibility that viewers will see his work as photographs is not the point. Rather, images in Pixel Dust Renderings are a consideration of color, form, and space. Front Cube, which resembles a box of tinted-green glass, is typical of Davis’ aluminum prints; it contains a single object, angled to show perspective, with minimal background. There is just enough detail in the piece to suggest that the cube is resting on a table or other flat surface.

Davis uses a dye-sublimation process to heat-fuse the images onto the aluminum surfaces. “In some early digital printing processes,” he said, “I wanted the images to be printed on PVC plastic to achieve a more substantial product, i.e. ‘painting as object’; paper is so fragile. But the process was not very good and the laminate bubbled up and delaminated. I had done dye-sub prints in the late ’80s. So I was pleased in 2004 to find a printer who did dye-sub on aluminum.

Also, it’s a pretty good archival process: 125 years. Better than paper.”

“Pixel dust,” Davis’ own term for the medium, is the light energy (photons) the image is composed of when in virtual form, converted into pigment during printing. It is also the term Davis uses for an image viewed on a screen, whether it’s a smartphone, laptop, tablet, or other digital device. The sculptural illusion is enhanced by Davis’ inclusion of subtle shadows or reflections, but the images rarely have real-world counterparts as would an object in a still-life painting.

They are somewhere in between representation and abstraction. Some exceptions, not in the show but visible on Davis’ website, www.irondavis.com, are hard-edged, geometric renditions of coffee cups. “Actually I am doing fruits and veggies lately, literal objects like tomatoes, similar to the coffee cups. For the purposes of these renderings, I consider common reference objects like cups and tomatoes to be virtual, flat, and therefore abstract objects. Question: Is a slab less abstract than a square?”

His query underscores the tendency to read a computer rendering as representational because of its 3-D qualities. Certainly, Davis plays with the sense of object-hood in the renderings by adding three-point perspective — a characteristic, along with shading and reflection, of Abstract Illusionism, the movement with which Davis is associated. “Much of abstract painting for the last 50 years has made extensive use of the 2-D grid. Conceptually, I evolved the 3-D grid: the x-y axis plus the z axis, whereby I reintroduced Renaissance perspective back into modernist painting. At the same time I kept in the back of my mind the canons of modernist Greenbergian picture-making.” (Clement Greenberg was a critic and art historian who championed the work of the Abstract Expressionists.)

Davis’ work, while reductive and containing recognizable shapes, is still abstract.

As with Op art, the eye registers properties in a work by Davis that aren’t really there, but there is a greater distinction. “I use strong color contrasts in my

illusions,” Davis said. “Abstract Illusionism can have qualities of optical art. Most optical art as I view it is characterized by strong color contrasts like orange and blue after-imaging, et cetera. Optical art, also, is usually more two dimensional or ‘flat.’ Bridget Riley, Larry Poons’ dot paintings — these are relatively two dimensional.”

For Davis, a pixel-dust rendering is no less a work of art before printing, when it exists only in the virtual world, than after printing. The artwork in virtual space is the original and the printed image a mere representation. The paradox is that the mind reads the printed image as representing something tangible.

But the models for the aluminum renderings have no definable parameters by traditional means of measurement, and no real thickness. Such considerations can distract from appreciating computer-generated artwork purely on aesthetic terms. “I would be pleased,” Davis said, “if, when people view my work, they keep their wits about them.” ◀

details ▼ Ronald Davis: Pixel Dust Renderings 2012 ▼ Opening reception 5 p.m. Friday, Jan. 25; through Feb. 25 ▼ Charlotte Jackson Fine Art, 554 S. Guadalupe St., 989-8688

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Jennifer Levin I For The New Mexican

Ancestral

I

Fine garments of New Spain

Folding fan, Spain, late 18th century, paper, paint, gold leaf, and ivory

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January 25 -31, 2013

In the 18th and 19th centuries, many visitors from the East Coast experienced New Mexico — then part of New Spain — as a dusty outpost where people didn’t have much money. Despite their palpable discomfort with mud homes and rough-hewn furnishings, they were awestruck by the fine and fashionable textiles worn by many of the inhabitants.

“Many of the accounts by travelers about life in New Mexico are very derogatory, how people lived very poorly. What it amounted to is that they didn’t understand the culture,” said Robin Farwell Gavin, chief curator of the Museum of Spanish Colonial Art. For instance, “They interpreted the custom of sitting on the floor as a sign of poverty. But they did often remark upon their dress.”

Many textiles that date back to the 18th and 19th centuries are included in the exhibit Filigree and Finery: The Art of Spanish Elegance, opening at the museum on Saturday, Jan. 26. Reine Moure serves as volunteer assistant coordinator; she is an art collector with a special interest in historic dress and costume. The exhibit features six types of personal adornment: filigree jewelry, mantillas (hair coverings made of lace and other materials), rebozos (decorative woven shawls), mantones de Manila (colorful, hand-embroidered shawls), hand fans, and peinetas (decorative hair combs).

“Being a volunteer, I have the privilege of looking around in the museum storage rooms,” Moure said.

“One of the things that always makes me sad about museums is that so many of the wonderful things they have never get to be seen — because there’s no time or money or the right exhibit in which to showcase them.” This exhibit, which is an off-season show designed especially with local residents in mind, includes many pieces that have never been seen before in the museum.

Many of the pieces come from old Santa Fe families who have donated heirlooms to the museum.

Because New Mexico was along several international trade routes, most of the textiles came from or through Spain, France, Mexico, Acapulco, China, and the Philippines. There is very little written about the history of adornment in New Mexico. There are several articles but there seems to be only one book — Shawls, Crinolines, Filigree: The Dress and Adornment of the Women of New Mexico, 1739 to 1900 by Carmen Gertrudis Espinosa (published in 1970), which inspired the structure of the exhibit, although the museum doesn’t have any crinolines, so that type of adornment isn’t included. In “A Harp for Playing: Domestic Goods Transported over the Camino Real,” a chapter written by Donna Pierce and Cordelia Snow in a Bureau of Land Management publication, El Camino Real de Tierra, the authors note that settlers in the northernmost outpost of New Spain attempted to recreate the socially stratified life they had known in Mexico and Spain, which would have included sumptuary laws governing which members of society could wear different levels of finery.

vestment “Overall,” Pierce and Snow write, “New Mexicans tended to wear their wealth.” In a rare archaeological find, a burial suit nearly identical to the one worn by Fernando de Alencastre, the Duke of Linares, Viceroy of Mexico was discovered on the grounds of the Cathedral Basilica of St. Francis de Assisi of Santa Fe in the 1960s. And the authors note that when Francisco Gómez Robledo’s possessions were confiscated by Inquisition officials in the early 1660s, his personal clothing included seven varas (one vara measures about 32 inches) of cinnamon-colored cloth, four varas of new pink taffeta from Castille, and three-and-one-third varas of galloon trim. The authors presume that Robledo, who was accused of being a crypto-Jew and arrested, was about to have a suit made.

Rebozos, which are usually associated with Mexico, were worn in New Mexico by all social classes, though the wealthier you were, the finer the weave of your rebozo. They could be made inexpensively in the home on back-strap looms, but there were also professional guilds that set a high price for them. The mantón de Manila is such a common symbol of Spanish elegance that many people don’t know the shawls came to New Mexico because the Philippines traded with China; the mantones came to the New World as part of the galleon trade. Over time, the simple Chinese embroidery grew denser and more vivid. Mantones are now popularly associated with flamenco dancers, who incorporate them into their costumes and choreography.

Historically, mantillas were made of flannel, muslin, linen, taffeta, velvet, and silk, in addition to lace. In the 16th and early 17th centuries they were shaped like small capes, but in the 18th century women began wearing mantillas that were shaped like large triangles or ovals trimmed in ruffles.

Queen Isabella II was partial to lace, so lace mantillas became popular.

The queen preferred French lace to the lace made in Spain, as did many other Spaniards, and a thriving trade existed. Some French lace makers even moved to Spain to take advantage of the need for their skills. Lace was entirely handmade until industrialization in the early 1800s, when a machine was invented to make the netting, which was then handembellished. Now, as then, the fully handmade mantillas are more valuable.

“There’s a heaviness to the machine made ones, even though they are beautiful, whereas the handmade lace is just light as air and so delicate,” Moure said.

Mantillas were fixed in place by peinetas — large, decorative hair combs made from expensive tortoiseshell or from steer horn, a less expensive material that was dyed to resemble tortoiseshell. Production of peinetas was complicated and laborious, involving several days and multiple steps just to soften the shell or horn for use prior to carving. It began as a cottage industry before machine manufacturing was developed; Gavin and Moure noted that the process of softening the horn was quite odoriferous, so it must have been challenging for those living near the makers of hair combs. Fans were another adornment used by fashionable ladies of Santa Fe as well as those in Spain, France, Italy, and China. The fans in the museum exhibit, which are made of wood, lace, ivory, tortoiseshell, and paper, are from France and Spain. One Spanish fan, which dates to the early 18th century, is painted with ornate gold leaf and depicts pastoral scenes among the elite.

Though much of what was worn in New Mexico was made elsewhere, New Mexico became widely known for the excellent filigree jewelry made

Peineta (decorative hair comb), Mexico, 19th century, tortoiseshell, gilt metal, and pearl Top, brooch, New Mexico, 20th century, silver

here. “This was a whole industry that was brought here during the 1800s,” Gavin said. “A number of merchants were taught by Mexican artists, and New Mexico became the only place on the continent that you could buy such fine filigree work. East Coast Americans would come here specifically to buy it.” The filigree tradition continues today among artists who showcase their work in the annual Spanish Market, some of whom will have their wares featured in the museum gift shop during the run of Filigree and Finery. “There are about half a dozen artists in the Market doing filigree, and they are getting better and better,” Gavin said. “They’re reviving and improving the tradition.” ◀

details ▼ Filigree and Finery: The Art of Spanish Elegance ▼ Museum of Spanish Colonial Art, 750 Camino Lejo on Museum Hill ▼ Opening Saturday, Jan. 26; exhibit through May 27 ▼ By museum admission; 982-2226

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ART OF SPACE

Paul Weideman

Material woman

“Hardly anyone knows about her,” Catherine Colby said of Kate Chapman (1887-1944), the subject of her new book. Chapman was one of those independent women who broke away from their stilted traditional surroundings elsewhere in the country to forge a home and career in Santa Fe in the early 20th century. In Kate Chapman: Adobe Builder in 1930s Santa Fe, published by Sunstone Press, Colby describes the woman as lively and irreverent and notes that she “seems to have been equally at ease among the unorthodox, spontaneous artists, the more academic archaeologists, and the activist women.”

Chapman first came to Santa Fe as a child in 1899, and attended Loretto Academy for a short time.

Eleven years later, she left her Philadelphia home to move to Santa Fe as a 24-year-old adult. She participated in a summer archaeology program with the Museum of New Mexico’s Edgar Lee Hewett and soon found herself witnessing the birth of what would become the city’s vaunted architectural style.

“She ended up at the museum just at the right moment, right when Hewett and Jesse Nusbaum were figuring out what the new style was going to be,” Colby told Pasatiempo. “Soon after that, Jesse Nusbaum was working on the face change of the Palace of the Governors, and she got to see how

adobes were built and how they were redoing the old building.”

To arrive at the synthetic regional style that city fathers and museum staffers hoped would make Santa Fe famous as “the City Different,” Nusbaum photographed the historic buildings around Santa Fe as well as on the neighboring pueblos. “Santa Fe was one-story and really simple, but then they got the massing from the pueblos, and they combined those and made up this new style.” It’s known colloquially as Santa Fe Style and more formally as SpanishPueblo Revival Style.

The results of the process of coming up with a signature city style were featured in the museum’s 1912 New-Old Santa Fe exhibition. Chapman contributed to the exhibition. “She was renting on the north side of the Boyle House on De Vargas Street, and the owner allowed her to do work on it in lieu of rent. She found an intact portal, I don’t know where, and she added it on to the house, but before that it was inside the Palace, part of that exhibition,” Colby said.

The Pueblo element of the new style can be seen, for example, in the 1917 New Mexico Museum of Art.“Chris Wilson [author and professor of cultural landscape studies at the University of New Mexico architecture school] was my advisor in graduate school, and he was already on to that, that idea of

massing as multistory, sculptural, and rounded.

Spanish buildings were closer to being symmetrical.

With Pueblo massing, the architectural form is more irregular but balanced. Chris Wilson calls it picturesque. It’s romanticized, and it works. But it’s not revival.

“I’m kind of anti-revival,” Colby asserted. “My own personal taste is more what’s real and pure, and I like the backs more than the fronts. Like the Oliver P. Hovey House [at 136 Griffin St.]. You can see the evolution of the building by looking at the back.”

In her book she shows and discusses the back of the Rafael Borrego House. “You see the typical piecemeal additions; that’s what Santa Fe was all about, adding on when you get more kids.” Now home of Geronimo restaurant, the Borrego House is one of her favorite buildings in town. Another is the red house at 221 Otero St. Built in about 1900, it’s also classified by the city as historically significant.

By the 1920s, Chapman was using what she had learned, designing and building adobe houses, such as in Plaza Balentine, which is on the north side of Acequia Madre, between Delgado Street and Camino Corvo. She was also involved in many remodels of 18th- and 19th-century adobe houses — the Borrego House and El Zaguán on Canyon Road are two examples, respectively — and is esteemed for the care she took to preserve their historic character while updating and expanding them.

“The respect she so strongly felt for the local historic building traditions did not come from idle nostalgia, but from her firsthand experience with local people and their building methods,” Colby writes.

Chapman did a lot of work at El Zaguán, the James L. Johnson House at 545 Canyon Road, but Colby thinks the Juan José Prada House next door and the Delgado-Hare House at the corner of Acequia Madre and Delgado streets are the best examples of her rehabs.

She had a strong activist side, and Colby presents details of her involvement in the defeat of the Bursum Bill that would have taken sovereign lands from Pueblo peoples and in the nixing of plans by a group of Texas women to establish a chautauqua or culture colony on a Santa Fe site. Chapman and her friend, artist Dorothy N. Stewart, quietly purchased that land as the proposal was being brought forward.

Those two women “were adventurous characters who traveled around the Southwest in a 1920s precursor to a van that resembled a pioneer covered wagon.” They also produced a wonderful booklet titled Adobe Notes or How to Keep the Weather Out With Just Plain Mud, which was disseminated by continued on Page 34

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January 25 -31, 2013

Opposite page, El Zaguรกn, Chapman added many features to this 19th-century building (aka the James Johnson House) on Canyon Road Clockwise, from above, this image of Kate Chapman as she looked in 1910 shows the portal she added to the Boyle House where she stayed during her first years in Santa Fe; the arbor Chapman added at El Zaguรกn; Chapman, fully Santa Fe-ized, 1936 Images courtesy Catherine Colby

PASATIEMPO

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Kate Chapman, continued from Page 32

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Saturday, January 26th, 2:00pm

Sunday, January 27th, 2:00 pm

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KaTE cHapmaN: aDOBE BuILDER IN 1930S SaNTa FE

LYN BLEILER

caTHERINE cOLBY

376 Garcia Street Santa Fe, NM 87501 505-986-01561 505-986-0151

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January 25 -31, 2013

Spud Johnson’s Laughing Horse Press. Colby thought it deserved to be republished, and it is incorporated into this new book. Adobe Notes is a font of practical advice about adobe architecture, offered in a delightfully informal style. One of the booklet’s little gems: “Re-plastering an adobe house with adobe means, simply, taking from the dooryard the dirt that has washed down from the walls, and putting it back on top of the walls again, every third year.”

It is interesting to note the change in Chapman’s appearance from the early 1910s, when a photograph shows her with a bun and long skirt, to 1936, when she is seen fully Santa Fe-ized, with a cowboy hat, scarf, and tall boots. Chapman’s Santa Fe path “is representative of the freedom and acceptance women found here in the 1920s and 1930s,” Colby writes.

“Combining being a mother, poet, adventurer, and social activist may have been typical among artists and others in Santa Fe at the time, but to also venture into the predominantly male field of adobe construction sets her apart.” Others who would follow her in that avocation in the years to come included Katherine Stinson Otero, Myrtle Stedman, and Betty Stewart.

Colby has a bachelor’s degree in history and a master’s in architecture.

During her career with the National Park Service, she researched and documented historic properties throughout the Southwest. Her Santa Fe consulting business prepares reports on historic properties and prepares nominations to the National Register of Historic Places. Her reports for the Historic Santa Fe Foundation focus on the William Penhallow Henderson House, the Jane and Gustave Baumann House, the Donaciano Vigil House, and, most recently, the Felipe B. Delgado House. She also prepared a National Register nomination on Felipe B. Delgado House for the HSFF. Her participation in the conservation of the Bishop Everett Jones property won her a New Mexico Heritage Preservation Award.

Colby started out wanting to do a book about both Chapman and Stinson Otero, a pioneering American aviatrix who had a second career in Santa Fe designing and building homes. “I got a grant. It was a fellowship from the State Historian Scholars Program. I proposed to research her ‘second career’ in architecture,” Colby said, “but the early history is so much more interesting. Then I couldn’t find anything to connect her with Kate, even if they lived a block from each other.”

Colby plans to do her next book on Stinson Otero, then another about residential compounds developed by several Santa Fe women. One is Ann Webster, who did a compound on Garcia Street, near the School for Advanced Research. “She wanted to provide a place for women who needed housing, which was a big deal then, for women to break out from their families and live on their own.” The other most likely candidates for the compounds book are the Eva Fenyes and Leonora Curtin Paloheimo homes on San Antonio Street; the Lois Field Compound on Cerro Gordo Road; and the Dorothy Curtis compound “Plaza Fatima” on Delgado Street. ◀

details ▼ Catherine Colby, author of Kate Chapman: Adobe Builder in 1930s Santa Fe, presentation & booksigning ▼ 2 p.m. Sunday, Jan. 27 ▼ Garcia Street Books, 376 Garcia St., 986-0151

Who makes the Best Soup in Santa Fe?

FeBruary

Bobbi Hall

4 6 7

www.sfcc.edu

caLendar oF eventS MONDAy

Study Spanish in Peru Information Session

2:30 p.m., Room 221 (505) 428-1649 Learn about SFCC’s Summer Study Abroad Program, a two-week intensive study in Cusco, Peru, from June 1-18.

WEDNESDAy

SMILES Dental Day – Give Kids A Smile Day

11 a.m. to 1 p.m., Dental Lab, Room 454 (505) 428-1258 Free dental check-ups, referrals and dental information.

THURSDAy

Fine Woodworking Faculty and Student Showcase – Opening Reception

4:30 to 6:30 p.m., Visual Arts Gallery (505) 428-1501 Work from fine woodworking will be on display through March 7.

Backyard Astronomy

7 to 8 p.m., Planetarium (505) 428-1774 Presentation of the skies and an outdoor viewing of the night sky.

14 19

THURSDAy

Light: The Universal Informant 7 to 8 p.m., Planetarium Join us in learning more about light.

TUESDAy

(505) 428-1774

Fine Woodworking Gallery Talk

11:30 a.m. to 12:30 p.m., Visual Arts Gallery(505) 428-1501 Fine woodworking faculty present a gallery talk on their work.

Study Art History in Greece Info Session

2 to 3 p.m., Room 711 (505) 428-1778 Come and learn about SFCC’s Study Abroad Program in Greece.

SPECIAL AND ONGOING EVENTS

Join us Saturday, January 26, 2013 12:00 - 2:30 PM Santa Fe Community Convention Center Voting will end at 2:00 PM Also Sponsored by:

SFCC’s Witter Fitness Center turns 20!

(505) 428-1615

AARP Tax Aide Santa Fe

(505) 428-1780

SFCC Day at the Legislature

(505) 428-1271

Carbon Economy Series: No More Garbage

(505) 819-3828

Center of Excellence Green Jobs Training

(505) 428-1866

Free GED Orientation Classes

(505) 428-1356

The Fitness Center opened at SFCC in February 1993. Celebrate with us with the events listed at www.sfcc.edu/fitness_center. Also, a new 30-day pass is available for just $50.

AARP Tax Aide is available on campus to assist individuals with their taxes from 8:30 a.m. to 5 p.m., Monday through Friday and 9 a.m. to 1 p.m. on Saturdays through April 15 (the college is closed March 18-24 for Spring Break and March 29-31 for Spring Holiday) in the college’s West Wing atrium.

On Thursday, Feb. 7 from 8 a.m. to 3 p.m., SFCC will exhibit the many ways the college serves our community at the Roundhouse.

No More Garbage will review Global Zero Waste Community Principles and learn how they apply to communities. Thursday night talk on Thursday, Feb. 21, 7-9 p.m.; All day workshop on Friday, Feb. 22. To register or for more information, go to www. carboneconomyseries.com. Sponsored by SFCC. Biofuels training continues during February: Biodiesel Production on Friday, Feb. 15 from 1-5 p.m., Saturday, Feb. 23 and Sunday, Feb. 17 from 9 a.m. to 4 p.m.; and Ethanol Production on Friday, Feb. 22 from 5-7:30 p.m., Saturday, Feb. 23 and Sunday, Feb. 24 from 9 a.m. to 5 p.m. Go to http://biofuels.greentraining.sfcc.edu for more information.

The mandatory three, 4-hour classes will prepare you for the GED program.

HeLping StudentS Succeed. Serving our community.

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

www.thefooddepot.org

(505)471-1633 • 1222 Siler Road, Santa Fe, NM 87507

Learn more

(505) 428-1000

www.sfcc.edu/news_and_events

PASATIEMPO

35

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January 25-31, 2013

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PASATIEMPO

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MOVING IMAGES pasa pics

— compiled by Robert Ker

THE RABBI’S CAT After snacking on a parrot, a cat acquires the power of speech.

And he’s not just a talker but also an acerbic wit with an earthy, salacious outlook on the world. All the better to guide his kindly rabbi master, living in a byzantine time and place, an Algerian port city in the 1930s. This animated feature from France offers shimmering hand-drawn scenes that give a dreamy hue to the exotic setting and story. It’s quite special — more for adults than children — but ends on a less satisfying note as the rabbi, cat, and friends venture off into the desert in an Indiana Jones-style escapade, seeking a mythical Jewish kingdom.

Not rated. 89 minutes. In French with subtitles.

Center for Contemporary Arts, Santa Fe. (Jon Bowman) See review, Page 42.

now in theaters

Oscar prospects are Grimm: Gemma Arterton and Jeremy Renner in Hansel & Gretel: Witch Hunters, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week BEWARE OF MR. BAKER Jay Bulger’s documentary about drummer Ginger Baker tries to paint him as a nasty old man, but he generally just comes across as a grump who’s lived the rock ’n’ roll lifestyle of drugs, women, and burned bridges. Bulger traces Baker’s life from a young man in London to a star behind the kit in Cream to an adventurous spirit in Nigeria with Afro-beat legend Fela Kuti. Baker’s story is best told, however, by simply watching the man play the drums.

We receive plenty, though not quite enough, footage of that. Not rated. 92 minutes. The Screen, Santa Fe. (Robert Ker) See review, Page 44.

HANSEL & GRETEL: WITCH HUNTERS Those who have clamored for an edgy, modern take on Hansel and Gretel finally have a movie at the end of their bread-crumb trail. Jeremy Renner and Gemma Arterton play those feisty kids, all grown up and now bounty hunters who will push witches into ovens for money — while dressed in black leather and wielding high-tech weapons, of course. Rated R. 88 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. Screens in 3-D only at Storyteller, Taos. (Not reviewed) 38

January 25 -31, 2013

MOVIE 43 The cast for this movie is so star-studded that it’s almost comical: Hugh Jackman, Naomi Watts, Kate Winslet, Halle Berry, Terrence Howard, Gerard Butler, Uma Thurman, and Richard Gere are among the many, many famous names here. Hopefully, the movie — an outrageous, everything-but-the-kitchen-sink farce in the style of Kentucky Fried Movie — is comical as well. Rated R. 97 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) PERFORMANCE AT THE SCREEN The series of high-definition screenings of performances from afar continues with “An Evening With Kylián, Walerski, and Léon and Lightfoot,” a celebration of the work of Nederlands Dans Theater resident and guest choreographers. 11 a.m. Sunday, Jan. 27, only. Not rated. 118 minutes, with intermissions. The Screen, Santa Fe. (Not reviewed) PARKER Jason Statham plays a thief who is doublecrossed in a heist for his share of the cash. The other thieves think they killed him, but they didn’t. Uh-oh.

Expect lines of dialogue such as “leaving me alive was your first mistake” and “you don’t need to look for me — I’m coming for you.” Maybe you won’t hear those exact lines, but it’s that kind of movie.

Jennifer Lopez co-stars. Rated R. 118 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

ANY DAY NOW Travis Fine’s 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 and broke 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 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) 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), we question whether he’s attracted to her or has been instructed to keep her under surveillance. This drama, by 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 — 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)

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)

BEASTS OF THE SOUTHERN WILD Benh Zeitlin’s inventive and visually stunning debut feature transports viewers to a magical world conjured up by its 6-yearold heroine, Hushpuppy (Quvenzhané Wallis). She lives with her stern father in the Bathtub, a low-lying community in the Louisiana bayou that’s about to be slammed by Hurricane Katrina. The storm unleashes fears, emotions, and reveries for Hushpuppy, who clings to her dreams as the devastation mounts.

The film is up for four Oscars, including Best Picture, with nominations for Zeitlin and Wallis.

Rated PG-13. 93 minutes. Regal DeVargas, Santa Fe. (Jon Bowman)

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. (Not reviewed)

BROKEN CITY Mark Wahlberg plays Billy Taggart, an ex-NYPD officer who is 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) 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 are not in the picture. At times the film appears to be more about Balog than the planet, and although his story is compelling, the ice should be the true star.

1:30 p.m. Saturday, Jan. 26, screening is no charge for students and includes a talk-back session. Rated PG-13. 75 minutes. Center for Contemporary Arts, Santa Fe; Taos Community Auditorium, 133 Paseo del Pueblo Norte, Taos, 575-758-2052. (Rob DeWalt)

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 because of 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 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 and 2-D at Regal Stadium 14, Santa Fe. (Robert Ker)

Parker

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) continued on Page 40 PASATIEMPO

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MOVING IMAGES pasa pics

continued from Page 39

THE LAST STAND Arnold Schwarzenegger plays Ray Owens, an ex-LAPD officer. 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 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) 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 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

spicy bland

medium

mild

heartburn

Send comments on movie reviews to pasamovies@sfnewmexican.com.

40

January 25 -31, 2013

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. (Bill Kohlhaase) 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 with the help of a freaky spirit called Mama. When their uncle (Nikolaj Coster-Waldau) and his girlfriend (Jessica Chastain) take the tykes in, the ghost comes along as well, and Mama don’t take no mess. Despite decent performances, especially from the child actors, Mama is more of the same Japanesehorror leftovers that Hollywood has been reheating for a decade now — complete with the woman-donewrong monster, the endless string of speaker-blowing “boo” moments, and the central conceit about how kids see the darnedest things. And worst of all, CGI ghosts just aren’t scary. Rated PG-13. 100 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (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) 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-yearold 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) 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 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 Center for Contemporary Arts 7:30 p.m. Sunday, Jan. 27: Who Bombed Judi Bari?

Storyteller This Is 40.

Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 7:30 p.m. Saturday, Jan. 26: Who Bombed Judi Bari? ◀

★★★★★ “

”

-TIMEOUT NY

What’s shoWing Call theaters or check websites to confirm screening times.

CCA CinemAtheque And SCreening room

1050 Old Pecos Trail, 982-1338, www.ccasantafe.org Chasing Ice (PG-13) Fri. 2 p.m., 7 p.m.

Sat. 1:30 p.m., 7 p.m. Sun. 2 p.m., 4:30 p.m.

Tue. 4:30 p.m. Wed. and Thurs. 6:30 p.m.

The Rabbi’s Cat (NR) Fri. 3 p.m., 5 p.m.

Sat. 1 p.m., 3 p.m., 5 p.m. Sun. 12:30 p.m., 2:30 p.m. Wed. and Thurs. 4:30 p.m.

Searching for Sugar Man (PG-13) Fri. to Sun. 4 p.m., 6 p.m., 8 p.m. Tue. to Thurs. 3:30 p.m., 5:30 p.m., 7:30 p.m.

Who Bombed Judi Bari? (NR) Sun. 7:30 p.m. regAl deVArgAS

562 N. Guadalupe St., 988-2775, www.fandango.com 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.

Beasts of the Southern Wild (PG-13) Fri. to Thurs.

4:10 p.m., 7 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 Misérables (PG-13) Fri. to Thurs. 1 p.m., 4:15 p.m., 7:30 p.m.

Rust and 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 Wed. 1:45 p.m., 4:20 p.m., 7:10 p.m., 10:05 p.m.

Django Unchained (R) Fri. to Wed. 1 p.m., 4:30 p.m., 8:15 p.m.

Gangster Squad (R) Fri. to Wed. 1:30 p.m., 4:15 p.m., 7:30 p.m., 10:30 p.m.

Hansel & Gretel:Witch Hunters 3D (R) Fri. to Wed. 2 p.m., 7:15 p.m., 9:45 p.m.

Hansel & Gretel:Witch Hunters (R) Fri. to Wed. 4:45 p.m., 7:45 p.m., 10:15 p.m.

A Haunted House (R) Fri. to Wed. 4:50 p.m., 10:45 p.m.

The Hobbit:An Unexpected Journey 3D (PG-13) Fri. to Wed. 1:15 p.m., 8:40 p.m.

The Hobbit:An Unexpected Journey (PG-13) Fri. to Wed. 5 p.m.

The Last Stand (R) Fri. to Wed. 2:30 p.m., 5:10 p.m., 7:40 p.m., 10:20 p.m.

Les Misérables (PG-13) Fri. to Wed. 1 p.m., 7:10 p.m.

Life of Pi 3D (PG) Fri. to Wed. 1:15 p.m., 7:15 p.m.

Life of Pi (PG) Fri. to Wed. 4:15 p.m., 10:15 p.m.

Lincoln (PG-13) Fri. to Wed. 1:25 p.m., 5:15 p.m., 8:30 p.m.

Mama (PG-13) Fri. to Wed. 1:50 p.m., 4:50 p.m., 7:50 p.m., 10:30 p.m.

Movie 43 (R) Fri. to Wed. 2:20 p.m., 5:05 p.m., 7:35 p.m., 10:25 p.m.

Parental Guidance (PG) Fri. to Wed. 2:15 p.m., 4:40 p.m.

Parker (R) Fri. to Wed. 1:05 p.m., 4 p.m., 7 p.m., 10 p.m.

Warm Bodies (PG-13) Thurs. 10 p.m.

Zero DarkThirty (R) Fri. to Wed. 1:10 p.m., 4:40 p.m., 8:35 p.m. the SCreen

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Any Day Now (R) Fri. 5:45 p.m. Sat. 11:30 a.m., 5:45 p.m. Sun. 1:30 p.m. Mon. to Wed. 3 p.m.

Ballet in Cinema:An Evening With Kylián,Walerski, and Léon and Lightfoot (NR) Sun. 11 a.m.

Barbara (PG-13) Fri. and Sat. 3:20 p.m. Sun.

3:30 p.m. Mon. to Wed. 5 p.m. Thurs. 2:30 p.m.

Beware of Mr. Baker (NR) Fri. and Sat. 1:25 p.m., 7:45 p.m. Sun. 3:30 p.m. Mon. to Wed. 7:15 p.m.

Thurs. 4:45 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. 1:20 p.m., 3:55 p.m., 6:45 p.m., 9:10 p.m. Sun. 1:20 p.m., 3:55 p.m., 6:45 p.m. Mon. to Thurs.

3:55 p.m., 6:45 p.m.

Hansel & Gretel:Witch Hunters 3D (R) Fri. 7:25 p.m., 9:30 p.m. Sat. 1:35 p.m., 7:25 p.m., 9:30 p.m. Sun. 1:35 p.m., 7:25 p.m. Mon. to Thurs.

7:25 p.m.

Hansel & Gretel:Witch Hunters (R) Fri. to Thurs.

4:35 p.m.

A Haunted House (R) Fri. 4:10 p.m., 7:20 p.m., 9:35 p.m. Sat. 1:10 p.m., 4:10 p.m., 7:20 p.m., 9:35 p.m. Sun. 1:10 p.m., 4:10 p.m., 7:20 p.m.

Mon. to Thurs. 4:10 p.m., 7:20 p.m.

The Last Stand (R) Fri. 4 p.m., 7 p.m., 9:25 p.m.

Sat. 1:30 p.m., 4 p.m., 7 p.m., 9:25 p.m. Sun. 1:30 p.m., 4 p.m., 7 p.m. Mon. 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. 12:55 p.m., 3:50 p.m., 6:40 p.m., 9:15 p.m.

Sun. 12:55 p.m., 3:50 p.m., 6:40 p.m. Mon. 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. 1:15 p.m., 4:20 p.m., 6:50 p.m., 9:05 p.m. Sun. 1:15 p.m., 4:20 p.m., 6:50 p.m. Mon. 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. 1:25 p.m., 4:25 p.m., 6:55 p.m., 9:45 p.m. Sun. 1:25 p.m., 4:25 p.m., 6:55 p.m.

Mon. to Thurs. 4:25 p.m., 6:55 p.m.

Parker (R) Fri. 4:05 p.m., 7:05 p.m., 9:40 p.m.

Sat. 1:05 p.m., 4:05 p.m., 7:05 p.m., 9:40 p.m.

Sun. 1:05 p.m., 4:05 p.m., 7:05 p.m. Mon. to Thurs.

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

Silver Linings Playbook (R) Fri. 4:30 p.m., 7:10 p.m., 9:20 p.m. Sat. 12:50 p.m., 4:30 p.m., 7:10 p.m., 9:20 p.m. Sun. 12:50 p.m., 4:30 p.m., 7:10 p.m.

Mon. to Thurs. 4:30 p.m., 7:10 p.m.

Texas Chainsaw 3D (R) Fri. 4:15 p.m., 7:20 p.m., 9:50 p.m. Sat. 1 p.m., 4:15 p.m., 7:20 p.m., 9:50 p.m.

Sun. 1 p.m., 4:15 p.m., 7:20 p.m. Mon. to Thurs.

4:15 p.m., 7:20 p.m.

“God is punishing me for my past wickedness by keeping me alive and in as much pain as he can.”

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Storyteller CinemA

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.

Hansel & Gretel:Witch Hunters 3D (R) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2:05 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2:05 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m.

The Last Stand (R) Fri. 4:40 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:25 p.m., 4:40 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:25 p.m., 4:40 p.m., 7:20 p.m.

Mon. to Thurs. 4:40 p.m., 7:25 p.m.

Mama (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:40 p.m.

Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:40 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs.

4:50 p.m., 7:25 p.m.

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.

This Is 40 (R) Fri. and Sat. 4:20 p.m., 7:05 p.m., 9:50 p.m. Sun. to Thurs. 4:20 p.m., 7:05 p.m.

Zero DarkThirty (R) Fri. 6:45 p.m. Sat. and Sun. 2:15 p.m., 6:45 p.m. Mon. to Thurs. 6:45 p.m.

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moving images film reviews

Merci, Yahweh, for the tuna snacks Jon Bowman I For The New Mexican The Rabbi’s Cat, animated feature, not rated, in French with subtitles, CCA Cinematheque, 3 chiles Echoing the wisecracking telepathic dog in Harlan Ellison’s novella A Boy and His Dog, the central character in The Rabbi’s Cat happens to be a talking cat with a stinging wit, an amorous streak, and a passion for theological debate. Being a rabbi’s cat, the frisky feline announces he plans to convert to Judaism. But when the rabbi informs him that circumcision is out of the question, the cat bargains downward, insisting he be bar mitzvahed.

In addition to its cheeky, kosher-approved humor, this French animated feature benefits immensely from its expressionistic, hand-drawn scenes depicting an exotic milieu — a teeming, multicultural Algerian port city where Muslims, Jews, and Christians mingle under the watchful command of French colonizers in the 1930s. The stars sparkle in the nighttime sky like they were painted by van Gogh, casting a clean and penetrating light on the cityscape below, accentuating the mosaic perfection of its architecture.

Other scenes recall the artwork of Marc Chagall, combining an explosive blaze of colors and textures to shape a series of dreamy, folkloric tableaux. The rich details, the sumptuous curved forms, and even the throwaway doodles underscore how much we’re missing now that computer-driven animation has come to dominate the craft, rendering it more generic

Hot chat: Zlabya (voiced by Hafsia Herzi) 42

January 25 -31, 2013

The rabbi (voiced by Maurice Bénichou) and the cat (François Morel)

and generalized. The Rabbi’s Cat is a much quirkier and more personal work, which is hardly surprising, considering the source. It originated as several episodes of a graphic novel by Joann Sfar, who stepped forward to co-direct the film version with Antoine Delesvaux.

While not strictly autobiographical, the story draws upon Sfar’s mixed Jewish heritage. Born in Nice, France, the 41-year-old comic artist and filmmaker is the son of a Sephardic Jewish father and an Ashkenazi mother with roots in Ukraine. Sfar has imagined a tale in which a wise, gentle-hearted rabbi from Algeria provides sanctuary for a dislodged Jewish painter from Russia, driven from his homeland in a pogrom. The cat serves as their interpreter and helps us interpret the clash of customs and rituals as these Jews encounter Muslim scholars, Tuareg warriors, and sundry desert nomads.

But the cat doesn’t merely act as a Greek chorus, politely framing the action. He can be a mischievous cad and scoundrel, for instance, shamelessly lying about devouring a pet parrot — the act that gives birth to the cat’s power of speech. This cat also harbors an unnatural crush on Zlabya, the rabbi’s voluptuous daughter. As she smothers him with kisses, he stretches ever closer to her breasts.

The Rabbi’s Cat is really two films grafted together at the hip, although one of the films seems fully rounded and structurally sound while its companion piece is more rushed, episodic, and less successful.

Sfar plays his strongest hand in the opening half, introducing the rabbi’s household and circle of close friends while illustrating his amiable, homespun approach to expressing his Jewish identity.

Sometimes he wrestles with matters of life and death, but he’s usually preoccupied with more mundane issues. He frets a lot over whether he can improve his French and pass a spelling test. If not, he’ll lose his job and be put out to pasture.

The film builds momentum as we come to know the characters more intimately and likewise the

polyglot society they inhabit, tenuously held together by the derisive French authorities, who treat Jews and Muslims alike with disdain. True, the pacing in the first half is slow, the action muted, but it has a ring of authenticity about it that’s compelling. Less so the chaotic second half, in which the rabbi, the Russian artist, and various colorful sidekicks embark on an Indiana Jones-like excursion across the heart of Africa in search of a mythical Jewish kingdom, a fabled homeland ruled over by descendants of Queen Sheba and King Solomon.

This quixotic road trip gives the animators free reign to pile on the adventures — including scraps with crocodiles and scimitar-wielding Bedouins — but somewhere deep in the Sahara, the movie begins to lose its focus and its luster.

While there’s suddenly a swirl of activity, the narrative begins to spin out of control. And, one wonders, is this barricaded, militarized kingdom meant to be some sort of metaphor for present-day Israel? If so, it’s out of place, because it breaks the illusion that we’ve been transported back in time to the 1930s.

How much does this lack of restraint damage The Rabbi’s Cat? Not enough to neuter it, but enough to render the film less purr-fect than a potential classic ought to be. We’re left with a movie that looks dazzling but whose overall impact has been diminished by a helter-skelter storyline.

Go see it for the shimmering visuals, the magical setting and the always-valuable message: we’ll never get along unless we learn to tolerate our religious and cultural differences. Just don’t go expecting everything to fit seamlessly together.

Deservedly, the film won the 2012 César award — France’s equivalent of the Oscar — for best animated feature. The vocal talents, who are all quite good, include François Morel as the cat, Maurice Bénichou as the rabbi, and Hafsia Herzi, the star of The Secret of the Grain, as Zlabya. The Amsterdam Klezmer Band performs the musical score. ◀

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Lectures at St. John’s College

Mr. Baker: Fri and Sat at 1:25 and 7:45; Sun at 6:00; Mon through Wed at 7:15 thurS at 4:45

An Evening with Acclaimed Author

Edith Pearlman Friday, January 25, 2013, 7:30 p.m.

Great Hall, Peterson Student Center St. John’s College Admission is free

BarBara: Fri and Sat at 3:20; Sun 3:30; Mon through Wed at 5:00; thurS at 2:30

“ALAN CUMMING DELIVERS WHAT IS POSSIBLY HIS BEST PERFORMANCE TO DATE.” - BOYD VAN HOEIJ, VARIETY

Edith Pearlman, winner of the 2011 National Book Critics Circle Award for Binocular Vision: New and Selected Stories, will read from selected works and talk about her craft. Her stories, according to Ann Patchett are “an example of what happens when talent meets discipline and a stunning intelligence.”

ALAN CUMMING

GARRET DILLAHUNT

ANYDAYNOW

any day noW: Fri at 5:45; Sat at 11:30aM and 5:45; Sun at 1:30; Mon through Wed at 3:00

KYLIAN, WALERSKI, LEON & LIGHTFOOT (NEDERLANDS DANCE THEATRE) SUNDAY 11:00AM This lecture is part of The Carol J. Worrell Annual Lecture Series on Literature

1160 Camino Cruz Blanca| Santa Fe| New Mexico 87505 | 505-984-6000 www.stjohnscollege.edu

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Rhythm devil Robert Ker I For The New Mexican Beware of Mr. Baker, documentary, not rated, The Screen, 3 chiles

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January 25 -31, 2013

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

The title of Jay Bulger’s documentary about drummer Ginger Baker is telling. It refers to a sign in front of Baker’s modest estate in South Africa.

The movie opens with Bulger and Baker in the midst of a heated dispute that culminates with Baker whacking Bulger in the nose with his cane.

Throughout the film, Baker comes off as surly and impatient in interviews and doesn’t seem to have many allies in the world. At one point he states that Eric Clapton is his best friend. This is followed by a shot of Clapton saying that he doesn’t really know Baker at all. Based on this film, if I had to describe Baker in one word, it might not be a word that would run in a family newspaper.

While the title is a nice selling point, it tilts what could have been a great music documentary into one that too often makes the music secondary to the central concept. Much of the case against him seems to be standard rock-star indictments: he’s done too many drugs, had too many wives, and burned too many bridges. He seems to be especially angry over the fact that he’s relatively poor and gets no royalty payments from his work with Cream, despite having a great deal of say in how the band’s songs were arranged and despite the fact that his playing is such a big part of Cream’s sound. Who wouldn’t be angry about this?

Other than this slant, Bulger’s documentary gives viewers a nice overview of Baker’s career and a new appreciation for his work. We’re swiftly taken from his London youth through his days with Cream and Blind Faith, through his journeys to Africa and time spent with Fela Kuti, through his unsuccessful comeback attempts to today. I was particularly impressed by the “drum-offs” he held with jazz greats such as Art Blakey and Elvin Jones, which I did not know about.

There is also the obligatory and unnecessary praise from the parade of famous talking heads. Again, the music speaks for itself. The most lasting image from the film is that of Baker doing what he loves — sitting behind a drum kit, playing in some wild time signature, cigarette cupped impossibly in the bottom lip of his agape mouth, his eyes in a faraway place of pure joy.

More of that would have been nice. ◀

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1050 Old Pecos Trail • 505.982.1338 • ccasantafe.org

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1:30p Sat, Jan 26

Join facilitators from Earth Care, New Energy Economy and Sustainable Santa Fe for a screening and discussion for students about the Oscar shortlisted film melting of the polar ice caps.

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NOW ENROLLING for 2013-2014 Grades K-8 Open House 2013 Oscar Nominee for Best Documentary!!!

7:30p Sun, Jan 27

with Producer Darryl Cherney in Person and preceded by live music by Eric George

Join us Saturday, January 26th 10am-Noon

Santa Fe Waldor f School Contact Cita Riley to join us. t 505 467 6431 | e criley@santafewaldorf.org 26 Puesta del Sol | 505 983 9727 | santafewaldorf.org | Grades PS-12

Fri Jan 25 2:00p - Chasing Ice 3:00p - Rabbi’s Cat* 4:00p - Sugar Man 5:00p - Rabbi’s Cat* 6:00p - Sugar Man 7:00p - Chasing Ice* 8:00p - Sugar Man

Sat Jan 26 1:00p - Rabbi’s Cat* 1:30p - Chasing Ice with student talk-back session 3:00p - Rabbi’s Cat* 4:00p - Sugar Man 5:00p - Rabbi’s Cat* 6:00p - Sugar Man 7:00p - Chasing Ice* 8:00p - Sugar Man

Sun Jan 27 12:30p - Rabbi’s Cat* 2:00p - Chasing Ice 2:30p - Rabbi’s Cat* 4:00p - Sugar Man 4:30p - Chasing Ice* 6:00p - Sugar Man 7:30p - Who Bombed Judi Bari?* 8:00p - Sugar Man

Mon Jan 28 Cinema Closed

Tues Jan 29 3:30p - Sugar Man 4:30p - Chasing Ice* 5:30p - Sugar Man 7:30p - Sugar Man

Wed-Thur Jan 30-31 3:30p - Sugar Man 4:30p - Rabbi’s Cat* 5:30p - Sugar Man 6:30p - Chasing Ice* 7:30p - Sugar Man

* indicates show will be in The Studio at CCA for $7.50 or $6.00 for CCA Members

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45

RESTAURANT REVIEW Laurel Gladden I For The New Mexican

Viva las vegans

Revolution Bakery 1291 San Felipe Ave., 988-2100 8 a.m.-6 p.m. Mondays-Fridays, 8 a.m.-4 p.m. Saturdays; closed Sundays Counter service No alcohol Vegetarian & vegan options Takeout available Handicapped-accessible Noise level: mellow and quiet, occasional pulsing reggae in the background Credit cards, local checks

•

The Short Order A groovy little place like Revolution Bakery is just what Santa Fe needed. Everything that comes out of the ovens at this tiny bakery and café is completely free of gluten and made using as many organic ingredients as possible. Many items are vegan. But no one here has a stuffy, holier-than-thou attitude.

The only thing anyone’s trying to prove is that truly tasty baked goods can be made without gluten. Recommended: tempeh salads, vegan sandwiches (with a little salt), citrus salad, brownies, and cinnamon rolls.

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.

46

January 25 -31, 2013

A groovy little place like Revolution Bakery is just what Santa Fe needed. Everything that comes out of the ovens at this tiny bakery and café — it’s definitely more the former than the latter — is completely free of gluten (a protein found in wheat, barley, and rye, among other things) and made using as many organic ingredients as possible. Many items are vegan. While it may be hidden away down a side street off Cerrillos Road, it’s certainly no secret to folks who have been clamoring for glutenfree goodies.

The vibe is refreshingly light-industrial minimalist.

Big windows fill the space with sunlight, which means things can get a little warm and stuffy, especially when the ovens are cranking. But no one at Revolution Bakery has a stuffy, holier-than-thou attitude. The only thing anyone’s trying to prove here is that tasty baked goods can be made without gluten.

Revolution Bakery uses alternative flours like rice, buckwheat, quinoa, and almond. Its impressive array of baked goods, artfully displayed on a stainless-steel shelf and a wooden table, includes vegan and “regular” items, from sweet and savory muffins and breads to scones, cookies, brownies, bars, sticky buns, cinnamon rolls, macaroons, cupcakes, and even granola. Revolution also has cakes, all of which can be made vegan.

Service is a pretty simple matter here. After you’re done chomping on samples (a half-dozen or so are usually offered), order at the counter and choose a place to sit. You won’t get a number or a placard or have to listen for your name, but since there are only about six tables in the place (including a long community table), the friendly employees won’t have a hard time finding you.

Even when most of the tables are occupied, the place is usually mellow. On one of my visits, reggae was pulsing on the stereo, and almost everyone was bouncing along happily to the beat. Since the dining area and kitchen occupy one open space, you can sneak a peek at what’s happening in the kitchen.

We sampled many earnest breads as well as a sweettart oat-and-fruit bar with streusel topping, incredibly addictive fudgy brownies studded with nuts, and a sour-cream muffin with apple, which had a sturdy texture but included only a tiny nugget of fruit. Many of these items ended with a slightly powdery mouthfeel, but that’s easily overlooked when you’re in search of tasty gluten-free products.

A good cinnamon roll is one of my favorite indulgences. Revolution Bakery makes an impressive version that, while it lacks the tug of its yeasty, gluten-filled cousin, was sweet, light, buttery, yeasty, and packed with cinnamon. It’s better than many traditional cinnamon rolls I’ve had, and it made me happy to imagine my gluten-intolerant friends enjoying this decadent treat.

The lunch menu is brief: a couple of salads, sandwiches, and pizzas. We enjoyed the fresh greens, vividly hued orange suprême slices, and awesomely light, tart dressing of the citrus salad. It was short on the other components, fennel and mint — a little more of each would only have improved things. I’m going to have yearnings for the tempeh salad of fresh greens, crunchy red bell-pepper strips, leggy sprouts, and thick slabs of nutty tempeh dressed with an addictively funky-nutty blend of miso and tahini.

Squish that salad between slices of multigrain bread, and you have the tempeh sandwich. Someone in the kitchen forgot the miso-tahini dressing, which made the sandwich a little bland, but we still enjoyed the combination of fresh greens, firm tempeh, and savory, crumbly toasted bread. The vegan sandwich was packed with colorful veggies and greens, with hummus to hold it all together. A lack of seasoning made it a little dull, but a sprinkling of salt brought things to life. The vegan bread is tender but sturdy and has a mild sweetness that reminded me of gingerbread.

Resist the temptation to categorize the gluten-free movement as part of the hippie food world. While it’s true that eliminating gluten from your diet can be a healthrelated decision, that doesn’t mean everyone who does should be classified as a health nut. Now that the glutenintolerant have well-executed variations on traditional indulgent treats, if they want to, they can pig out on brownies and cinnamon rolls with everyone else. ◀

Check, please Lunch for two at Revolution Bakery: Vegan sandwich ..............................................$ 6.50 Roasted tempeh salad .....................................$ 6.50 Brownie ..........................................................$ 3.50 TOTAL ............................................................$16.50 (before tax and tip) Lunch and treats for three, another visit: Citrus salad .....................................................$ 5.95 Roasted vegetable sandwich ...........................$ 6.50 Tempeh sandwich ...........................................$ 6.95 Oat bar ............................................................$ 2.75 Muffin .............................................................$ 3.00 Cinnamon roll ................................................$ 3.25 Two café au laits ..............................................$ 5.50 TOTAL ............................................................$33.90 (before tax and tip)

By

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

The Zia Singers will be having auditions on January 29th.

If you are interested, visit our website, www.TheZiaSingers.com, and send us a note.

INCLUDING

“

THE BEST ENSEMBLE CAST OF THE YEAR.

IT’S NOT THE QUANTITY OF THE CAST THAT COUNTS – IT’S THE QUALITY.” – Marlow Stern

BRaDLEy

cOOpER

JENNiFER

LaWRENcE

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Jacki

WEaVER

cHRiS aND TUckER

Written for the screen and directed by

david o. russell

Special Engagements NOW PLAYING! CHECK DIRECTORIES FOR SHOWTIMES • NO PASSES ACCEPTED

Great collection of Mantones de manila.

520 Canyon Rd. Santa fe, NM 505 986-8191 www.marcnavarrogallery.com PASATIEMPO

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more to love love it and more ways to

THE new

SANTAFE NEWMEX ICAN.COM

COMING SOON 48

January 25-31, 2013

pasa week 25 Friday gallery/museum openings

a gallery santa Fe 142 W. Marcy St., Suite 104, 603-7744.

Abstracts by Vittorio Masoni, reception 5-7 p.m., through March 16 Charlotte Jackson Fine art 554 S. Guadalupe St., 989-8688. Pixel Dust Renderings 2012, computer-generated 3-D work by Ronald Davis, reception 5-7 p.m., through Feb. 25 (see story, Page 28).

Hillside market 86 Old Las Vegas Highway, 982-9944. Work by Joretha Hall and Liz Faust, reception 5-8 p.m. marion Center for photographic arts Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6341. Views From the Reservation, photographs by John Willis, ledger drawings by Dwayne Wilcox, Oglala Lakota tribal poetry and historical images; Ghost Town, landscapes by New Mexico photographer Antone Dolezal; through May 10; mixed-media works by Monte del Sol Charter School students, through Feb. 22, reception 5-7 p.m. santa Fe Clay 545 Camino de la Familia, 984-1122. Ceramics

by David Eichelberger, Donna Polseno, and Sam Taylor, reception 5-7 p.m., through March 2. a sea gallery 407 S. Guadalupe St., 988-9140. Paintings

by Talon Vanhowton, reception 5-7 p.m.

Zane Bennett Contemporary art 435 S. Guadalupe St., 982-8111. Black Space, group show, reception 5-7 p.m., through Feb.15.

ClassiCal musiC

Jan lisiecki Chopin recital, 7:30 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$65, 988-1234, ticketssantafe.org. music on Barcelona Chamber music of Haydn and Chausson; also, Brass Menagerie Santa Fe, music of the Baroque period, 5:30-6:30 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., no charge, 982-9674.

TgiF piano recital Charles Blanchard performs music of Beethoven, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated, 982-8544, Ext. 16.

THeaTer/danCe

‘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 as part of their Erase Hate initiative, 7 p.m., Bryan Fant Theatre, 4851 Paseo del Sol, $5 at the door, reservations 467-1124 (see story, Page 16).

Pasa’s Little Black Book......... 50 Elsewhere............................ 51 Exhibitionism...................... 52 At the Galleries.................... 53 Libraries.............................. 53 Museums & Art Spaces........ 53

Blue Gray, by Louis Ribak (1902-1979), David Richard Contemporary, 130 Lincoln Ave., Suite D

‘Two Way mirror’ Teatro Paraguas presents Arthur Miller’s two one-acts, Some Kind of Love Story and Elegy for a Lady, 8 p.m., 3205 Calle Marie, $12, discounts available, 424-1601, through Sunday, Jan. 27.

Books/Talks

Budding authors writing workshop Led by Tom Bird, 6-8:30 p.m., Body of Santa Fe, 333 Cordova Rd., $15 in advance, $25 at the door, 986-0362.

Contemporary Conversations Artists talks in conjunction with the Alcove 12.8 exhibit, 5:30 p.m., New Mexico Museum of Art, 107 W. Palace Ave., no charge, 476-5072. edith pearlman The award-winning author reads from her latest collection, Binocular Vision: New and Selected Stories, 7:30 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge, 984-6199 (see story, Page 14).

evenTs

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.

Winterbrew More than a dozen New Mexico breweries and local restaurants participate in a comfort food and craft-brew festival; 4-8 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, $15 in advance, $20 at the door, nmbeer.org.

In the Wings....................... 54 People Who Need People..... 55 Under 21............................. 55 Short People........................ 55 Sound Waves...................... 55

nigHTliFe

(See Page 50 for addresses) Café Café Los Primos Trio, traditional Latin rhythms, 6-9 p.m., no cover. ¡Chispa! at el mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30-10:30 p.m., no cover.

Club 139 at milagro DJ Alchemy, sol therapy and Chicanobuilt, 9 p.m., $5-$7 cover.

Cowgirl BBQ Rock singer/songwriter Mitch Lacassagne, 5-7:30 p.m., no cover. Felix y Los Gatos, zydeco/Tejano/juke-swing, 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. evangelo’s Rock cover band Chango, 9 p.m., $5 cover.

Hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Danny Duran and Slo Burning, 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.

compiled by Pamela Beach, pambeach@sfnewmexican.com

The palace restaurant & saloon Anthony Leon & The Chain, country-angst, 9 p.m.-close, $5 cover. pranzo italian grill Geist Cabaret with pianist David Geist, 6-9 p.m., $2 cover. second street Brewery Gregg Daigle Band, Americana and R & B, 6 p.m., no cover. second street Brewery at the railyard Local string band The Free Range Ramblers, 6-9 p.m., no cover.

Tiny’s Chris Abeyta Duo, easy listening, 5:30-8 p.m.; The Strange, rock and funk, 8 p.m.-midnight; no cover.

The underground at evangelo’s Rock cover band Amber Saint Yves, 9:30 p.m., $5 cover. vanessie Pianists/vocalists, Doug Montgomery, 6-8 p.m. and Bob Finnie, 8 p.m.-close, call for cover.

26 Saturday gallery/museum openings

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

Works by Dragonfly Art Studio students ages 6-12, reception 4-7 p.m., through Feb. 1. museum of spanish Colonial art 750 Camino Lejo, Museum Hill, 982-2226.

Filigree and Finery: The Art of Spanish Elegance, an exhibit of historic and contemporary jewelry, garments, and objects, through May 27, by museum admission (see story, Page 30).

ClassiCal musiC

santa Fe pro musica orchestra Featuring pianist Jan Lisiecki, music of Haydn and Beethoven, 6 p.m., pre-concert talk 5 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$65, 988-1234, ticketssantafe.org, encore Sunday, Jan. 27.

Zia singers

By Winter’s Light, readings and choral music, 7 p.m., Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20, students ages 18 and under no charge, encore Sunday, Jan. 27, 225-571-6352.

in ConCerT

living spirit drummers Santa Fe Harmony Center benefit, 7-9 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $10, 989-3507.

The sticky Local funk band, 9 p.m., Railyard Performance Center, 1611 Paseo de Peralta, 982-8309, $10 at the door, discounts available. ▶▶▶▶▶▶▶▶

calendar guidelines Please submit information and listings for Pasa Week

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

PASATIEMPO

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theater/dance

‘two Way Mirror’ Teatro Paraguas presents Arthur Miller’s two oneacts, Some Kind of Love Story and Elegy for a Lady, 7 p.m., 3205 Calle Marie, $12, discounts available, 424-1601, through Sunday, Jan. 27.

books/talks

easter Island: What happened to the trees? Slide presentation by Candace Gossen, 5 p.m., Travel Bug Books, 839 Paseo de Peralta, 992-0418. lyn bleiler and charles strong The authors discuss their book, Santa Fe Art and Architecture, 2 p.m., Garcia Street Books, 376 Garcia St., 986-0151.

outdoors

Full Wolf Moon hike 6 p.m., Cerrillos Hills State Park, 16 miles south of Santa Fe off NM 14, parking area one half-mile north of the village of Cerrillos, $5 per vehicle, 474-0196.

events

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.

Great backyard bird count workshop The annual four-day count provides a snapshot of the whereabouts of more than 600 bird species nationwide; 10:30 a.m.-12:30 p.m., includes speakers, kids projects, and door prizes, REI, 500 Market St., Suite 100, at the Railyard, call Wild Birds Unlimited for information, 989-8818. 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.

Pasa’s little black book d Wine bar 315 restaurant an 986-9190 il, Tra 315 Old Santa Fe nt & bar anasazi restaura asazi, An the of Inn d oo Rosew e., 988-3030 113 Washington Av nch resort & spa bishop’s lodge ra ., 983-6377 Rd e dg 1297 Bishops Lo café café 6-1391 500 Sandoval St., 46 ón es ¡chispa! at el M 983-6756 e., Av ton ing ash 213 W 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. at the Pink the dragon rooma Fe Trail, 983-7712 nt Sa d Ol 6 adobe 40 lton el cañon at the hi 811 8-2 100 Sandoval St., 98 el Farol 3-9912 808 Canyon Rd., 98 evangelo’s o St., 982-9014 200 W. San Francisc

50

January 25 -31, 2013

santa Fe botanical Garden’s Winter Garden Workshop Michael Clark discusses winter maintenance, pruning, watering, and other projects, 1-3 p.m., Bishop’s Lodge Ranch Resort & Spa, 1297 Bishops Lodge Rd., $15, 471-9103. santa Fe Farmers Market shops 8 a.m.-1 p.m., 1607 Paseo de Peralta, 983-4098. 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., Santa Fe Community Convention Center, 201 E. Marcy St., $30 at the door; discounts available for kids, 471-1633.

nIGhtlIFe

(See addresses below) café café Los Primos Trio, traditional Latin rhythms, 6-9 p.m., no cover. ¡chispa! at el Mesón Andy Kingston Trio, Jazz, 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 Acoustic string band Hot Club of Santa Fe, 2-5 p.m.; Jennifer Peterson & Creekstone, Americana, 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 Danny Duran and Slo Burning, 8-11 p.m., no cover.

hotel santa Fe 1501 Paseo de Peralta, 982-1200 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

la Posada de santa Fe resort and spa Jazz vocalist Whitney and guitarist Pat Malone, 8-11 p.m., no cover. the Mine shaft tavern Felix y Los Gatos, zydeco/Tejano/juke-swing, 7-11 p.m., call for cover.

Molly’s kitchen & lounge Meow Wolf’s lost cat dance party with DJ Dirt Girl, Spoolius, and P.F.F.P., doors open at 9 p.m., $5 cover.

Pranzo Italian Grill Pianist David Geist with vocalist Julie Trujillo, 6-9 p.m., $2 cover. second street brewery Steve McCormick Band, rock, 6-9 p.m., no cover. second street brewery at the railyard Flatpicking guitarist Ben Wright, 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. vanessie Pianists/vocalists, Doug Montgomery, 6-8 p.m. and Bob Finnie, 8 p.m.-close, call for cover.

27 Sunday classIcal MusIc

santa Fe Pro Musica orchestra Featuring pianist Jan Lisiecki, music of Beethoven and Haydn, 3 p.m., pre-concert talk 2 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$65, 988-1234, ticketssantafe.org.

Zia singers

By Winter’s Light, readings and choral music, 3 p.m., Immaculate Heart of Mary Retreat and

rouge cat 101 W. Marcy St., 983-6603 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 stats sports bar & nightlife 135 W. Palace Ave., 982-7265 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

Conference Center Chapel, 50 Mount Carmel Rd., $20 in advance, students ages 18 and under no charge, 225-571-6352.

theater/dance

center for contemporary arts exhibit closing party Forget Your Perfect Offering closes with performance art by poets Miriam Sagan and Joan Logghe, and writer Jamie Figueroa; closing invocation by artist Erika Wanenmacher, 1-6 p.m., Spector Ripps Project Space, 1050 Old Pecos Trail, no charge, 982-1338.

Julesworks Follies The local-talent showcase series continues with punk musician Gregg Turner, Julesworks’ serialized play, Whatever You Do, Part 10: Life Means … Uh, Something; a dance number; storytelling; and comic Tom Sibley, 6 p.m., Rouge Cat, 101 W. Marcy St., $5 at the door, 310-9997.

Performance at the screen The series continues with the premiere of An Evening With Kylián, Walerski, Leon and Lightfoot, contemporary ballet performances at Nederlands Dans Theater, The Hague, Netherlands, 11 a.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $20, discounts available, 473-6494. ‘two Way Mirror’ Teatro Paraguas presents Arthur Miller’s two one-acts, Some Kind of Love Story and Elegy for a Lady, 2 p.m. (pay-what-you-wish), 6 p.m. ($12, discounts available), 3205 Calle Marie, 424-1601.

books/talks

catherine colby The author discusses and signs copies of Kate Chapman: Adobe Builder in the 1930s Santa Fe, 2 p.m., Garcia Street Books, 376 Garcia St., 986-0151 (see Art of Space, Page 32). senator Peter Wirth In conversation with Unicopia Green Radio host Faren Dancer on legislative issues, 10-10:45 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. At 11 a.m., the senator and Dancer continue the discussion at the New Mexico State Legislature, State Capitol, Old Santa Fe Trail and Paseo de Peralta.

events

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. Live music with balladeer Michael Combs, Ranchera, folk, and honky-tonk, 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.

nIGhtlIFe

(See addresses to the left) cowgirl bbQ Singer/songwriter Zenobia, R & B/gospel, noon-3 p.m., no cover; Chanteuse, vocalist Lisette de la Paz and keyboardist/trumpeter Tom Rheam, 8 p.m.-close; no cover.

31 Thursday

Dinner for Two Classical guitarist Vernon de Aguero, 6 p.m., no 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 Americana guitarist Gene Corbin, 3-7 p.m., no cover.

Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 7 p.m.-close, no cover.

iN CoNCERT

Matisyahu Reggae and alt. rock songwriter, 7:30 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $29-$47, 988-1234, ticketssantafe.org (see story, Page 18).

bookS/TaLkS

The Taos Uprising of January 1847 Former New Mexico State Historian Robert Tórrez speaks, presented by El Rancho de las Golondrinas, 7 p.m., Santuario de Guadalupe, 100 S. Guadalupe St., 471-2261, no charge.

NigHTLiFE

28 Monday bookS/TaLkS

azerbaijan and Current Developments in the Caspian Region Presentation by Nasimi Aghayev, Consul General of Azerbaijan in Los Angeles, presented by Santa Fe Council on International Relations, 5:30 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, no charge, 982-4931.

Textiles, baskets, Hides and Wood: New Research of the Earliest Perishable Collections From Southeast Utah Laurie Webster speaks as part of the Southwest Seminars Ancient Sites and Ancient Stories lecture series, 6 p.m., Santa Fe Community Foundation Classroom, 501 Halona St., $12 at the door, 466-2775.

EVENTS

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

NigHTLiFE

(See Page 50 for addresses) Cleopatra Café Southside Saltanah Dancers, bellydancing, 6:30-8:30 p.m., no cover.

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 Fiesta Lounge at La Fonda Los Wise Guys, oldies/country/rock, 7:30-11 p.m., no cover.

Vanessie Pianist Doug Montgomery, selections from the Great American Songbook, 7 p.m.-close, no cover.

29 Tuesday CLaSSiCaL MUSiC

Notes on Music The performance/talk series continues with pianist Joseph Illick discussing Wagner, 7:30 p.m., United Church of Santa Fe, 1804 Arroyo Chamiso, $20, 988-1234, ticketssantafe.org.

bookS/TaLkS

Judy Shepard: The Legacy of Matthew Shepard The mother of Matthew Shepard speaks about her son, promoting acceptance, and hate crimes as part of Capitol High School’s Capital Arts and Production Academy’s

Bell Tower, by Ed Samuels, Ed Samuels Gallery, 924 Paseo de Peralta, Suite 3

Erase Hate initiative, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., no charge, 988-1234 (see story, Page 16).

NigHTLiFE

(See Page 50 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30-11 p.m., $5 cover.

Cowgirl bbQ Songwriter/singer Scott Helmer, pop/rock, 8 p.m., no cover.

El Farol Canyon Road Blues Jam, with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover.

La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

La Fiesta Lounge at La Fonda Los Wise Guys, oldies/country/rock, 7:30-11 p.m., no cover.

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

Tiny’s 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.

30 Wednesday bookS/TaLkS

brothers of the Spade Santa Fe Botanical Garden’s Winter Lecture Series, led by Bonnie Joseph, 2 p.m., Museum of International Folk Art, 706 Camino Lejo, Museum Hill, $5, 471-9103.

Curator’s Talk Lunchtime gallery discussion led by the Georgia O’Keeffe Museum’s curatorial department, 12:30-12:45 p.m., 217 Johnson St., 946-1000, by museum admission.

Mothering, Poverty, and Educational Decisions for Daughters of kenya Presentation by Fibian Lukalo, noon-1 p.m., School for Advanced Research, 660 Garcia St., no charge, 954-7203.

Painter of beauty: agnes Martin Part of the New Mexico Museum of Art Docent Talks series, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5072.

Rousseau’s Discourse on the Sciences and the arts Topi Heikkerö speaks as part of St. John’s College Community Seminars Series, 6-8 p.m., 1160 Camino de Cruz Blanca, $35, 984-6117.

NigHTLiFE

(See Page 50 for addresses) ¡Chispa! at El Mesón Flamenco guitarist Chuscales, 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 Kenny Skywolf Band, blues, 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 Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.

La Fiesta Lounge at La Fonda Bill Hearne Trio, roadhouse honky-tonk, 7:30 p.m., no cover.

La Posada de Santa Fe Resort and Spa 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.

(See Page 50 for addresses) Club 139 at Milagro Noches Latinas with DJ Dany, 9 p.m., $5-$7 cover.

Cowgirl bbQ Kyle Martin, honky-tonk, 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, pan-Latin chanteuse, 6:30-9:30 p.m., no cover.

Tiny’s Joe West and friends, theatrical folk, 8 p.m.-midnight; no cover.

The Underground at Evangelo’s Punk bands Floors and Antique Scream, 9 p.m., $5 cover.

Vanessie Bob Finnie, piano and vocals, 6:30 p.m.-close, call for cover.

▶ Elsewhere Abiquiú

abiquiú Workshops lecture Painting With Reference to William Blake, illustrated presentation by Alexandra Eldridge, 7 p.m. Friday, Jan. 25, Abiquiú Inn, 21120 NM 84, no charge, reservations 505-685-4378.

AlbuquErquE

National Hispanic Cultural Center 1701 Fourth St. S.W., 505-246-2261.

Via Nuestros Maestros: The Legacy of Abad E. Lucero (1909-2009), paintings, sculpture, and furniture, through Thursday, Jan. 31 • Stitching Resistance: The History of Chilean Arpilleras, a collection of appliqué textiles crafted between 1973 and 1990, longterm • ¡Aquí Estamos!, items from the permanent collection. Open 10 a.m.-5 p.m. Tuesday-Sunday; adults $3; seniors $2; under 16 no charge; Sundays no charge.

Tamarind institute gallery 2500 Central Ave. S.E., 505-277-3901. Good in the Kitchen, retrospective exhibit of lithographs created at the institute over the past 30 years exploring the impact of the women’s movement on artists, opening Friday, Jan. 25, through March 14.

pasa week

continued on Page 55

PASATIEMPO

51

exhibitionism

A peek at what’s showing around town

Antone Dolezal: Palace Hotel, 2011, photograph. The Marion Center for Photographic Arts presents John Willis’ Views From the Reservation, portraits of people and places on South Dakota’s poverty-stricken Pine Ridge Reservation. Also on view are Ghost Town, Antone Dolezal’s photographs of abandoned buildings and towns in the Oklahoma Panhandle and plains, and an exhibition of photographs by students from the Monte del Sol Charter School. A reception for the three shows is on Friday, Jan. 25, at 5 p.m. The Marion Center is at the Santa Fe University of Art and Design (1600 St. Michael’s Drive). Call 473-6341.

sue Chiado: Aspen Walk, 2012, oil on canvas.

Sue Chiado: Recent Paintings in Oil, an exhibition of abstract landscapes, continues at Downtown Subscription (376 Garcia St.) through January. Call 983-3085.

52

January 25 -31, 2013

Vittorio masoni: He Loved Her, 2010, acrylic on canvas. Italian artist Vittorio Masoni has his first Santa Fe exhibition of abstract paintings at A Gallery Santa Fe (154 W. Marcy St. #104). The show opens on Friday, Jan. 25, with a reception at 5 p.m. The gallery also features work by David Forlano, Carol Ware, Noel Aronov, and others.

Call 603-7744.

Donna Polseno: Platter, 2012, clay. Santa Fe Clay (545 Camino de la Familia) presents the work of three East Coast ceramists: David Eichelberger, Donna Polseno, and Sam Taylor.

Each artist combines representational imagery with simple, functional pottery.

Eichelberger makes use of common, everyday objects and geometric forms; Polseno uses birds, leaves, and other imagery derived from nature.

The show opens with a 5 p.m. reception on Friday, Jan. 25.

Call 984-1122.

Pierre soulages: Lithographie No. 11, 1963, color lithograph on Rives paper. Black Space is an exhibition of large-format prints by Donald Judd, Pierre Soulages, Richard Serra, Ellsworth Kelly, and Robert Motherwell at Zane Bennett Contemporary Art (435 S. Guadalupe St.). The show, which focuses on the use of black in the artists’ work, opens Friday, Jan. 25, with a 5 p.m. reception. Call 982-8111.

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 Thursday, Jan. 31.

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 Thursday, Jan. 31.

David Richard Contemporary 130-D Lincoln Ave., 982-0318. Abstracted Landscapes, group show; Abstract Expressionism, group show; through Feb. 23. Taos Moderns, works by Beatrice Mendelman, Louis Ribak, and Michio Takayama, through Thursday, Jan. 31.

Ed Samuels Gallery 924 Paseo de Peralta, Suite 3, 986-3968. New paintings by Samuels.

Eggman & Walrus Art Emporium 130 W. Palace Ave., second floor, 660-0048.

Paint Forward, figurative abstracts by John Barker, through Thursday, Jan. 31.

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 Friday, Jan. 25.

Kristin Johnson Fine Art 323 E. Palace Ave., 428-0800. New Year’s group show of gallery artists.

La Tienda Exhibit Space 7 Caliente Rd., Eldorado, 466-4211 or 466-6930. Plein Aire and More, group show, through Feb. 16.

Marigold Arts 424 Canyon Rd., 982-4142. New works by gallery artists, through Thursday, Jan. 31.

Monroe Gallery of Photography 112 Don Gaspar Ave., 992-0800. Mark Shaw: The Kennedys, through Sunday, Jan. 27.

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 Friday, 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 Saturday, Jan. 26.

Santa Fe Public Library — Main Branch 145 Washington Ave., 955-6780. Faces From an American Dream, black-and-white photographs

by Martin J. Desht, through Thursday, Jan. 31.

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 Thursday, Jan. 31.

liBrAries Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 424-5052. Open by appointment only.

Catherine McElvain Library School for Advanced Research, 660 Garcia St., 954-7200. Open Monday-Friday, call for hours.

Chase Art History Library Thaw Art History Center, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 473-6569. Open Monday-Friday, call for hours.

Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 984-6041. Visit stjohnscollege.edu for hours of operation. $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. Forget Your Perfect Offering, installation by Sydney Cooper and Edie Tsong, closing party Sunday, Jan. 27 • Making Light of It: 366 Days of the Apocalypse, paintings by Michelle Blade, Muñoz Waxman Gallery, through Feb. 17. Gallery hours available by phone or online at ccasantafe.org, no charge.

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.

Karl May, in the exhibit Tall Tales of the Wild West: The Stories of Karl May, New Mexico history Museum

Museum of Contemporary Native Arts 108 Cathedral Pl., 983-8900. Thicker Than Water, lens-based group show • Summer Burial, mixed media by Jason Lujan, through May 12 • Spyglass Field Recordings: Santa Fe, 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; all through March. Open 10 a.m.5 p.m. Monday and Wednesday-Saturday, noon-5 p.m. Sunday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays.

Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250.

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.

Filigree and Finery: The Art of Spanish Elegance, an exhibit of historic and contemporary jewelry, garments, and objects, opening Saturday, Jan. 26, through May 27 (see story, Page 30) • Metal and Mud — Iron and Pottery, works by Spanish Market artists, through April • San Ysidro Labrador/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, Colonial and 19th-century Mexican art, sculpture, and furniture; also, work by Spanish Market youth artists • The Delgado Room, late Colonial period re-creation. Open 10 a.m.-5 p.m. TuesdaySunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays.

New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. 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, through April 14 • 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.

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In the wings MUSIC

Intronaut Los Angeles-based prog-metal band, As In We opens, 7 p.m. Monday, Feb. 4, Santa Fe Sol Stage & Grill, 37 Fire Pl., $10 in advance at holdmyticket.com, $15 at the door.

The Sound of the Trio Brian Bennett on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m.

Friday, Feb. 8, part of the KSFR Music Café Series, Museum Hill Café, 710 Camino Lejo, Milner Plaza, $20, 428-1527.

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.

First Take Trio In Love With Jazz, Michael Anthony on guitar, Michael Glynn on bass, and Cal Haines on drums; also, a tribute to multi-woodwind master Arlen Asher, featuring 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.

Peter Mulvey Singer/songwriter, 7:30 p.m. Friday, Feb. 15, doors open at 6:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $50, solofsantafe.com.

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.

Tristan Prettyman Singer/songwriter, 7:30 p.m. Sunday, Feb. 24, Club 139 at Milagro, 139 W. San Francisco St., $18 in advance, 988-1234, ticketssantafe.org, $20 at the door.

Bob Weir Grateful Dead founding member, singer/songwriter, 7:30 p.m. Tuesday, Feb. 26, Lensic Performing Arts Center, 211 W. San Francisco St., $54, 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.

Minus the Bear Prog. pop-rock band, As in We opens, 7:30 p.m. Monday, April 1, Santa Fe Sol Stage & Grill, 37 Fire Pl., $18, 988-1234, ticketssantafe.org.

Jeff Mangum Acoustic guitar and vocals, 7:30 p.m.

Tuesday, April 2, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$32, a portion of the ticket sales benefits the nonprofit, Blue Skies for Children, ticketssantafe. org, 988-1234.

Arlo Guthrie Here Comes the Kid, a tribute to Woody Guthrie, 7:30 p.m. Thursday, April 4, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$45, student discounts available, ticketssantafe.org, 988-1234.

Nuestra Musica 13th annual celebration of New Mexico music, 7 p.m. Friday, April 19, Lensic Performing Arts Center, 211 W. San Francisco St., $10, seniors no charge, ticketssantafe.org, 988-1234.

Sangre de Cristo Chorale The 45-member chorale commemorates its 35th anniversary in Celebrating Our Past,

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January 25 -31, 2013

Present and Future, music of Vivaldi, Britten, and a commissioned piece by Andrew Ager, 2:30 p.m. Sunday, May 12, Church of Santa Maria de la Paz, 11 College Ave., $20, 988-1234, ticketssantafe.org.

THEATER/DANCE

‘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.

‘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, ticketssantafe.org, 988-1234.

‘Beauty of the Father’ Theaterwork presents Nilo Cruz’s play, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, Feb. 8-17, James A. Little Theatre, New Mexico School for the Deaf, 1060 Cerrillos Rd. $15, teens $10, 471-1799.

Upcoming events ‘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 info@arcosdance.com, visit arcosdance.com for information.

Bill Maher Political comedian, 7:30 p.m. Sunday, Feb. 17, Santa Fe Community Convention Center, 201 W. Marcy St., $47-$67, ticketssantafe.org, 988-1234.

‘Dreamweaver: The Works of Langston Hughes’ David Mills’ one-man rendition of the writer’s poems and short stories, 7 p.m.

Wednesday, Feb. 27, Lensic Performing Arts Center, 211 W. San Francisco St., $3 and $6, 988-1234, ticketssantafe.org.

‘Water’ Santa Fe University of Art & Design Documentary Theatre Project students present a play based on the demise of the village of Agua Fría, 7 p.m.

Friday and Saturday, 2 p.m. Sunday, March 1-10, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, discounts available, 988-1234, ticketssantafe.org.

Belisama Irish Dance Company Rhythm of Fire; including Michael Patrick Gallagher and regional championship and top 10 world finalist dancers from Santa Fe and Los Alamos, 7:30 p.m. Friday, March 15, Lensic Performing Arts Center, 211 W. San Francisco St., $10-$20, 988-1234, ticketssantafe.org.

singer/songwriter peter mulvey on stage Friday, Feb. 15, at santa Fe sol stage & grill

National Theatre of London in HD The series continues with People, a new comedy

by Alan Bennett, 7 p.m. Friday, April 5; This House, a new play about Parliament by James Graham, 7 p.m. Thursday, May 16; Lensic Performing Arts Center, $22, student discounts available, 988-1234, ticketssantafe.org.

HAPPENINGS

Lannan Foundation In Pursuit of Cultural Freedom Series Palestinian human-rights activist Omar Barghouti with Amy Goodman, 7 p.m. Friday, Feb. 1, Lensic Performing Arts Center, 211 W. San Francisco St., $6, discounts available, ticketssantafe.org, 988-1234.

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 for New Mexico; dinner buffet; cash 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, Ext. 1, cffnm.org.

Chocolate lecture and tasting Santa Fe Community College instructor Mark J. Sciscenti speaks in conjunction with the Museum of International Folk Art exhibit, New World Cuisine: The Histories of Chocolate, Mate y Más, 2 p.m. Sunday, Feb. 10, 706 Camino Lejo, Museum Hill, by museum admission, 476-1200.

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.

16th Annual ARTfeast A weekend of art, food, wine, and fashion, Friday-Sunday, Feb. 22-24; Art of Fashion Runway Show and luncheon; gourmet dinner and auction honoring Star Liana York; Artists’ Champagne Brunch and auction; Edible Art Tour on Canyon Rd. and downtown; Feast or Famine dance party with music by DJs Dynamite Sol and Joe Ray Sandoval. Tickets and details available at ARTsmart, 603-4643 and online at artfeast.com, proceeds benefit ARTsmart, a local nonprofit that supports art programs in area organizations and schools.

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.

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española

Bond House Museum 706 Bond St., 505-747-8535. De la Tierra y Cerca de la Tierra, group show, 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

Los Alamos Choral Society and Los Alamos Symphony Orchestra Handel’s Messiah, 3-6 p.m. Sunday, Jan. 27, Duane Smith Auditorium, 1300 Diamond Dr., $15 in advance and at the door; advance tickets available at C.B. Fox, 662-2864; students no charge.

taos Harwood Museum of Art 238 Ledoux St., 575-758-9826. Juggernaut, video installation

by Iñigo Manglano-Ovalle • 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 Sunday, Jan. 27. Open 10 a.m.-5 p.m. TuesdaySaturday, 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 Wednesday, Jan. 30. Open 10 a.m.-4 p.m. Monday, Tuesday, Thursday-Saturday, noon-4 p.m.

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

Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. 11th Annual Miniatures Show & Sale, multi-media works of Taos County artists, reception 5:307:30 p.m. Saturday, Jan. 26 (reception tickets $15), through Feb. 24. Open 10 a.m.-5 p.m. TuesdaySunday. No charge for Taos County residents with ID; NM residents $5; non-residents $10; seniors $8; students $6; ages 6-16 $2.

▶ people who need people Artists/Craftspeople

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.

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.

Santa Fe Society of Artists spring jury selection Download membership applications at santafesocietyofartists.com; call 455-3496 for more information.

Santa Fe Studio Tour Call for artists for the June 29-30 tour; email teena@shutterandbrushfineart.com for applications and information; submission deadline Thursday, Feb. 28; $175 participation fee; santafestudiotour.com.

Filmmakers/Performers/Playwrights

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 playhouse@santafeplayhouse.org for proposal packets by Sunday, March 31.

Zia Singers Women’s Choir auditions 9:30 a.m.-noon. Tuesday, Jan. 29; vocalizing and tonal memory exercises only; United Church of Santa Fe, 1804 Arroyo Chamiso, email marrollik@gmailcom or call 225-571-6352 to reserve a slot.

Volunteers

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 Flying Cow Gallery Warehouse 21, 1614 Paseo de Peralta, 989-4423. Works by Dragonfly Art Studio students ages 6-12, reception 4-7 p.m. Saturday, Jan. 26, through Feb. 1.

St. John’s College Community Seminars Read and discuss seminal works; free to 11th12th-grade students. Icelandic Sagas and Tales, 6:30-8 p.m. Tuesdays through Feb. 19; Rousseau’s Discourse on the Sciences and the Arts, 6-8 p.m.

Wednesday, Jan. 30; Rabelais’ Gargantua and Pantagruel, 5-6:30 p.m. Wednesdays, through March 6, 1160 Camino de Cruz Blanca, call 984-6117 to register.

▶ pasa Kids Santa Fe Children’s Museum open studio Learn to paint and draw using pastels, acrylics, and ink, noon-3:30 p.m. Fridays, 1050 Old Pecos Trail, by museum admisssion, 989-8359.

Georgia O’Keeffe Museum family program Show and Tell, bring a treasured object to discuss and portray through drawing and painting, free to children ages 4-12 accompanied by an adult, 9:30-11:30 a.m.

Saturday, Jan. 26, Museum Education Annex, 123 Grant Ave., reservations 946-1039.

Santa Fe Waldorf School open house Meet-and-greet with kindergarten through 8th grade teachers, 10 a.m.-noon Saturday, Jan. 26, 26 Puesta del Sol, 467-6431.

Wise Fool New Mexico afterschool classes The circus arts and puppetry troupe’s Afterschool Fools spring session runs through March 14; 3:30-5 p.m. Tuesdays for ages 6 and up; 3:30-5 p.m. Wednesdays for ages 8 and up, register online at wisefoolnewmexico.org, 2778-D Agua Fría St., 992-2588. ◀

Strange days, indeed What an odd week it’s been.

Beyoncé nailed her lip-synching performance at the presidential inauguration; the new Myspace rollout revealed that hundreds of independent music labels may have been ripped off by the struggling social-media website partly owned by repentant boy-band hunk Justin Timberlake; and — to ensure that I would care very little about either circumstance when given the right perThe Floors spective — someone in Vermont sent me two beers through the mail.

The good luck keeps on coming, it seems, because at 9 p.m. Sunday, Jan. 27, The Underground at Evangelo’s (200 W. San Francisco St., 577-5893) hosts Santa Fe garage-punk pioneers The Floors in a reunion show for the ages — or at least for 2013.

The Floors are opening for Seattle-based, blues-metal-kissed rock outfit Antique Scream, which, should you be unaware, is one of the hardest-touring and most deliciously depraved bands of its ilk in the U.S. If you haven’t heard Antique Scream’s single “Soup Strainer,” don’t hesitate: get over to www.reverbnation.com/antiquescream.

The Floors, whose members are geographically spread out (from here to Austin), reunite for the first time since the premature birth of Floors bassist Carlos Rodriguez’s daughter, Zell, in May 2012 (she remains in the hospital). Original Floors members Tom Trusnovic (drums) and Matt Miller (guitar, vocals) join Rodriguez for his first performance since becoming a poppa. Admission to the 21-and-older show is $5 at the door.

If you find yourself at The Underground a few days earlier, at 9:30 p.m. Friday, Jan. 25, you may be lucky enough to catch Santa Fe indie rockers Amber Saint Yves, aka vocalist/guitarist/keyboardist Carlo Armendariz, drummer JJ Oviedo, lead guitarist Neil Jones, bassist Chris Raetz, and vocalist-percussionist Kat Hagan.

Formed in early 2012, ASA blends elements of electronica, jazz, classic rock, and pop into a fluid, unpretentious, danceable sound that, while an unusual choice for the Underground, is proof that come local venue owners are making an effort to mix things up this year. There’s a $5 cover at the door — 21-and-over.

The pack is on the move Rumors of the Meow Wolf art collective’s recent abduction by marijuana-decriminalization opponents have been greatly exaggerated. Despite a slow turn toward local politics, the collective still dabbles in presenting shows here and there while it secretly plans the takeover of every music venue known to man.

On that note, at 9 p.m. Saturday, Jan. 26, Meow Wolf presents its Lost Cat Dance Party at Molly’s Kitchen & Lounge (1611 Calle Lorca, 983-7577). DJs Dirt Girl, Spoolius, and P.F.F.P. light up the lounge’s new hipster-repellent (not really) dance floor, and the cover is $5 at the door.

Sound of the south For more than 30 years, Chihuahua, Mexico, musicians Los Caporales de Chihuahua have been churning out the música Norteña goodies for appreciative audiences throughout their home country and the U.S. At 7 p.m. Sunday, Jan. 27, Los Caporales hits the indoor stage at Santa Fe Sol Stage & Grill (37 Fire Place) along with New Mexico cumbia/bachata ensemble El Son de Juárez and DJ Tazmania. Tickets for the show (access to bar with I.D. only) are $20 in advance at www.solofsantafe.com.

— Rob DeWalt rdewalt@sfnewmexican.com Twitter: @Flashpan @PasaTweet

A weekly column devoted to music, performances, and aural diversions. Tips on upcoming events are welcome.

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Nate Duran

Museums/Art Spaces

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 tbsartfest@gmail.com.

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