Pasatiempo, Nov. 23, 2012

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

November 23, 2012

PlazaGaleria.com

Free WiFi

Join us FINE SHOPS ï ART EVENTS ï CASUAL DINING For a Fistful of Dollars

Guatemaya Imports II

Visit For a Fistful of Dollars and Guatemaya Imports II in the Lower Level

66≠ 70 E. San Francisco Street & 115 Water Street Convenient City Parking Lot at Water Street Entrance

serving lunch & dinner everyday always à la carte

After Thanksgiving Day Sale! photo: Bobby Morean

20% OFF instant gift certificates available online restaurant bar 231 washington ave – reservations 505 984 1788

view all our holiday menus – www.santacafe.com walk-ins always welcome!

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November 23-29, 2012

Furniture, Doors & Windows Friday & Saturday November 23 & 24 Monday - Saturday 9 - 5 2414 Cerrillos Road 505-473-1114 www.santaferestore.org

Gratitude Sale

ORIGINS® IS A REGISTERED TRADEMARK USED UNDER LICENSE. ©2012 MARGOLIS, INC

Many areas in the shop on SALE

Thanksgiving Saturday A portion of Sales Donated to the Santa Fe Food Depot

Origins rigins Æ

505-988-2323

originssantafe.com

135 W San Francisco ï Santa Fe ï info@originssantafe.com

We Represent Many Cooperatives

NEW Spring Collection

TRUNK SHOW! Saturday December 1 10:00 – 3:00 444 St Michaels Drive

954.4442 B O T W I N

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BACK AT THE RANCH .COM 989.8110

209 East Marcy St.

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AFTER THANKSGIVING

3FRIDAY, DAYS ONLY SATURDAY & SUNDAY All Sleepwear

Robes and Loungewear

30% Off

Monday through Saturday 10:00 - 5:30 Sunday 12-4:00

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All Weather Boots with Vibram® Sole The Lensic and Wise Fool New Mexico Present

SERVICE CHARGES APPLY AT ALL POINTS OF PURCHASE

Free Parking Thanksgiving weekend in the garage

150 Washington Ave ï 983≠ 9103 4

November 23-29, 2012

ART BY NIKESHA BREEZE

Tickets: 505-988-1234 www.TicketsSantaFe.org

t h e l e n s i c i s a n o n p r o f i t, m e m b e r- s u p p o rt e d o r ga n i z at i o n

Celebrating 20 Years in Santa Fe COS BAR OF SANTA FE 128 West Water Street 505.984.2676 誰 www.cosbar.com

November 23rd - December 1st

123 W. Water St. Downtown Santa Fe

505 -982-5948

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L Y SA A D I HOL

Contents of Gifts Will Vary by Location

In Store Events 誰 Tokens of Appreciation 誰 Beauty Giveaways

KOMAROV JOHNNY WAS BUCKO OF SANTA FE JAG JEANS AYALA BAR SERGIO HALE BOB ARIANNE NALLIE & MILLIE STAPLES KOKUN CASHMERE PASATIEMPO

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THE SANTA FE NEW MEXICAN

November 23 - 29, 2012

ON THE COVER 36 El Iluminado Move over, web-slingers and Spandex-clad mutants. The hero of El Iluminado, a graphic novel by Ilan Stavans and Steve Sheinkin, is a mild-mannered academic — though he looks a bit like Indiana Jones and gets drawn into a mystery with faint echoes of Dan Brown’s The Da Vinci Code. That hero is Stavans himself, as rendered in playful illustrations by Sheinkin. Stavans, the Lewis-Sebring Professor in Latin American and Latino Culture at Amherst College, speaks about the book (published by Basic Books/ Perseus Group) at the New Mexico History Museum on Sunday, Nov. 25. Cover image courtesy the artist.

ART

MOVING IMAGES

18 24 32 44

In Other Words British house on the prairie The American Circus The ring cycle Craig Varjabedian Emotionally authentic photos Tricky St. Nick The Lost Christmas Gift

48 52 54 56

Pasa Pics The Loneliest Planet Silver Linings Playbook Diana Vreeland: The Eye Has to Travel 58 Red Dawn

MUSIC 20 22 28 71

Pasa Tempos CD Reviews Onstage This Week Wovenhand Circus Luminous Under the big top Sound Waves The Big Boo

CALENDAR 64 Pasa Week

AND

ART

13 Mixed Media 15 Star Codes 62 Restaurant Review

40 Infrastructuralism Dust in the Machine

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

3HC (Harambe Hip Hop Crew); photo by Kate Russell

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Art Director — Marcella Sandoval 986-3025, msandoval@sfnewmexican.com

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Assistant Editor — Madeleine Nicklin 986-3096, mnicklin@sfnewmexican.com

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Chief Copy Editor — Jeff Acker 986-3014, jcacker@sfnewmexican.com

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Associate Art Director — Lori Johnson 986-3046, ljohnson@sfnewmexican.com

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Calendar Editor — Pamela Beach 986-3019, pambeach@sfnewmexican.com

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STAFF WRITERS Michael Abatemarco 986-3048, mabatemarco@sfnewmexican.com Rob DeWalt 986-3039, rdewalt@sfnewmexican.com James M. Keller 986-3079, jkeller@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com

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CONTRIBUTORS Laurel Gladden, Robert Ker, Bill Kohlhaase, Jennifer Levin, Adele Oliveira, Robert Nott, Jonathan Richards, Heather Roan-Robbins, Casey Sanchez, Craig Smith, Roger Snodgrass, Steve Terrell, Khristaan D. Villela

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PRODUCTION Dan Gomez Pre-Press Manager

The Santa Fe New Mexican

© 2012 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

Happy Howlidays!

Celebrate the Holidays with your most loyal friend!

Saturday, December 1st, 4-7pm Join us for an event tailored for your favorite furry friend! Enjoy hors d' oeuvres and cocktails while your best friend enjoys a "puppy buffet" with homemade treats created just for them! A portion of the proceeds will benefit the Santa Fe Animal Shelter and Humane Society.

For more information please call 505.995.4508.

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

PASATIEMPO

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LAURA SHEPPHERD ATELIER

New Jewelry by The Rouge Maiden!

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Meet designer Tory Jeen Valach at her Trunk Show Sat. Nov. 24 11am to 5pm

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10% of proceeds to benefit the EspaÒola Humane Society in honor of Toryí s mother Patricia D. Beaulieu

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The City of Santa Fe Arts Commission and the Partners in Education Foundation for the Santa Fe Public Schools thank the sponsors, chefs and artists of At the Artist’s Table, dinners that benefit the Arts Commissioní s Artist Exhibit and Education Program, which nurtures and supports Santa Feí s unique artistic and cultural heritage, and the Partners in Education Foundation, which raises funds to support Santa Feí s public school teachers and students.

Sponsors Lannan Foundation Cisneros Design Los Alamos National Bank White & Luff Financial Santa Fe School of Cooking Southern Wine and Spirits Giuliana Imports Artists Arthur LÛ pez Dan, Arlo and Michael Namingha

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November 23-29, 2012

Vivác Winery Niman Gallery Christine McDonald, Barker Realty Ramona Sakiestewa Chefs James Campbell Caruso Cheryl and Bill Jamison Noe Cano Michelle Roetzer Rafael Pratts

Still Serving Santa Feans for Over 20 Years…

One Stop Holiday Shopping

Bodhi Bazaar Chapare Dell Fox Jewelry Eidos Contemporary Jewelry El Tesoro Café Get It Together Kioti Lucky Bean Cafe Mercedes Isabel Velarde Fine Jewelry And Art On Your Feet On Your Little Feet Pandora’s

Shop Small Business Sat., Nov. 24

500 Montezuma Avenue Santa Fe www.sanbusco.com

FREE PARKING

Play Pranzo Italian Grill/Alto Raaga Restaurant Ristra Restaurant Rock Paper Scissor Salonspa Santa Fe Pens Soulfulsilks Teca Tu – A Pawsworthy Emporium The Reel Life Wink Salon World Market Cost Plus PASATIEMPO

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De Bella Collectibles Your Personal Jeweler

Buying DISCREETLY, CONFIDENTIALLY BUYING YOUR Gold, Platinum, Silver, Diamonds, Precious Stones, and Vintage & Heirloom Jewelry & Silver ï At a fair value with immediate payment ï Appointments in the safety of your home or in our office

Selling Recent Acquisitions now available for purchase: ï 1.08ct Round Diamond ìH î color ,îS Iî clarity; GIA certified mounted in 18kt. yellow gold and Platinum $7100.00 ï 1.14ct Emerald and Diamond; 14kt yellow gold ring $2100.00 ï 1ct. total weight Gents 14kt white gold; 9 Princess Cut Diamonds ìVS clarity ìH î color channel set Ring $1360.00 ï Rolex Daytona Stainless Steel watch ï Cartier 18kt yellow gold tank watch

By Appointment Only Contact Joe De Bella, Graduate Gemologist at 505.231.5357 or joseph.debella505@gmail.com

10% of all profits until the end of 2012 will be donated to Santa Fe Youth Shelters

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

Jung In The World

Lecture & Workshop

Thomas Elsner, J.D., M.A.

Jungian analyst practicing in Los Angeles & Santa Barbara

Lecture: The Great Dream, Alchemy, and Sociopolitical Conflict

Friday, November 30th 7-9pm $10 2 CEUs What can I do about contemporary social, political, ecological – collective – crises? In a letter to Sir Herbert Read in1960, Jung addressed this question by referring to what he calls the great Dream: “We have simply got to listen to what the psyche spontaneously says to us. What the dream, which is not manufactured by us, says is just so. Say it again as well as you can . . . We cannot know better than the unconscious and its intimations. There is a fair chance of finding what we seek in vain in our conscious world. Where else could it be?” How are our dreams responding to the collective problems facing our world today? And, once they do respond, how can we contain, understand, and work with that response?

Seeing through the symbolic lens of alchemical imagery we will explore the dream of an American man after 9/11, artwork from a woman in analysis, images from Jung’s Red Book, poetry from Goethe, Blake and others, and contemporary Jungian ideas about cultural complexes, as a way into the great Dream and its response to the problems and crises affecting our world today.

Workshop: Exploring the Great Dream

Saturday, December 1st 9am-1pm $50 4 CEUs In this workshop we will build upon the theories and images introduced Friday evening through focusing on experiences of what Jung called the “great Dream” as it manifests in our personal dreams.

Participants are encouraged to bring in dreams that they believe may relate to contemporary collective issues — political, social, ecological — as well as contemporary cultural complexes. There will be time and space for re-telling these dreams in a group setting and for seeing what may emerge in terms of images and patterns. Following Jung’s suggestion that the great Dream is “the future and picture of the new world ... that has always spoken through the artist as a mouthpiece” examples of images expressed in contemporary art forms will also be shown. There will be ample opportunity for sharing and discussion.

Both events at Center for Spiritual Living, 505 Camino de los Marquez, Santa Fe For information & workshop pre-registration contact Monika Wikman, 989-7205 For expanded program details go to www.santafejung.org

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November 23-29, 2012

MIXED MEDIA

SAMPLE SALE

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23rd November to 4th December

contemporar y jewelr y ï sanbusco market 500 montezuma st ï santa fe ï 992.0020 www.eidosjewelr y.com

Winter Indian Market artists LeJeune Chavez (above) and Dorothy Grant (right)

Short days are long on Native arts and culture As the weather turns cold and coffee shops begin offering their pumpkincaramel-peppermint-mocha-brûlée concoctions, anticipation grows for the Southwestern Association for Indian Arts’ Winter Indian Market.

Showcasing the work of more than 130 indigenous artists from the U.S. and Canada, Winter Indian Market promises an extravaganza of holiday shopping and traditional entertainment. Events include a fashion show featuring clothes from Native designers and the screening of the winning films from the 2012 summer Indian Market. Short and feature films, music videos, documentaries, and experimental films are on the slate.

The market features a silent auction, with items donated by local businesses and SWAIA artists, and a raffle — participants have a chance to win one of two holiday trees with ornaments crafted by indigenous artists. Navajo artists Vernon Haskie and Allen Aragon demonstrate jewelry making; other artists demonstrate painting, pottery, and weaving. Artist and educator Tchin performs, explains the courting flute, and tells traditional stories.

If you want to view work by Native artists — or if you just want to walk off your post-Thanksgiving turkey coma — visit the market from 10 a.m. to 6 p.m. on Saturday, Nov. 24, and 10 a.m. to 4 p.m. on Sunday, Nov. 25, at the Santa Fe Community Convention Center (201 W. Marcy St.). Admission is $5; no charge for children under 12. Tickets are available at the door.

Visit www.swaia.org or call 983-5220.

— Lauren Elizabeth Gray

MYOFUNCTIONAL IMPLANT & IV SEDATION DENTISTRY 982-6426 | ALPINELASERDENTAL.COM | CURTIS BROOKOVER, DDS, FAGD, AF-AAID

Experience is it!

Dr. Gary Puro has returned to practice!

Optometry & Ophthalmology Degrees Infinite Surgical Experience Requests for Second Opinion Welcomed Call 505-983-8156 for appointment @ our new office in Santa Fe, 1300 Luisa Street, Suite 7C PASATIEMPO

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What kind of holiday gift are you looking for this year?

United Church of Santa Fe is offering gifts that are tangible expressions of love for this world. By purchasing one of the following gifts you will offer God’s gift of love while supporting United’s ongoing commitment to reaching out beyond United. Gifts available: ï Support a guest at St. Elizabeth Shelter for one evening .............................. $50 ï Purchase one raised bed micro≠ greenhouse for a community garden in Fort Defiance,AZ (Navajo Nation)............................................................... $25 ï Purchase much needed medical supplies for La Familia................................. $25 ï The book Animal Companions,Animal People to benefit Pastoral Counseling Center ................................................................................................. $15 ï A Bible for a child or youth at United Church of Santa Fe .......................... $15 ï Purchase 2 gallons of water for humanitarian aid along the Arizona≠M exico Border........................................................................................ $5 ï A kit of relief supplies for a victim of Superstorm Sandy, Church World Service........................................................................................... $20 ï Provide healthy food for youth at Youth Shelters........................................... $5 ï Equal Exchange coffee and chocolate will also be available for purchase.

Nov. 25, Dec. 2 & 9 (9:45 am and 12:00 pm) contributions also accepted online

United Church of Santa Fe 1804 Arroyo Chamiso

(505)≠988≠3295 unitedchurchofsantafe.org

Now Accepting Fall 2013 Applications for Age 3 – Kindergarten

Early Childhood Program

ï Student≠ teacher ratio is 8:1 ï Full day academic program ï Weekly classes in Art, Music, Dance, Physical Education, Spanish, and Cooking ï Buddy program with grades 4≠ 6

ï Before and Aftercare option available ï Teachers have an average of 15 years of Early Childhood experience ï Financial aid awards up to 90% to qualifying families ï 5≠ acre campus

IS MOVING! We are returning to our old home on historic Gypsy Alley.

505.983.1621

Contact the Director of Admission for a tour before year’s end.

barbara_bentree@riograndeschool.org 715 Camino Cabra ï Santa Fe, New Mexico 87505

Opening today at 708 Canyon Road Visit us and Receive 20% off all purchases through Sunday November 25, 2012.

Monday ≠ Saturday 10:00 ≠ 5:00 ï Sundays 12:00 ≠ 5:00

Rio Grande School does not discriminate on the basis of race, color, gender, sexual orientation, gender identity, or national or ethnic origin.

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November 23-29, 2012

505≠ 820≠ 1898 ï 708 Canyon Road

STAR CODES

BO DY of Santa Fe

Book 9am to 9pm 7 days a week

Heather Roan Robbins

Love your

B ODY

This weekend is charged with impatience and delay, but if we dance with the sparks we can make it a safe and productive one. Some people will be cruising for a fight — we don’t have to go there. Next week flashes the green light for fresh starts, but let’s move with conscious grace for now.

Mars is in ambitious Capricorn, a sign where it really thrives, and it gives us determination once we get going as well as courage and a willingness to stick up for a cause we believe in. This weekend, Mars squares electrifying, impulsive Uranus, which supercharges it. Retrograde Mercury slows down as it prepares to turn direct.

While this combination can give us the energy to do what needs to be done, we can also get ticked off about a misunderstanding or mistake or boldly launch a plan in the wrong direction. People won’t back down from conflicts; any oppressive move will be met with retaliation. Think carefully before exercising our will over people and make sure we empower them to make good decisions. This astro lineup can also increase accidents, so play it safe around machinery. A stabilizing sextile between Mars and Saturn improves the mood and the safety factor later in the weekend and encourages us to continue what we’ve started, for better or worse.

Next week, a new chapter begins. Straighten out problems first and reorganize on Monday as Mercury turns direct. Communication is the name of the game midweek, under a voluble full moon in Gemini. Warm, deep feelings open up social channels and encourage negotiations and flirtations by the end of the week as Venus and Mars form a friendly sextile.

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Natal Readings from $100 an hour.

Please call 819-7220 for appointments.

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Friday, Nov. 23: The mood is intense, generous, and competitive. Competition can push people past their limits; honor everyone’s right to their eccentricities as Mars squares Uranus under an energized Aries moon.

Saturday, Nov. 24: Loose ends rattle about. Being is more important than doing, but what we do, we want to do our own way. Material concerns can weigh on us. We appreciate practical help as Mars sextiles Saturn.

Sunday, Nov. 25: The mood is slow and steady, stubborn and forgiving as the moon enters Taurus. Travel delays are likely. Be creative and have fun in the process. Midday, emotional or creative flurries snap at the heart and can bring surprises as Venus quincunxes Uranus. Hurdles require a push around dinnertime as the moon opposes Saturn and then trines Mars.

Monday, Nov. 26: Exciting changes abound, but we can’t see which way they’re going as the sun trines electrifying Uranus. Clear the decks and make adjustments today; launch endeavors later this week. Focus on understanding rather than being understood midday, and build trust tonight. We need presence and steadiness.

Tuesday, Nov. 27: Give into an urge to organize, pare down, simplify, or purify as Mars conjuncts Pluto. Work with others or stay out of their way; we don’t appreciate distractions. Correct mistakes and repair what’s broken this morning; get the conversation going later as the moon conjuncts Gemini.

Wednesday, Nov. 28: Get the word out on this very verbal Gemini full moon: submit proposals and publicize events. Dwell in the heart as well as the head as Venus sextiles Pluto. The world buzzes today; keep eyes open and compassion engaged.

Thursday, Nov. 29: Our feelings deepen; weave connections as Venus and Mars sextile. Channel holiday spirit, compassionate action, flirtations, and longings as well as a good sense of aesthetics. ◀

so much to be thankful forÖ

www.roanrobbins.com

108 Don Gaspar ï 988-9558 PASATIEMPO

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A N N U A L W I N T E R S A L E S T A R T S F R I D A Y, N O V E M B E R 2 3

Beautiful Rainforest Baskets by The Wounaan & Embera Tribes of Panama

OFF Selected Merchandise Etro Issey Miyake Yohji Yamamoto Eskandar Dries Van Noten Sophie Hong Annette Görtz Rundholz Ann Demeulemeester Faliero Sarti Elm Design Peter Cohen Monies Trippen Pauw

w w w. s a n t a f e d r y g o o d s . c o m Santa Fe Dry Goods On the Plaza, 53 Old Santa Fe Trail Santa Fe, NM 87501 Store: (505) 983-8142

50% off the retail price Visit Glenn Green Galleries to see our incredible selection

505-820-0008

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136 Tesuque Village Rd (CR73) ï Tesuque, NM 87574 ï glenngreen.com

$5 OFF PARTIES OF 3 OR MORE WITH THIS AD

Flying by Foy (Stunt coordination by the original Broadway flying company)

NEW MEXICO’S PREMIER YEAR-ROUND OUTDOOR STORE SINCE 1964

James A. Little Theater

At the New Mexico School for the Deaf Featuring a Professional Chamber Orchestra

Nov. 30 & Dec. 7–8 at 7:30 pm; Dec. 1–2 & 8–9 at 2 pm Tickets $10 students; $15 general admission Call 466-4656 to reserve your seats, order online at www.eldoradochildrenstheatre.org, or buy at the door.

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November 23-29, 2012

STORE≠ WIDE SALE! ï 11/23 ≠ 12/2 20% OFF This years clothing All Equipment 25% OFF - Selected Items up to 50% OFF Check out our children’s equipment TRADE-IN PACKAGE! FREE PARKING! 121 Sandoval St. | Santa Fe, NM | 505.983.5155 SHOP ONLINE alpinesports-santafe.com

WORLD CLASS WATCHES new and rare timepieces

Just in time for the holidaysÖ

15% off large selection of timepieces 20% off Wolf Watch Winders 40% off any strap in stock with a battery change or battery service

sto r e ≠ w i d e s a l e 505.992.0200 | wcwtimepieces.com 324 McKenzie Street, Downtown Santa Fe

Casweck Galleries

203 west water street santa fe ï in the water/galisteo district ï 505.988.2966

presents an event celebrating the work of: · Painter Ernest Chiriacka · Fashions by Atelier Danielle · Shoes by Goler · Furniture Design by Lisa Samuel, ASID · Jewelry by Alice Bailey · Catered by Saffron of Santa Fe Benefiting NMNMWA

986-9710

Tonight Friday, November 23 @ 5:30 820-0239 PASATIEMPO

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IN OTHER WORDS Prairie Fever: British Aristocrats in the American West, 1830-1890

by Peter Pagnamenta, W.W. Norton & Co., 338 pages There’s some doubt whether Horace Greeley ever actually said or wrote, “Go West, young man,” but there’s no denying that tens of thousands of American sprouts did just that in the 1800s. From rough-handed sons of the soil to wealthy rapscallions, from city-bred hopefuls to recent immigrants, they sought open land, riches, and new lives in what were still pretty much virgin territories.

They weren’t trekking alone, of course. There were more subsets of the Westwardho movement than one can easily chronicle — and as Peter Pagnamenta shows in this fascinating, well-researched study, right on the spume of the wave was a large number of well-off and even aristocratic visitors from Great Britain. Poet George Berkeley may have coined the memorable line, “Westward the course of empire takes its way” about our young nation’s progress, but he may well also have thought it could be applied to the scions of an empire older and more sunk in history than the still-young United States.

Of course, it was nothing new for well-off young British men to travel between the time they finished (or failed) school and took up whatever place they could expect in life: the Grand Tour had a long and storied history well before the 1800s. But primogeniture also played its part in the U.S.’s Western diaspora. With titles and estates and wealth entailed on the eldest son, only the richest British aristocratic families could find major portions for younger male offspring. This meant the perennial need to persuade a second son to take holy orders ders and scheme for wealthy parish living, a third lad to try for the law, a fourth to aim for a diplomatic posting, and a fifth to become a university fellow.

For more sons, or the occasional black sheep, there were always the colonies.

But Pagnamenta concentrates not on the standard English remittance man, short on morals and money; rather, he looks at those who did have money and were eager for adventure. With an empire at their doorstep, their choices were many, and America was near the top of the list. First as a colony and then as a country, it had long been familiar to cultured British and Europeans, thanks to letters from colonial friends, reports published by botanists and biologists, war and other official reports, and so forth. When tales of the frontier by James Fenimore Cooper and others began to be available across the ocean, fascination with the great, glorious, and unspoiled West — and its inhabitants — began to take hold.

There was another attraction that can’t be denied: the immense herds of buffalo and other game that roamed open territories. Many aristocratic Englishmen loved to slaughter anything that moved for the sheer sport of it; and as more expatriate hunters joined American seekers of sport, the animal populations began their plummet, in some cases to extinction. It foreshadowed later trips by Brits to India or Africa to take big game, or the giant battues of partridges and pheasants that were such a feature of late Victorian and Edwardian sporting social life at country houses.

Pagnamenta’s cast of characters is wide and fascinating. There is St. George Gore, who made his U.S. travels on the rent roll of his 7,000 acres in Ireland. There is the tremendously rich Duke of Sutherland, who owned some 1.5 million acres in Britain and who was happy to increase his store of land across the ocean.

Lord Dunraven, by chicanery, bought up most of Estes Park, Colorado, and even commissioned Albert Bierstadt to paint him a $15,000 view of his territory.

Geoffroy Millais, third son of the great Pre-Raphaelite painter Sir John Millais, went to Wyoming at 22 to work on a British-owned ranch. His description of the life shows both his sense of adventure and that cow-punching has never been a glamorous job when you get down into the dirt.

“I have been working hard, being in the saddle sometimes 18 hours at a time.

We have breakfast at 3 every morning and are out until one o’clock riding all over

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November 23 -29, 2012

book reviews the country, so it is ten hours before we get our dinner ... we are off again till six or seven when we come in to supper. If there are any cattle to be held over you have to get up in the night and take your turn night herding for two hours.”

Pagnamenta chose 1830 and 1890 as his boundary dates for good reasons.

The tide of visitors began its heavy rise in that first year, when Cooper’s novels and other literary reports from America were becoming more common; it also marked the first year of King William IV’s reign. And 1890 was chosen because by then, the U.S. had had enough of noble invaders making off with land and goods: the 1887 Alien Land Act had put an end to the practice of foreigners snapping up hundreds of thousands of acres.

Besides, by that date, the immense cattle herds many Britishers had put onto their ranges were dying out due to bad weather and overgrazing. It turned out that trying to run milch or beef cattle in Western territory was not the same as maintaining herds in Ayrshire or Devon. In something of the same fashion, Britishestablished colonies such as Runnymede in south-central Kansas and Le Mars in Iowa did not have long lives.

The book’s title, by the way, comes from a novel by Thomas “Captain” Mayne Reid. He became one of the English James Fenimore Coopers after his American sojourn. In his 1851 The Scalp Hunters, he had a character note, “What with the wild gallops by day, and the wilder tales by the night watch-fires, I became intoxicated with the romance of my new life. I had caught the ‘prairie fever!’”

The same character later exults, “I feel it now! While I am penning these memories, my fingers twitch to grasp the reins — my knees quiver to press the sides of my noble horse, and wildly wander over the verdant billows of the prairie sea.” For quite a few Brits, sailing that sea was an exhilarating though fairly shortlived experience.

— Craig Smith

SUBTEXTS Holly jolly hollyhocks Beloved New Mexico author Rudolfo Anaya, known for his well-researched and wonderfully empathetic stories of Southwest people, history, and culture, has written a bilingual children’s book, How Hollyhocks Came to New Mexico.

The book was a collaboration between Anaya, illustrator Nicolás Otero, and translator Nasario García. The author, illustrator, and translator are slated to attend a book-signing event in the Community Room of the Santa Fe Public Library (145 Washington Ave.; 955-6780) on Sunday, Nov. 25, from 2 to 4 p.m. The original artwork for the book will be on display; all book-sale proceeds will benefit the Friends of the Library. Published by Río Grande Books, How Hollyhocks Came to New Mexico is an imaginative telling of the history of the ubiquitous and colorful flowering stalks that decorate the state’s landscape in summer and fall. In Anaya’s story, the nearsighted angel Sueño accidentally takes the holy family to New Mexico (instead of Egypt) in order to escape Herod’s wrath. The holy family are welcomed to their temporary home, where they stay until it’s time to return to Bethlehem. The tale shows how people of different cultures can work together with respect — for each other and for the land they share. The book features 45 color illustrations by Otero, the award-winning santero and middle-school art teacher from Los Lunas. This is Otero’s first book project. Anaya, author of Bless Me, Ultima; The Santero’s Miracle; and The Farolitos of Christmas, among many other titles, has received numerous awards for his work, including, a lifetime achievement award from the National Endowment for the Arts. García is a writer, teacher, and documenter of New Mexico oral history who lives in Santa Fe. — Jennifer Levin

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album reviews

NIK BÄRTSCH’S ALFONSO LOVO RONIN Live (ECM) The La Gigantona (Numero) dense constructions, quick turns, It begins as a good Latin-jazz and exacting tempos heard from keyalbum should, with an inviting boardist Nik Bärtsch’s five-piece ensemble acoustic guitar that’s strummed Ronin aren’t the kind of thing easily recrealong at the pace of an evening ated live. But this two-CD set, pulled from walk. And then the bass hits in concerts across Europe and in Tokyo, is the second song, “La Bomba more fulfilling, challenging, and accomde Neutrón,” and the world plished than Ronin’s three previous studio recordings for explodes. A full band follows behind the bass in a funky, ECM. The program, with its clockwork rhythms and repeated trippy dance step that takes us around Miles Davis’ corner and instrumental figures, comes together as a soundtrack for a film — through the haze of Serge Gainsbourg’s cigarettes. By the end of a very long film — yet to be imagined. Mixing composition and the song, the electric guitar is a warbled shriek, there’s a meteor improvisation, the music’s forms suggest minimalism, but one shower of Star Trek-like sound effects, and the singer’s voice echoes constantly expanding into something complex and geometric. The nine into space as a distant planet orbiting Sun Ra. That singer, guitarist nonsequentially numbered “Modules” are all built on bass riffs from Björn and composer Alfonso Lovo, was the son of a high-ranking Nicaraguan Mayer (who left the group last year) or Thomy Jordi, over which Bärtsch politician and was shot by Sandinista rebels in 1971. His music, a heady mix of Latin jazz and psychedelic freakouts, reflects the turmoil he grew frames animated phrases that reoccur at strange intervals. Variations ensue, and up in. This unrest in his country also kept his music out of print; reed player Sha, most often on bass clarinet, adds simple punctuation and solos as detailed as architectural drawings. The overall effect La Gigantona is a reissue of a nearly forgotten 1976 album, suggests a schizophrenic Philip Glass, as patterns morph, recorded with drummer José Areas of Santana fame. The disappear, and return. In other words, there’s never a dull record uses brief instrumental passages as launching pads moment, despite the repetition and groove. Drummer Kaspar for greater flights, which often incorporate vocals and deep Gifted and wealthy, Rast’s drive and eerie percussion effects from Andi Pupato grooves. “Los Conquistadores” sounds like the score to a Anton Arensky had plenty add to the intrigue. Bärtsch’s acoustic piano can be Bachblaxploitation flick, while “Sinfonía del Espacio en Do like, his Fender Rhodes right out of Sun Ra, transmitting Menor” evokes Herbie Hancock’s experiments in funk going for him, including the what sounds to be futuristic code. This is wonderfully and Afrobeat. La Gigantona is a product of its times that moody music, both predictable and not. — Bill Kohlhaase sounds just as big today as it did then. — Robert Ker

enthusiastic support of Tchaikovsky, but he died at 44, in 1906, done in by drinking and gambling.

GENOVA & DMITROV Arensky: Five Suites for Two Pianos (CPO) The booklet notes accompanying this new recording, by the piano duo Genova & Dimitrov, proclaim Anton Arensky’s five Suites for Two Pianos to be “the rarest rarities in the oeuvre of the Russian composer.” In fact, they are his most famous apart from his D-Minor Piano Trio. Piano duos so cherish them that at least eight versions of the First Suite are currently available on CD. A historic recording of the beloved Waltz from that work, recorded in 1929 by Ossip Gabrilovich and Harold Bauer, is renowned as a touchstone of two-piano artistry. Genova & Dimitrov don’t quite match the pearly delicacy of those golden-age worthies, but they do offer energetic, buoyant, upbeat readings of Arensky’s thoroughly enjoyable pieces. Gifted and wealthy, Arensky had plenty going for him, including the enthusiastic support of Tchaikovsky, but he died at the age of 44 in 1906, done in by drinking and gambling.

His suites consist of charmed miniature movements that hover between the salon and the concert hall, sometimes imbued with great sophistication (as in the Third Suite, an imaginative set of variations). These interpretations achieve an appropriate balance, leavening the underlying lyricism with virtuosic flourishes. By the way, Genova & Dimitrov unquestionably perform these works on two pianos, as they should, and are not “here united on one instrument,” as the notes erroneously state.

— James M. Keller

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November 23 -29, 2012

PRINCE SAMO Street Viceroy (self-released) Right Said Fred’s “I’m Too Sexy for This Shirt” seems an unlikely chorus sample for street rap, but Prince SAMO uses the gay disco mantra to devastating effect on his track “Megastar.” Stranger things have happened. In the late ’90s, Jay-Z made one of hip-hop’s most canonical hustling songs with a lyrical riff borrowed from the Broadway cast recording of Annie. That late, great era of New York rap, before hip-hop’s sonic center headed south to Atlanta, is a touchpoint for much of this ambitious mixtape, which incorporates a wide variety of Caribbean styles into an essentially Gotham sound. “Reggae Gold” marries jumpy Jamaican dancehall to American call-and-response rap. “Gojira” comes draped in Neptunes-style synthesizer funk. This is the artist’s first solo effort — he is better known as one part of World’s Fair, a Queens hip-hop collective that has excited critics with its Wu-Tang Clan emcee crew theatrics and rap vignettes of life in Afro-Latin New York neighborhoods.

SAMO’s immigrant upbringing shows up even on standardsounding boast raps like “Nasty Dwarf,” in which the lyricist displays an enviable ability to flow Haitian Creole phrases and Dominican Spanish slang into his delivery without missing a beat. By turns brash and smooth, Street Viceroy is a welcome return of a more inclusive New York hip-hop sound.

— Casey Sanchez

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ON STAGE Max Gomez rules Santa Fe Sol In October, Taos singer-songwriter Max Gomez released his debut full-length CD, the Jeff Trott-produced Rule the World, on his own imprint, New West Records. Gomez was influenced by the likes of Robert Johnson, Big Bill Broonzy, Johnny Cash, Townes Van Zandt, and Kris Kristofferson.

At the age of 15, he came into his own as a craftsman of heartfelt songs with incredibly catchy hooks grounded in American roots music, and he has been performing professionally ever since. Heath Concerts presents Gomez at 7:30 p.m.

Saturday, Nov. 24, at Santa Fe Sol Stage & Grill (37 Fire Place, www.solofsantafe.com). Advance tickets for the all-ages show, $12, are available through Tickets Santa Fe (988-1234, www.ticketssantafe.org).

Impressions of Debussy Claude Debussy’s music may have found new devotees since Edward and Bella bonded over Clair de lune in the vampiresgone-high-school movie Twilight. On Friday, Nov. 23, at 5:30 p.m., First Presbyterian Church (208 Grant Ave.) presents a solo concert of Debussy’s piano works with Victoria Hudimac, in which she plays movements from Suite bergamasque, Deux arabesques, the Sarabande from Pour le Piano, and Mazurka. Donations are appreciated for the church’s weekly TGIF concerts. Call 982-8544, Ext. 16.

THIS WEEK

Alone again: Anthony Leon Local ensemble Anthony Leon & The Chain — vocalist-guitarist Leon, drummer-vocalist Daniel Jaramillo, guitarist-vocalist Benito Rose Plaza, bassist David Badstubner, and harmonica-playervocalist Freddy Lopez — is best known for dishing up heapin’ spoonfuls of boozy rockabilly, folk, alt-country, and murder balladry. While seeing the band members jam together is a treat in itself, catching Leon perform a rare solo gig is reason enough to saddle up and get yourself down to Cowgirl BBQ (319 S. Guadalupe St., 982-2565) at 8 p.m.

Thursday, Nov. 29. Leon may harvest bits of Social Distortion, Hank Williams, Merle Haggard, Uncle Tupelo, and others for inspiration, but his original tunes are what you’ll fall in love with. There’s no charge for the 21-and-older show.

All that glistens: Wovenhand If you listen to the Wovenhand track “Glistening Black” from the band’s new album, The Laughing Stalk, you’re bound to pick up goth- and punk-centric wisps of early Bauhaus and Killing Joke. This is surprising, especially coming from frontman and lead singer-songwriter David Eugene Edwards (pictured), whose songwriting and stage countenance have always been more aligned with stodgy American roots music. Edwards hasn’t stripped his music of its typical biblical references while embracing a more heavy-handed rock sound, however. In fact, he has chosen to doubledown on the fire and brimstone — albeit with a more interesting and flexible band lineup, lyrical approach, and instrumental backdrop.

T-Cubed Productions presents Wovenhand at 8 p.m. Tuesday, Nov. 27, at Santa Fe Sol Stage & Grill (37 Fire Place, www.solofsantafe.com).

Advance tickets for the 21-and-older show, $12, are available from Tickets Santa Fe (988-1234, www.ticketssantafe.org). One-man-band/ gospel-blues phenom Reverend Deadeye opens.

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New Shop

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In Pursuit of Cultural Freedom A lecture series on political, economic, environmental, and human rights issues featuring social justice activists, writers, journalists, and scholars discussing critical topics of our day.

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Tues. - Sat. 12 - 5 505.982.0330 ï 847.567.3991 smantique@aol.com

HAMID DABASHI with David

Barsamian

WEDNESDAY 5 DECEMBER AT 7 PM LENSIC PERFORMING ARTS CENTER

Greer Garson Theatre presents

Based on Bram Stokerí s novel

Directed by Shepard Sobel Nov. 30, Dec. 1, 2, 12ñ 14, 2012 A witty retelling of Bram Stokerí s classic tale of horror, with professional actor and Performing Arts Department (PAD) professor of acting, Victor Talmadge, in the title role. This version feeds on laughter, suspense, and screams as well as blood.

Hamid Dabashi was born in the Khuzestan province of Iran and was educated in Tehran before moving to the U.S. where he received a dual Ph.D. in Sociology of Culture and Islamic Studies from the University of Pennsylvania and a postdoctoral fellowship from Harvard University. He is Professor of Iranian Studies and Comparative Literature at Columbia University and the author of numerous books including The Arab Spring: The End of Postcolonialism; Shi’ism: A Religion of Protest; and Iran: A People Interrupted.

His newest work is The World of Persian Literary Humanism.

Hamid Dabashi will speak about Iran, its history, culture and politics, followed by a conversation with David Barsamian of Alternative Radio.

From the closely contested US presidential election to the bloody battlefields of Syria, Iran has remained the critical catalyst of global events that are set to alter the course of contemporary history. As the nuclear program of the Islamic Republic remains the primary concern of global attention and as crippling economic sanctions have begun to take their human toll on ordinary Iranians, the ruling regime seems adamant in asserting its regional presence and influence...

What these issues conceal is the defiant will of Iranian people historically poised to navigate a critical path driven against both domestic tyranny and imperial hubris.

— Hamid Dabashi TICKETS ON SALE NOW

NOTE: Fri. & Sat. performances NEW TIME: 7pm | Sun. Matinees: 2pm FOR TICKETS call the Tickets Santa Fe Box Office: 505-988-1234 or www.ticketssantafe.org

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

www.lannan.org

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Rob DeWalt I The New Mexican

THE RING CYCLE Frederick Whitman Glasier: Mademoiselle Omega (Gertrude Dewar), 1908; collection of the John and Mable Ringling Museum of Art Photos courtesy Yale University Press

THE HISTORY OF THE AMERICAN CIRCUS The American Circus, published in conjunction with Circus and the City: New York, 1793-2010, an exhibition at New York’s Bard Graduate Center (through Feb. 13, 2013), presents a thoughtful collection of academic essays that explore the history of the circus in the United States from the 18th to the 20th century.

As Bard Graduate Center professor Kenneth L. Ames explains in the book’s introduction, “The name circus comes from ancient Rome, and refers to a place or building, rather than an activity. ... Circuses flourished in given geographic locations, but exhibiting sense of place was not the point. On the contrary, they have typically made allusions to international, cosmopolitan, and exotic performers, animals, and music, even if those claims were fraudulent. ... The circus provided entertainment but it was, in the end, primarily a business.” The circus business flourished in the United States, and as railroad construction took hold at the height of Western expansion, Ames persuasively argues, the big top was a stronger influence on the nation’s current corporate organizational structure than the industrialized U.S. military.

The circus that people tend to think of today began in much humbler form as an import from Europe and Great Britain. According to contributor

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November 23 -29, 2012

Janet M. Davis, an associate professor of American studies and women’s and gender studies at the University of Texas at Austin and author of The Circus Age: Culture and Society Under the Big Top, “The American railroad circus was hardly a gaudy copy of its trans-Atlantic ancestors. ...

Its cultural syncretism made it uniquely American. Moreover, it endlessly re-invented itself, adding and subtracting popular features from other cultural forms to remain novel and salable. ... Its itinerancy, bigness, and endless capacity for novelty and reinvention made it American.”

Many British circus professionals didn’t agree with this assessment, however, and as Davis notes, they “saw nothing original about the monstrous American circus, and belittled it as bloated, vapid, and derivative. Participating in a long tradition of European criticism that dismissed the originality of American cultural productions and social institutions, [circus showman] ‘Lord’ George Sanger sniffed that even the signature giantism of the American circus was blatantly imitative.”

Sanger complained in his memoirs, “There is nothing that American showmen have ever done that Englishmen have not done first and done better ... in the matter of exhibitions, in spite of all talk, America has always followed, but never led, the Old Country.”

P. G. Lowery’s Band & Minstrels, Ringling Bros. and Barnum & Bailey Circus,” circa 1919; Photographs and Prints Division, Schomburg Center for Research in Black Culture, The New York Public Library, Astor, Lenox and Tilden Foundations

Davis and company trace some of the roots of the American circus back to Scottish trick rider John Bill Ricketts, who opened a horseback-riding school in Philadelphia in 1792, promising that “the citizens of this metropolis will experience considerable gratification from this new field of rational amusement.” In April 1793, Ricketts and his merry band of entertainers rolled out their first public performance, which included trick riding, clowning, tumbling, pantomime, rope dancing, and animal acts — all components one could have already seen as part of similar shows in Great Britain.

After Ricketts’ popular show opened to grateful and delighted audiences that included President George Washington, he and his fellow entertainers spent seven years traveling around North America, from South Carolina to the province of Québec. Ricketts introduced the multi-act circus to American audiences, but he quickly became disillusioned with its transformation from a stationary space with diverse family-friendly entertainment into a lucrative enterprise that had, in many ways, been hijacked by impresarios, entrepreneurs, swindlers, and confidence men.

Ricketts died at sea in his 30s.

The itinerancy of the circus blossomed with the development of the portable canvas circus tent, which first came into play in November 1825, when J. Purdy Brown and his cousin Lewis Bailey erected one in Wilmington, Delaware, as part of the Brown & Co. traveling show. Fred Dahlinger Jr., curator of circus history at the John and Mable Ringling Museum of Art in Sarasota, Florida, writes that “the decision to use a tent ... was the single most important action taken in the history of the American circus. The choice impacted the ring performing arts, lifestyles, logistics, capital and expense, technology, and every other conceivable aspect of the industry. ... The exploitation of new territory by road, river, and ultimately railroad was often the hallmark of the most successful North American circus proprietors. Brown’s action eventually made the circus the most favored and common entertainment in the countryside.”

The circus’ popularity in a young United States was due in large part to its portability and affordability, and numerous contributors to

Right, Little All Right, The Japanese Marvel in His Perilous Slide for Life, 1883 © Shelburne Museum, Shelburne, Vermont Below, Harold M. Lambert: Two circus elephants wearing giant clown costumes, 1941; Harold M. Lambert/Hulton Archive/ Getty Images

continued on Page 26

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The American Circus, continued from Page 25

HOLIDAY MARKET EVENT-DEC. 1. 2012 MARK YOUR CALENDARS NOW ARTISANS, ANTIQUES, BOOKS (NEW/RARE/USED) and LOCAL AUTHORS 40 VENDORS—A FULL HOUSE OF POTENTIAL GIFTS! 8:30-3:00

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The American Circus make the case that it was, much more than the internet is said to be today, a great equalizer. People of all classes were given the same opportunity — at a fair price, usually — to escape from the “real world” and its problems, to suspend disbelief, and get drawn in by the magic and wonder of acts that circus performers and ringmasters spent years perfecting and updating.

The Protestants of colonial America and politicians in various territories during the antebellum period disagreed with the notion of circus as entertainment for numerous reasons, including its “display of the seminude athletic body, as well as its sneaky thieves and pickpockets,” Davis writes. Despite the riff-raff, the American circus has been a place where patriotism has always thrived. The circus parade and its march-driven bands became increasingly patriotic in tone and presentation after World War I but have since disappeared because of increased urban populations, snarled traffic, and plain old logistics.

The American circus was always more for country than for God, as evidenced by the popular WPA Circus program in New York during the Great Depression. But many people suffered for its wide popularity and increasingly transnational structure. Native American tribes and other indigenous populations were exploited as “savage” cultures. Countless elephants, big cats, horses, and other animals were abused and then killed once they outlived their usefulness. Already marginalized people with congenital deformities found work as part of circus freak shows, but at what cost to the advancement of their rights as individuals?

And one cannot forget the “lot lice” — the kids of circus workers — and other children who worked in the big top and on the road in the face of lax (or nonexistent) child labor laws. It wasn’t until 1879, according to the Pennsylvania Historical & Museum Commission, that the state’s general assembly began to impose fines on circus employers who hired children.

The American circus is a microcosm of our modern and deeply textured American zeitgeist — larger than life, culturally and racially mixed, fun, dangerous, cruel, adventurous, enterprising, conniving, bewildering, and unafraid of failure. We can thank the American circus for shaping the way poster advertising came into widespread popularity.

We can thank it for advancing the role of the clown/fool/comedian in politics and popular culture. And we can even thank the circus for helping to teach our military commanders and logistics officers how to how keep a battalion lean and mobile.

Most of all, we can thank the traveling American circus for unknowingly parodying a consumer-happy country before it was fully formed. The greatest show on earth eventually got too big for its britches, and even kings in the business saw the writing on the wall, longing for simpler times. As James A. Bailey wrote of his very successful operation with Ringling Bros. in 1906, “The circus delux must be a place of beauty and thrills. ... No more meaningless advertising street parades. ... No more cheap side shows, or concerts, or peddling of toy balloons or other cheap articles to the annoyance of patrons.” Boy, if he could see us now. ◀ “The American Circus,” edited by Susan Weber, Kenneth L. Ames, and Matthew Wittmann, is published by the Bard Graduate Center and Yale University Press.

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Under the

B G T P RUN AWAY WITH CIRCUS LUMINOUS

Rob DeWalt I The New Mexican

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adies and gentleman, boys and girls, the circus is about to begin, and for Wise Fool New Mexico, a local nonprofit that teaches circus arts, theater arts, and puppetry to children of all ages — to build personal confidence and community and to promote social justice — the circus is about to hit a milestone.

From Friday to Sunday, Nov. 23 to 25, the Lensic Performing Arts Center and Wise Fool present the 10th annual Circus Luminous at the Lensic. The circus had its premiere in 2002, and it quickly became a holiday tradition — and an important event showcasing the talent that Wise Fool fosters and presents during its many workshops, classes, performances, and traveling educational programs.

“People love going to Circus Luminous and other Wise Fool events because they understand that we’re all working artists,” said Wise Fool founder and artistic director Amy Christian. The artistry for Circus Luminous expands far beyond the trapeze, and coordinating the behind-the-scenes crew and performance aspects of the show can be a challenge.

Christian wants her audiences to be transported and transfixed, not distracted by details offstage. The trick, she said, is to have the technical stuff — lights, music, equipment blocking — settled in the performance venue long before the first show. That’s a tall order for Wise Fool’s crew and performers, who, after loading in equipment on the Monday before the first curtain, have only a few days to work out the kinks. That they do it, and do it well, is a testament to their dedication and expertise.

As in recent years, the 2012 Circus Luminous tells a story, but this year, writerdirector and longtime Wise Fool performer Sarah-Jane Moody decided to keep

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November 23 -29, 2012

the narrative simple. “In years past,” Moody said, “we’ve tried to integrate a more developed and intricate story into the performances, but there were varying levels of success in telling the story. This year, we’re having fun and going back to the simple notion that the circus is a magical world in its own right, story line or not.”

Enter veteran actor and man about town Rod Harrison (aka Jimmy the Carrot), who serves as the thread that ties various acts to a single theme. Harrison plays Charlie Sparrow, a reporter assigned to travel with the Luminous Family Circus and write about its 10th-anniversary shows. “He’s the archetypal ’40s or ’50s reporter,” Moody said. “He wants to cover the ‘real’ news, the hard-hitting investigative stuff, but he’s stuck following this family and its circus around. And he’s none too happy about it.”

Although acrobats and other performers auditioned for the 10th annual show, Harrison was a no-brainer for the part of Sparrow. “I wanted someone who could assume the clown role in a particular way, without donning the red nose, and Rod was a natural choice,” Moody said. “I wanted the reporter to have a lot of puns in his dialogue, and so after writing most of the lines, I told Rod to go crazy with the puns. He didn’t disappoint.”

Harrison is the only person with a true speaking role, Moody said, which means she didn’t need to mic the entire cast of about 20 performers for the event’s 13 or 14 different acts. And this year, there’s a large collaborative youth element to Circus Luminous. Members from the nonprofit Moving Arts Española — an outreach program that offers training to and performances by young dancers, singers, actors, and visual artists — bring their acrobatic skills, while 3HC (the Harambe Hip Hop Crew) adds its b-boy dance talent to the mix. “We have seven

Photos Kate Russell

Rod Harrison

b-boys, but this year one is a b-girl, which is exciting for us,” Moody said. “With them and eight kids from Española, we’re talking a good chunk of the cast.”

The show’s many acts include two new elements: a tight-wire act and performer Andy Cook on a Cyr wheel, a giant contraption that allows a performer to roll around the stage, arms and legs spread out, while executing any number of thrilling acrobatic feats. And tight-wire performer Ariele Ebacher doesn’t just walk across a suspended line. She does it in pointe shoes and high heels.

Circus-goers can also catch trapeze acts, a Spanish web (spinning rope) act, and an aerial performance done with, of all things, thrift-store suitcases. “We’ve been playing around with the idea of using suitcases in an act since Wise Fool members moved to Santa Fe and began organizing in 1998,” Christian said, “and I think we’re just kind of obsessed with old suitcases.”

“At the same time,” Moody explained, “suitcases carry so many connotations, many that fit right in with the circus theme: leaving home, going somewhere new, and the more abstract ‘baggage’ that we all carry around inside. It’s one of many things we’ve been trying to bring to the stage for a while.”

What’s a circus without music? This will be the sixth year that local musician and composer Jeremy Bleich (of the band GoGoSnapRadio) has composed original music to be performed live during Circus Luminous, and the band will take its place in the orchestra pit at the Lensic. Brass and reeds — trumpet, tuba, saxophone, and clarinet — team up with piano and guitar during the performances, but the music dies down each time Harrison has to speak. The sound is geared heavily toward circus music, with fast-tempo marches, known as “screamers” under the big top, at the fore.

Left to right, Jeremy Bleich, Mark Weaver, and Dan Borton

Circus delicious In years past, Circus Luminous has thrown its Feast of Fools, a fundraising dinner that usually takes place in spring. This year, however, the event didn’t happen.

The good news is that Wise Fool and chef/owner James Campbell Caruso of La Boca restaurant have joined forces for A Luminous Feast, which takes place at Taberna La Boca (125 Lincoln Ave., Suite 117, 988-7102) on Sunday, Nov. 25.

“Campbell Caruso came forward and offered to host a benefit for us, and with a new touring show called See/Saw in the works, plus all our regular workshops, classes, and programming, we couldn’t pass the offer up,” Christian said. “Yes, government funding is down for the arts, especially in this economy, but we’ve always had great support from private donors, and events like this help a lot.”

During the dinner, a semicasual affair, performers will be on hand in costume to talk to guests. The evening will have a sideshow quality to it, Christian said, with a sword swallower, outdoor fire spinners, and other performers. Video clips of past performances will also be shown. For information and tickets, call 992-2588 or visit www.wisefoolnewmexico.org. ◀

details ▼ 10th annual Circus Luminous ▼ 7 p.m. Friday, Nov. 23; 2 & 7 p.m. Saturday, Nov. 24; 4 p.m. Sunday, Nov. 25 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $10-$30; www.ticketssantafe.org, 988-1234

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DISCOVER NOT JUST YOUR VOICE BUT YOUR WINGS SANTA FE PREP EARLY APPLICATION DEADLINE DECEMBER 1, 2012 Noti cation of admissions decisions will take place by December 15th for those candidates who complete the admission process by December 1, 2012.

Upcoming dates for required math assessment testing:

SAT, NOVEMBER 17 & DECEMBER 1, 2012 To register, please contact Mary Little 505 795 7518 mlittle@sfprep.org

Mike Multari Director of Admissions mmultari@sfprep.org 505 795 7512

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November 23-29, 2012

To Santa Fe (Cerrillos Road)

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Santa Fe Outlet Mall

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2012 LA CIENEGA TOUR ARTISTS OUR 39TH YEAR!

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Gilberto Romero 660≠ 6846 ï Sculpture 2 Frank Andrews 471≠ 4502 ï Petroglyph sculpture 3 Paul Murray 474-4434 Painting/Unbalanced Symmetry

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310≠ 4033 ï Quilts & Fiberarts Estrellas Lee Manning Road North Sunrise Springs ï 699≠ 6788 Black & white fine art photography Sunrise Road

Carolee Friday Sunrise Springs ï 982≠ 1096 Fine art photography

Flora Kirk Sunrise Springs ï 231≠ 3196 Acrylic expressionist painting LeRoy Thompson Sunrise Springs ï 473≠ 4106 Oil painting, pastel and pencil drawing

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Paseo Real: To Airport Road & 599

Gary McCabe Sunrise Springs ï 930≠ 3177 Printmaking, Monotypes and Custom Framing Sheila Kaplan Sunrise Springs ï 424≠ 3543 Oil paintings

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El Rancho de las Golondrinas Leonora Curtin Wetland Preserve

6 Heather Carlson

984≠ 3297 Acrylics & Etching on wood

7 Emily Van Cleve

474≠ 0385 ï www.emilyvancleve.com Abstract paintings and drawings

8 El Rancho de las Golondrinas 471≠ 2261 ï Regional Crafts, Books, Toys, Jewelry, End of season sale

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690≠ 5095 ï www.tyanderlee.com Painted wooden vessels, benches, and gourds

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Sunrise Springs is proud to help support the Annual La Cienega Studio Tour.

The Blue Heron Restaurant at Sunrise Springs will be open on Saturday and Sunday during the Tour.

PASATIEMPO

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Paul Weideman I The New Mexican

inadmissible and amazing CraigVarjabedian’s majestic, mysterious New Mexico

I’m not photographing something that I anticipate will ever be presented in a court of law as fact. — CraigVarjabedian

he images in photographer Craig Varjabedian’s newest book demonstrate a great love for and familiarity with the land and people of New Mexico. They stand out particularly because of the qualities of his craft: finding wonderful things to shoot, conceiving them with a fine eye to composition and lighting, and bringing them to fruition thanks to a master’s skill with camera and darkroom.

During a recent visit to his home in Casa Solana, he talked about the famous light of New Mexico. “Just why it is the way it is can be explained by scientists. I’m much more interested in the sort of romantic quality that it evokes. There are times when you can almost put it in a Mason jar, capture it physically. I spent a couple weeks in Carmel in September, and the light is beautiful there, too, but it’s different as well. There’s something almost intoxicating about this light here.”

Witness Varjabedian’s facility in an exhibition opening Friday, Nov. 23, at William R. Talbot Fine Art, newly representing his work.

The 16 x 20 prints in the show celebrate more than 25 years of his photography; they include selections from his recently released book, Landscape Dreams, a New Mexico Portrait, as well as some new work.

Varjabedian has been awarded grants from the McCune Charitable Foundation, the National Endowment for the Arts, the Samuel H. Kress Foundation, and the New Mexico Humanities Council. The idea for this newest book project came about after he completed Ghost Ranch and the Faraway Nearby, which was published in 2009. University of New Mexico Press suggested a book to help celebrate the centennial anniversary of New Mexico’s admittance to the United States in 1912. When Varjabedian agreed, it became apparent to him that he was a little weak on images from the southern half of the state.

“I’ll be out for a couple weeks at a time,” he said about his picture-taking methodology. “I was able to hook up with the Roswell Artist-in-Residence program [www.rair.org], and they generously provided me with a place, and I could work a day or two out from there. I would also meet ranchers who had a guest house, and they’d invite me to stay. At Carlsbad Caverns, I was able to convince the National Park Service to grant me access after hours. I have a big camera, and I’m using long exposures, and you can’t have people walking through your picture.”

Varjabedian makes most of his photographs with an Ebony 5 x 7 camera and Kodak’s venerable Tri-X film. He also uses a modern Canon digital camera. “It’s just another tool. It’s not practical for me to have a color lab, and one of the great things digital does is continued on Page 34 Top, Craig Varjabedian: Cottonwood Trees No. 5, 1996; right, Eulogio and Zoraida Ortega, Saint Makers, 1996 32

November 23 -29, 2012

PASATIEMPO

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Craig Varjabedian, continued from Page 32

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The Zia Singers and Santa Fe Men’s Camerata under the direction of Karen Marrolli present their annual

Holiday Concert

December 1 at 7:00pm & December 2 at 4:00pm Scottish Rite Center 463 Paseo de Peralta, Santa Fe, NM Tickets $20 (Students under 18 Free) Advance tickets and information 505-473-7733

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November 23 -29, 2012

that it allows me to do color and to have an infinite amount of control. These are just tools in the same way that, back in the olden days, you’d choose a lens based on a look you wanted in a photograph. If you were making a portrait of a woman and you wanted it to look soft, you’d use a lens to achieve that.”

The Zeiss Protar lenses he uses with his Ebony — a contemporary Japanesemade camera — are pretty close to a hundred years old. “New lenses are great for sharpness, but the problem is that when you gain sharpness, you lose fidelity; when you increase resolution, you also increase contrast. My old glass definitely brings something to the photographs.”

After a century, the shutters in these lenses are getting a little slow in the wintertime. “I have to listen to them. I have to know what a half-second sounds like. You add that to this whole level of technical stuff you have to know to do the work I do.”

His new involvement with the Talbot Gallery is serendipitous, he said. “Bill is enchanted by the Southwest, and particularly by the manifestations of Catholicism in this area. I did my Penitente book [En Divina Luz: The Penitente Moradas of New Mexico, 1994] that he was aware of and enjoyed. I think the difference about that here is that Catholicism is from the ground up — not from the top down, like it is in other places. Here, everyone has contributed to it, and it becomes this rich tapestry. The manifestations of it are still above ground, as [historian] Marc Simmons says about the history of this place.

“I think one of the things that brings people to my pictures is something they notice in a more intuitive way. I call it emotional authenticity. In other words, in my own photographs, I’m not so interested in them being necessarily evidentiary. I’m not photographing something that I anticipate will ever be presented in a court of law as fact.”

In some ways, he identifies more with Edward S. Curtis, who has been criticized for making idealized pictures of Native Americans, than with the street photography of Lee Friedlander or Garry Winogrand. “Curtis was trying to preserve something that had passed or that he thought was passing, and I think that’s what I want to do. These are the things that strike me. There’s something powerful and profound in them that I want to put on film. If I alter my development for an effect or I take a Coke can out digitally ... if you were creating a document, you wouldn’t do that, but I’m looking to create a sense of what these places were like.”

In an essay for Landscape Dreams, he writes that he culled his pretty vast portfolio to depict “the majesty and mystery of this place.” His first selection came to about 300 pictures. Then he had to narrow it down to 90. During this “agonizing” process, he strove to present “images that viewers would recognize instinctively.” If there was a picture of a cowboy, for example, it had to speak for all cowboys. (The book includes several photos of cowboys — and cowgirls.) “I would love to have had a picture from everywhere, but that was impossible,” he said.

Varjabedian enjoyed creating the book’s sequence of photographs, often pairing images with similar qualities on facing pages, like the photo of the Roswell architectural sculpture Rainbow Over ‘The Henge’ and the natural monument in Navajo Rock or the repeating squares of framed records behind the main subject of Buddy Holly’s Microphone opposite Thunderbirds’ repeating window rectangles in the Los Alamos post office.

Varjabedian mentioned that he had done some photography around the old haunt of legendary photographer Edward Weston in Carmel, but he is not thinking of doing a book about California landscapes. “I think New Mexico is a great subject. I feel like it has stolen me in some way. It has taken something from me, and when I’m away I miss it. That’s not true of other places I’ve lived.”

White Sands National Monument will be the subject of his next book. The target publication year is 2016, planned to coincide with the 100th birthday of the National Park Service. “I’ve made a couple dozen trips there. I think of it as a huge, abstract Etch A Sketch, because you go out at 4 p.m., and at 10 a.m. the next morning everything has been rearranged by the wind.

“I think abstraction brings a level of challenge. That’s the great thing about all this: one wants to be challenged. Forever. And when the challenge is gone, it’s time to hang it up, time to load up your horse and head into the sunset.” ◀

details ▼ Craig Varjabedian: Landscape Dreams, a New Mexico Portrait ▼ Opening reception & book signing 5 p.m. Friday, Nov. 23; exhibition through Dec. 29 ▼ William R. Talbot Fine Art, 129 W. San Francisco St., 982-1559

SANTA FE

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MUSEUM SHOP SALE Saturday and Sunday, November 24 & 25, 10 am – 5 pm

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I-25 Exit 276, follow “Las Golondrinas” signs 505-474-3817 or 471-2261 / golondrinas.org

Additional Santa Fe distribution.

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To advertise call Art Trujillo at 995-3852.

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PASATIEMPO

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Bill Kohlhaase I For The New Mexican Both pages: Steve Sheinkin’s illustrations from El Iluminado; left, Sheinkin’s depictions of himself and Ilan Stavans (in hat); images courtesy the artist

Hidden heritage ‘El Iluminado’ explores Santa Fe’s crypto-Jews

P

art murder mystery, part religious history, part identity quest, the graphic novel El Iluminado leaps across time and borders but is centered in Santa Fe. It begins with an actual event, a lecture on crypto-Jews in the Southwest, given at the New Mexico History Museum by Ilan Stavans, a professor of Latin American and Latino culture at Amherst College, in 2009. From there, its unfolds

at locations around Santa Fe and beyond as the book’s fictional version of Dr. Stavans, aided by an archivist at the museum, chases historical truth, a possible killer, and his own “authenticity.” Stavans pursues long-lost documents and traces of Judaism in the city’s “close-knit Catholic environment” and explores settings — illustrated by co-author and artist Steve Sheinkin — familiar to all Santa Feans: the Basilica of St. Francis of Assisi, the lobby of La Fonda, the walk along the Santa Fe River, the Santa Fe Opera. In his

Western hat and wire-rimmed glasses, Stavans becomes something of a comic Indiana Jones — an effect reinforced by Sheinkin’s cartoonish artwork — as he tries to unravel Colonial-era and contemporary mysteries.

“I wondered if people would think that it’s a sort of Dan Brown spoof,” Sheinkin said in a phone call from Saratoga Springs, New York. “Both Ilan and I loved those books, and it was funny to have [Stavans’] character develop around a role that Harrison Ford might play. The Da Vinci Code

film, of course, is terrible; they picked the wrong guy for the role. Our book is sort of a twist on The Da Vinci Code, and Ilan is something like that character.”

“I think Steve made me a better cartoon than I am a person,” Stavans said from Amherst. “I was absolutely flattered. The detective, a scholarly person that Steve captured who sometimes gets into trouble, gave us a lot of possibilities to work with.” And the part in which the curious academic becomes the dashing, if clumsy, sleuth? “My wife loved the idea of it very much,” Stavans said.

Stavans is one of the most prolific, best-known, and sometimes controversial scholars of Hispanic culture in the United States, an academic not afraid to use pop culture in pursuit of an audience. Born into a Jewish family in Mexico City, he has written on the relevance and meanings of the lingual hybrid Spanglish, edited The Norton Anthology of Latino Literature, and published novels, criticism, literary biography, and memoirs. He raised academic hackles in 1995 with his book The Hispanic Condition: Reflections on Culture and Identity in America, a look at the hyphenated existence of Latino Americans in U.S. culture. Sheinkin, long an anonymous writer of elementary and middle-school text books, is the creator of the witty and trenchant Rabbi Harvey comic-book series, stories in which the Talmudic code meets the code of the Old West. Lately, he has written history books under his own name. His most recent publication is Bomb: The Race To Build — And Steal — The World’s Most Dangerous Weapon.

The men first met when Stavans, the curator of an exhibit titled Monsters and Miracles: A Journey Through Jewish Picture Books, moderated a discussion at the Yiddish Book Center in Amherst. “My collaborator gave me some of the Rabbi Harvey comics,” Stavans said, “and I found them to be charming, provocative, and very unique. Then, at the event, we hit it off. Steve is a very humble, very creative, and talented man. The conversations we had were inspiring. After that, he surprised me with a very sweet mininovel, of which I’m a part.” Rabbi Harvey travels through time to present-day Mexico City, where he and Stavans stroll the once-Jewish neighborhoods where Stavans grew up. The story is so convincing that it’s hard to believe that the two didn’t actually wander the streets together. “Really, we did it all by email,” Sheinkin said. “I’d ask him questions in the character of Rabbi Harvey, and he would go off on these crazy cultural tangents like he does. It was great for the kind of thing I like to do. He sent me pictures from his old neighborhoods, and I drew them.”

Stavans introduced Sheinkin to the history of Luis de Carvajal, the Younger, a Jew who left Spain during the Inquisition. Carvajal tried to pass as a Catholic in Mexico, continuing to practice Judaism in secret. He was discovered and burned at the stake in 1596. Carvajal, who believed he was chosen by God to be “El Iluminado,” serves as the central image of Stavans and Sheinkin’s book, a man who finds it impossible to pass as something continued on Page 38

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November 23 -29, 2012

PASATIEMPO

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JUST FOR KIDS...

El Iluminado, continued from Page 37

What: CHILDREN’S HOLIDAY CRAFT WORKSHOP For: Children 4-12 years of age When: 1 to 3 p.m. Sunday, December 2, 2012 Where: Genoveva Chavez Community Center 3221 Rodeo Road, Santa Fe

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Adults, accompany your children to this fun-filled, free event.

For more information, contact the SFBG office 471-9103 Visit the SFBG website: www.santafebotanicalgarden.org

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he isn’t. “[Stavans] told me this story, which I’d never heard before,” Sheinkin said. “We started out throwing ideas back and forth and at first pictured doing a historical novel about Carvajal, but as we went on it became more of a mystery.”

“This is a novel that has historical roots,” Stavans said. “The research has been done seriously, and in repositioning that research about Carvajal or about the Basilica [of St. Francis of Assisi] into the broader social, religious tapestry, I have tried to be as accurate as possible. But in the end, it’s a novel. For example, when I go to the opera Life Is a Dream in Santa Fe, that happened a year apart from the lecture. It makes a great connection with the story, but it didn’t happen quite like that.

So there’s a freedom the novelist has that the scholar doesn’t.”

For his part, Sheinkin came to Santa Fe last spring to collect images and explore settings. “I did some sketching and took hundreds of photographs.

It was like being a scout for a movie location, looking for the coolest version of what I would need for illustrations. I went with an open mind to see what I would discover.” Readers will find authentic details in his simple drawings of the arch entrance to Cathedral Park, the entrance to the Basilica, the inside of its chapels, and even the “no skateboarding” signs on waste cans.

Sheinkin makes a cameo appearance as the desk clerk at La Fonda who inadvertently allows someone to ransack Stavans’ room.

The story of crypto-Jews in the Southwest, those who suppressed their religious identity or publicly converted to Catholicism, has long fascinated Stavans. “It’s been with me in one way or another for decades. I think that in the end the theme of the crypto-Jew is not just the search for identity of individuals or families or groups but much larger in the sense of what we invent about ourselves, the immigrants who are artists in the way they make themselves.” In the book, clues to the Jewish heritage to be found in Santa Fe are discovered on the entrance to the Basilica, in the chapel statuary, on barroom walls, and even around the neck of a local police detective.

Stavans has long been a fan of comic books. His Latino U.S.A.: A Cartoon History (illustrated by Lalo Alcaraz and published in 2000) is a sort of graphic handbook for those interested in Latino activism. He cited Will Eisner and Art Spiegelman as geniuses of the graphic novel. “I love what Spiegelman did with the Holocaust [in Maus]. He gave us permission to enter the realm of history and do it with scholarly acumen.” When did Stavans’ love of comic books develop? “I read a lot of the American imports growing up in Mexico City — Batman, Spider-man, Archie comics, all the usual suspects. But I particularly fell in love with the native comics, produced by Mexicans, that dealt with local issues. In retrospect, the combination of the two, the material from the U.S. and from Mexico and South America, shaped not only me but an entire generation of youth. It created in me an absolute passion for the form.”

Does he ever get criticism from his scholarly colleagues about embracing the comic-book form? “Oh, sure. I get some flak from them, but actually the response generally has been quite positive. I’ve been criticized in the past for making movies and doing television or writing nonacademic novels. But I think an element that compares and contrasts with the academic world is always welcome. In the academic world, when you receive criticism you think your career is over. In the popular culture world, when you get criticism, you think, good, someone is reading you.” ◀

details ▼ Ilan Stavans discusses El Iluminado (published by Basic Books/Perseus Group) ▼ 2 p.m. Sunday, Nov. 25 ▼ New Mexico History Museum, 113 Lincoln Ave. ▼ By museum entrance (no charge to N.M. residents on Sundays), 476-5200

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college art association

W O R K S H O P PA RT N E R S :

Creative Santa Fe = Littleglobe= New Mexico Arts New Mexico Lawyers for the Arts (NMLA) The City of Santa Fe Arts Commission = The Santa Fe Art Institute Santa Fe University of Art and Design = WESST PASATIEMPO

39

INFRASTRUCTURALISM

DUST IN THE MACHINE AT CCA

Paul Weideman I The New Mexican

40

????. ? - ?, 2012

n Saturday, Oct. 20, two men engaged in an improvisational plastering performance inside the Center for Contemporary Arts’ Muñoz Waxman Gallery. There was no finished wall as a result; the physical aspect of their achievement was temporary. “This was a piece that for me was trying to get at something intimate and somehow infrastructural at the same time,” said artist and surveyor Jesse Vogler, who did the piece with his father. “Plaster is a ubiquitous material in Santa Fe, and I work with my father in surveying, so often work is work and you don’t realize how two people learn to work together.

“For this, I strung a 4-by-8-foot section of expanded-lath substrate as a veil between us, and then with trowels and hawks we performed this plastering. We were simultaneously reliant on each other to provide equal pressure, mirroring one another’s movements, and we were also obscuring each other: we were creating a wall between us. And we learned how to communicate without making eye contact.”

The performance was an adjunct of the exhibition Dust in the Machine.

The show went up in the CCA gallery on Sept. 21 as part of Machine Wilderness, the 2012 International Symposium on Electronic Art, centered this year in Albuquerque.

“So much of how the world works is a mystery to us, and yet we are completely dependent on the conveniences, materials, and trades of mechanization,” writes curator Erin Elder in a statement about the exhibition. During a recent gallery visit, she said the works by the show’s eight artists “look at landscape as more than just scenery, as a place where modern civilization has used it for various purposes. It’s a soft-spoken statement about the state of the world.”

Besides working as visual arts director at CCA, Elder is a co-founder of PLAND: Practice Liberating Art through Necessary Dislocation, an off-the-grid residency program in Tres Piedras. “CCA is my main gig, but I have been doing PLAND for three years, including a lot of thinking and programs around the grid and our dependence on electricity and sophisticated systems of power. I lived without electricity and running water for nine months when we started PLAND. Dust in the Machine is informed by some of that experience, but I was also just interested in doing a show about mechanization and industrialization and about landscape issues.”

The Muñoz Waxman is a nice, big warehouse space, and you cover some distance walking among the various pieces. “In this show, I wanted to leave a lot of gaps where people have to fill things in for themselves,” Elder said. “I like to think of the audience as intelligent on many levels.”

A work you encounter early is San Francisco artist Adriane Coburn’s Just Below (sewer to bay). The 2005 piece is a map, or aerial view, of the sewer system in San Francisco, all the tiny piping intricately cut out of paper. The fragile, gridlike piece is hung over a large piece of paper on which the city’s historic waterways are painted in blue.

Untitled (Kennecott) and Untitled (power plant), a pair of large video projections by Lisa K. Blatt, also from San Francisco, show exhaust issuing from electrical power plants. “To me, they speak of our dependence and the fact that ... they keep going constantly; it’s a constant production,” Elder said.

From Albuquerque’s Bethany Delahunt is Watchtower (2011), a wood tower with surveillance camera. Here the artist invites visitors to take part in, and experience, surveillance — you can climb up and rotate the camera (an invention of Delahunt’s) to watch others in the gallery, and the video feed is observable in the CCA lobby.

Lucy Raven of Oakland, California, is represented with her 2009 piece China Town. The photograph-based animation traces the production of copper wire, taking in a Nevada mining operation and a smelter in China.

Elder pointed out that there are few humans in the Dust in the Machine artworks. “And if you do see humans, they’re workers, members of mechanized teams, like in Jamey Stillings’ bridge photographs.” These are Santa Fe photographer Stillings’ spectacular photographs of the Mike O’Callaghan-Pat Tillman Memorial Bridge over the Colorado River, the middle portion of the Hoover Dam Bypass Project. On Nov. 11, CCA hosted Stillings for a gallery talk about his newest project: photographing the huge Ivanpah Solar Electric Generating System being built in the

Mojave Desert. (Some of these prints are showing at Photo-eye Gallery through Dec. 1.)

Photography is also represented by a series of works by New York artist Shirley Wegner. They appear to be pictures of fires and explosions — but they are actually pictures of room-size dioramas of fire and black smoke that she constructed just to photograph.

Asked what sorts of comments she has heard from visitors to the gallery, Elder said the words gritty and sad stand out. She agrees with that latter description when it comes to Brooklyn artist Chris Ballantyne’s seven works in watercolor and acrylic on paper, which depict partially erased cultural landscapes.

Vogler did four new pieces for the show. An Agreement on Exclusions is a pile of sand — man-made fracking sand — dumped over the middle of a section of a gold-colored culvert. A tarring kettle and vehicle make up Untitled, 2012. “I think this is an interesting object to have in here,” Elder said. “Asphalting is so important and common, but in here, in this context, we consider it more as an art object.” The Blinding Light of Concern is simply a couple of road-construction cones, but rather than being orange, they’re clear. Finally, Internal Improvement IV is an actual massive chunk of striped roadway cushioned with rugs in a frame of heavy lumber.

Among Vogler’s recent projects in the world beyond Santa Fe were a performative land survey with the Pennsylvania artist community Mildred’s Lane; a mobile food device with the Chicago design school Archeworks; and a series of exhibits for the Center for Land Use Interpretation, a research organization based in Culver City, California, with a field site in Albuquerque. He also was the first special-projects resident at PLAND, which invited him to produce Boundary Maintenance: Internal Improvement, a “site-responsive project that utilizes ritualistic land survey to analyze, inscribe, maintain, and discuss the essence of boundaries,” according to the PLAND website.

PLAND co-sponsored Vogler’s Oct. 20 plastering performance at CCA; this was part of On Account of Speculation and Settlement, a public program presented in conjunction with Dust in the Machine. Another adjunct program was a Nov. 17 conversation between Vogler and Santa Fe Institute professor Luis Bettencourt. Vogler wanted to round up people from the realms of science, art, and administration for a spontaneous panel discussion based on a number of images he has collected over the years.

Concerning the nature of the images and the subjects of the panel discussion, Vogler said, “An image can be very potent, full of factual qualities, but when you start to pull it apart, there can be a lot of ambiguity. These are images of the effects of the construction or management of the built environment and landscapes that have been touched. One of the images comes from the construction of part of the middle Río Grande water-distribution system, but you can’t tell if it’s under construction or if it’s in ruins. I think the images speak to the promise that the modernized West has always come with, but then they also have qualities of emptiness or loneliness. Hopefully they’ll vibrate between being somewhat recognizable but unsettling as well.”

Vogler brought a dozen pictures, as did Bettencourt. “It was fascinating to watch,” reported Elder. “It was experimental, like reinventing the form of a one-on-one conversation. It felt like a dance in some ways, because they took turns leading, and they had never met one another before. The subjects ranged from how neurons in the brain work to how objects in space inform one another. It was pro-intellectual and not watered-down.

That was nice to see in a public event.” ◀

details ▼ Dust in the Machine ▼ Exhibit through Sunday, Nov. 25 ▼ Muñoz Waxman Gallery, Center for Contemporary Arts, 1050 Old Pecos Trail ▼ No charge; 982-1338

Opposite page, top: Shirley Wegner: Dark Explosion (detail), 2006, chromogenic print; below, Jamey Stillings: Colorado River Bridge, 10 September 2009, ©Jamey Stillings PASATIEMPO

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Dream awake

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J U ST A DDE D: HA P PY P E O P L E : A Y E A R I N T H E TAIG A DIRE C TO RS: Dm it r y Va sy u j ov, Wer ner Her zo g D o cument a r y | 2012 | 94 m in u tes | I n En glish Wer ner Her zo g’s 90 - mi n u te re - e d i t o f D mi tr y Va sy u kov ’s fou r- h ou r ex pl o rati o n o f o n e t ra p p er ’s life in t h e br u ta l l y col d, ex tre me n o r th o f R u ssia is a fa sc inati n g me d i tati o n o n a g e s o l d livelih o o d s t h at st i l l ex i s t i n th i s mo d e r n a g e.

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T HE SK I N I ’M I N Direc tor : Brod er ic k Fox D o cume nt a r y | U S A 2012 | 125 m in u tes | En g l i s h Th e sto r y o f a n ea g l e s co u t/va l e d i c to r i a n / p ro fesso r/ film m a ke r /d ra g qu e e n /h u s tl e r / a lco h o lic, h is b ru sh w i th d e ath a n d h i s s e a rc h fo r self t h ro u gh t h e tra n s fo r mati ve r i tu a l o f t at to o in g. I t will p rovo k e, s u r pr i s e, a n d i n s pi re yo u to reim a gin e w h o yo u a re.

CORRECTION for NOVEMBER 16 T H SFFF PROGRAM ANNOUNCEMENT: An d Now S ofia, Direc te d by A aron Patterson: S ofia M arquez, a transgender cowboy searches for acceptance and meaning.

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42

November 23-29, 2012

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43

Michael Abatemarco I The New Mexican

Andrew Beckham’s The Lost Christmas Gift n the pages of artist and author Andrew Beckham’s The Lost Christmas Gift, Gift published by Princeton Architectural Press, readers will find a poignant, magical tale of a father and son and their encounter with a mysterious figure on the night before Christmas Eve. The narrator, a man named Emerson Johansson, tells of a package he receives from his father decades after it was mailed. It arrives two days before Christmas, in the present time, and contains a journal that is reproduced, page for page, in The Lost Christmas Gift.. The journal details an adventure Johansson’s father shared with his son one holiday season, when the younger Johansson was a boy.

Now an old man himself, Johansson tells his story alongside the pages of the journal. Inside those pages are old photographs and a handwritten script, which contribute to the illusion that the journal is a relic from the past.

The photographs are real, not illustrations.

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November 23 -29, 2012

“Those are my photographs, and they were all taken on the same day a few years ago, right after a huge blizzard up on Rabbit Ears Pass, which is a high-country wilderness area in Colorado,” Beckham told Pasatiempo. “The narrative in the book is about a father and son who get lost on Rabbit Ears Pass during the blizzard. I did a few things to them to give them a vintage quality. I was able to get my hands on some glass plate negatives from the 1920s, which is the era I was interested in, and I scanned those glass negatives. I pulled the original imagery out and put my imagery in. I wanted the historical veneer of the visuals to be very real.” Beckham signs copies of The Lost Christmas Gift at Collected Works Bookstore on Friday, Nov. 23, and an exhibit of original artwork and prints from the book is on view at Chiaroscuro Contemporary Art. Johansson’s narration is in the book’s margins, next to the images from his father’s handmade journal. The journal includes Beckham’s photographs and illustrations, presented as though they are the work of Johansson’s father. To add to the illusion, Beckham’s introduction tells how the younger Johansson told Beckham the story, but the introduction, too, is a work of fiction. “There is no historical Emerson Johansson,” Beckham said. “He is a fictional character, but hopefully the reader is drawn in because there is this high level of realism.

By the time you get far enough into the book and you realize it’s a story about St. Nicholas — you get the reindeer and the sled and the whole bit — it becomes apparent that it’s a work of fiction. The idea is to draw the reader in with that almost documentary style at the beginning.”

The book’s cover image, also a photograph, is of the package containing the journal. Beckham went to lengths to present the image as an actual artifact, constructing the package by hand and then shooting it for the book.

He even had custom stamps made, based on early-20th-century French originals, to make the package look as though it had indeed been mailed from Europe years before. Johansson tells us his father was fighting in a war overseas and sent the package to compensate for his not being home for the holidays. (The time period or war is never specifically stated.)

“It is my first book to be published as a trade edition by a traditional publisher,” Beckham said. “About a decade ago I started doing limitededition, hand-built artist books out of my studio and found that there was a market for those. I was having some success selling them to specialcollections departments at university libraries and museum collections — institutional-level collections that had holdings in one-of-a-kind or limitededition artist books. The Lost Christmas Gift was originally a hand-built book continued on Page 46

Top to bottom, Andrew Beckham: The Bivouac; vellum overlay; The Map Images (including background art) from The Lost Christmas Gift

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I printed on my own, in a limited edition of five copies.” One of Beckham’s handmade versions of the book is displayed at Chiaroscuro, along with a series of framed triptychs of the original artwork, prints from the book, and several faux artifacts, including a letter from the father to the son (reproduced in the book) and the package Beckham made in his studio.

“One of my goals with this story was to tell it in two voices over time. I wanted to make this a book that would have enough layers of content and meaning that it would resonate with adults just as much as it would with kids. If it had been presented just as the journal itself without the sidebars (it does stand alone that way — you can read it all the way through without reading Emerson’s voice in the margins) it becomes a much simpler story. I really wanted a father-and-son dialogue over time. I wanted that poignancy. The idea of memory and myth and where those two connect is an idea I’m really drawn to.”

Beckham’s tale weaves in several representations of St. Nicholas that loosely trace early conceptions of him as an ambiguous shadow figure to the beneficent Santa Claus we know today. “When I looked around at the books on the holiday market that were about St. Nicholas, I was shocked that there were so few that had much depth to them. There’s Clement Moore’s The Night Before Christmas, which is the classic and has been around for years. Then there’s Chris Van Allsburg’s The Polar Express. But I was trying to tell that Nicholas story just a little bit differently. The first few times the father and son see this mysterious figure, he’s this really rough, almost scary-looking guy. He looks like he could be a trapper or a hunter or a chimney sweep. That comes from just after the Reformation.” The post-Reformation Protestant Church supplanted the figure of St. Nicholas with that of a gift-giving Christ Child, and St. Nicholas was relegated to a lesser position, though not as a saint. “Historians have thought of him as almost the shadow side or doppelgänger of Nicholas,” said Beckham. “He had a lot of different names, depending on what country or culture you’re talking about, but some examples would be Rough Clause or Ashen Clause. On the one hand, he would help the Christ Child hand out gifts, but on the other hand, he would whisk bad children away to some dark end. I wanted to take that piece of history and turn it on its head. As the story progresses, the mysterious character looks more and more familiar, and of course, by the last couple of drawings it’s clear who we’re talking about. My hope is that this is the kind of book you can go to again and again, and over time, more of its layers of meaning and layers of history and its content are going to bubble up to the surface after repeated reads.” ◀

details ▼ Andrew Beckham signs The Lost Christmas Gift 4 p.m. Friday, Nov. 23 Collected Works Bookstore, 202 Galisteo St., 988-4226 ▼ Andrew Beckham: The Lost Christmas Gift: Images & Artifacts Opening reception 5 p.m. Saturday, Nov. 24; exhibit through Dec. 29 Chiaroscuro Contemporary Art, 702½ Canyon Road, 992-0711

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Pasatiempo

2012 Writing Contest for All Seasons Tell Us a Story in Poetry or Prose

An Invitational Show featuring 16 Textile Masters

Storytelling is an honored New Mexico pastime. Here is your chance to be part of that tradition.

Nov 29 – Dec 8, 2012

Write about a memory, a special place, or a person who has had an impact on your life. Fiction, nonfiction, parody, or fantasy; in the style of Thurber or Ferber, Sedaris or Seuss, Hillerman or Cather — it’s up to you.

Adults (ages 19 and up): 1,000 words maximum Teens (13-18): 1,000 words maximum Children (5-12): up to 500 words Prizes to the winners courtesy: The Ark Bookstore, Bee Hive Children’s Book Store, Collected Works Bookstore and Coffeehouse, Garcia Street Books, Osteria D’Assisi, Santa Fe Bar and Grill, San Francisco Street Bar and Grill

TIME CAPSULE

Winning entries will be published in Pasatiempo on Friday, Dec. 28 Deadline: 4 p.m. Monday, Dec. 3 Rules: Entries must be received by 4 p.m.

Monday, Dec. 3. No exceptions.

Join us for a breakfast at 9:30am, Thursday, Nov 29 at Santa Fe Weaving Gallery downtown: 6 artists will discuss their work.

We reserve the right to edit work for publication.

Submissions must include name, address, telephone number, email address, and age; entries from schools should include grade and teacher’s name.

Mail entries to: 2012 Writing Contest c/o The Santa Fe New Mexican, 202 E. Marcy St., Santa Fe, N.M. 87501 ï Phone: 505≠ 986≠ 3096 Email entries to: writingcontest@sfnewmexican.com Electronic submissions are highly recommended.

left: Trudie Roberts California “Poppy One Kimono”

124½ Galisteo ~ downtown Santa Fe 505-982-1737 sfwg@textileaddiction.com santafeweavinggallery.com

PASATIEMPO

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MOVING IMAGES pasa pics

— compiled by Robert Ker

The Loneliest Planet is disquieting and memorable but would have benefited from less obscurity. Not rated. 113 minutes. The Screen, Santa Fe. (Adele Oliveira) See review, Page 52.

PERFORMANCE AT THE SCREEN The fall series of high-definition screenings of performances from afar continues with a showing of William Shakespeare’s All’s Well That Ends Well from Shakespeare’s Globe Theatre in London. John Dove directs. Michael Bertenshaw, Janie Dee, Sam Crane, and Sam Cox star.

11 a.m. Sunday, Nov. 25, only. Not rated. 138 minutes.

The Screen, Santa Fe. (Not reviewed) WILD HORSE, WILD RIDE Seven wild mustangs and their trainers compete in the annual Extreme Mustang Makeover Challenge in this heartwarming documentary.

Though it follows the familiar “makeover” format, the focus is on the bond between the humans and the animals, not the competition. If trainers want to keep their mustangs, they bid against the public at the end of 100 days. The horses’ visible neck brands make it a wonder that they trust humans at all. Rated PG. 106 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) Caught in a web: Elizabeth Banks and Tobey Maguire in The Details, at the Center for Contemporary Arts in Santa Fe

opening this week CITY LIGHTS Charlie Chaplin has made films that are more pointed and iconic than City Lights, but none of them has as much heart — or arguably as many laughs — as this fable, in which Chaplin’s famous Tramp tries to win over a blind flower girl by taking on a series of odd jobs. The boxing scene remains one of the most deft and entertaining sequences in all of cinema. Screened from a restored 35 mm print.

Rated G. 87 minutes. Center for Contemporary Arts, Santa Fe. (Robert Ker) THE DETAILS Tobey Maguire plays a man with a loveless marriage in a comfortable suburban life until raccoons begin foraging in his backyard. As he tries to vanquish the pests, he runs into his kooky neighbor (Laura Linney), and this encounter sets him down a quirky, Coen Brothers-esque path of lust, infidelity, and perhaps something much darker. Elizabeth Banks and Ray Liotta co-star. Rated R. 96 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) DIANA VREELAND: THE EYE HAS TO TRAVEL The legendary Diana Vreeland — fashion editor for Harper’s Bazaar for 48

November 23-29, 2012

more than 25 years and longtime editor-in-chief of Vogue — is the focus of this entertaining, reverential documentary, written and directed by Bent-Jorgen Perlmutt, Frédéric Tcheng, and Lisa Immordino Vreeland (the subject’s granddaughter-in-law).

Vreeland was born in 1903 and died in 1989, and any story about her life ends up also being a chronicle of significant 20th-century cultural events. The film is full of interviews with designers, models, photographers, and celebrities — so many it begins to get dizzying. Anyone who is not familiar with Vreeland or who questions her impact on popular culture should watch and listen closely. Rated PG-13.

86 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) See review, Page 56.

THE LONELIEST PLANET Nica (Hani Furstenberg) and Alex (Gael García Bernal) are free-spirited backpackers on a trip to the Caucasus Mountains in Georgia. Director Julia Loktev easily establishes what it feels like to be very far from home, the delicate emotional cocktail of fear and seemingly infinite possibility. The couple hires a local guide (Bidzina Gujabidze) to lead them on a trek. Scenes of hiking are quiet and intense; the characters look tiny against the backdrop of grassy mountains. Loktev effectively builds subtle tension; we spend the first half of the movie waiting for something to happen. When something finally does, it is not what we expect, and afterward, everything is different.

now in theaters ARGO Ben Affleck takes a true story by the throat and delivers a classic seatsquirming, pulse-pounding nail-biter.

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 and John Goodman at the Hollywood end and a spot-on bunch of unknowns as the hiders. Rated R. 120 minutes.

Regal DeVargas, Santa Fe. ( Jonathan Richards) BLESS ME, ULTIMA In lesser hands, the film adaptation of Rudolfo Anaya’s classic novel could have been cloyingly precious magical realism. But Bless Me, Ultima, directed by Carl Franklin, was shot in and around Santa Fe with Spanish-speaking actors, which imbues the story of murder and witches in World War II-era Northern New Mexico with authenticity. Antonio (played by Luke Ganalon), is 6 years old when his grandmother Ultima (Miriam Colon), a curandera, comes to stay with his family. Antonio sees too much for a kid his

age, but he is brave in the face of grown-up pressures.

Rated PG-13. 105 minutes. In English and Spanish, no subtitles. Regal Stadium 14, Santa Fe; Taos Community Auditorium, 133 Paseo del Pueblo Norte, Taos, 575-758-2052. (Jennifer Levin) CLOUD ATLAS If you see only one film this year, perhaps it should be Cloud Atlas.

Not that it’s the best movie, but it’s six movies for the price of one, it packs the running time of two more modest features, and it’s the work of three directors. It serves up some of your favorite actors in a half dozen different roles apiece, sometimes heavily disguised. David Mitchell’s centuries-spanning 2004 bestseller is a complex challenge that the author thought could never be translated into a movie, and as he himself recently admitted, “I was half right.” Still, there’s no denying the film’s entertainment value and its technical accomplishment. Rated R. 172 minutes.

Regal DeVargas, Santa Fe. ( Jonathan Richards) FLIGHT Director Robert Zemeckis returns with his first live-action film since 2000’s Cast Away, and it’s about everyone’s favorite subject: a commercial flight gone horribly wrong. Denzel Washington plays a pilot who pulls off a miracle of an emergency landing, but the ensuing investigation into the near-crash turns up troubling facts — some of which implicate the pilot in the disaster, tearing his life apart. Don Cheadle and John Goodman co-star. Rated R. 139 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)

to the Constitution and what it took, politically, to achieve it. The president deals with the false choice of ending the war and ending slavery, hearty criticism from his political enemies on both sides, 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. Sally Fields as Mary Todd Lincoln and Tommy Lee Jones as radical abolitionist Thaddeus Jones stand out from an otherwise unremarkable ensemble cast. Interesting, but not epic. Rated PG-13. 149 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Bill Kohlhaase) THE PERKS OF BEING A WALLFLOWER Stephen Chbosky’s young-adult novel gets an adaptation of such high-polished twee that it can only have come from the production company behind Juno.

Chbosky wrote and directed the film. Charlie (Logan Lerman) is new to his high school and a bit shy. He receives some guidance from Sam (Emma Watson) and her half-brother, Patrick (Ezra Miller).

Rated PG-13. 103 minutes. Regal DeVargas, Santa Fe. (Not reviewed)

A LATE QUARTET The egos and personalities among members of a string quartet on the eve of their 25th season together is examined the way a sports team might be before a big game. The cellist (Christopher Walken) is diagnosed with Parkinson’s disease, which hits the violist (Catherine Keener) hard. Her husband, the second violinist (Philip Seymour Hoffman), wants to swap chairs with the first (Mark Ivanir). Rated R. 105 minutes. Regal DeVargas, Santa Fe. (Not reviewed)

RED DAWN Here’s another unnecessary remake to toss on the funeral pyre of original cinema. This revamp of John Milius’ 1984 film is a serviceable action flick, but that doesn’t mean it needed to be made. When North Korean forces invade Spokane, Washington, a group of teens, led

by Iraq War veteran Jed (Chris Hemsworth), head for the hills. Vowing to liberate their friends and families, they organize as a ragtag group of guerilla fighters, calling themselves the Wolverines. The performances are mostly fine, but the big, bold, nearly bloodless action sequences suffer from shaky, chaotic handheld camera work, and there are some unsettling xenophobic, racist, and pro-citizensmilitia undertones. Rated PG-13. 93 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Laurel Gladden) See review, Page 58.

LIFE OF PI Ang Lee directs this adaptation of the much-loved novel by Yann Martel, in which a boy named Pi (Suraj Sharma) finds himself sharing a lifeboat on the ocean with a Bengal tiger. He spends much of the ride learning lessons about his inner strength and hoping that the tiger doesn’t get so hungry that a slice of Pi starts looking tasty. Rated PG. 127 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)

RISE OF THE GUARDIANS Earlier this year, Marvel’s superheroes banded together as The Avengers. Now we get a super team of Santa Claus, the Easter Bunny, the Tooth Fairy, and more. They join one another in this animated adventure to fight an evil spirit named Pitch (voiced by Jude Law). Hugh Jackman, Chris Pine, and Alec Baldwin also lend their voices. Rated PG. 97 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)

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

A ROYAL AFFAIR In the 1760s, well-read English princess Caroline Mathilde (Alicia Vikander) is betrothed to Christian VII (Mikkel Boe Følsgaard), the mentally unstable king

City Lights

of Denmark and Norway. Christian hires a German physician, Johann Friedrich Struensee (Mads Mikkelsen), who comes to court, tends to the king’s health, and (ahem) cures what’s ailing the queen as well. This is an exemplary — if not gripping — period melodrama, with gorgeously lit sets, dewycomplexioned women, steely-eyed heroes, and a sweeping score. Rated R. 137 minutes. In Danish, German, and French with subtitles. The Screen, Santa Fe. (Laurel Gladden) SAMSARA This is a documentary without narration, without characters, without a formal story. Its narrative and message, driven by a hypnotic Michael Stearns score, are conveyed by director Ron Fricke’s (Baraka) sequence of stunning images, filmed in 70 mm and gathered from 25 countries on five continents. The visuals are extraordinary, but much of the time you may find yourself wondering where you are, even as you bathe in the beauty of nature’s abundance and culture’s triumphs or squirm at the robotic cruelty and soullessness of the modern world. But for all the negatives, the beauty ultimately trumps the squalor.

Rated PG-13. 99 minutes. Center for Contemporary Arts, Santa Fe. (Jonathan Richards) SEARCHING FOR SUGAR MAN Malik Bendjelloul’s film about the search for a talented musician named continued on Page 50

PASATIEMPO

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MOVING IMAGES pasa pics

continued from Page 49

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. The film packs an emotional wallop.

Rated PG-13. 85 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) THE SESSIONS Mark O’Brien ( John Hawkes), a West Coast poet and journalist, has spent most of his life confined to an iron lung. He has a working head attached to a useless rag doll of a body, and he decides at the age of 38 to experience sex with a woman before his use-by date runs out. This movie tells the true story of his sessions with a sex surrogate (Helen Hunt) and recalls, with wry humor and touching tenderness, something of the extraordinary bond of connection and self-awareness that the sex act can access. Rated R. 95 minutes. Regal DeVargas, Santa Fe ( Jonathan Richards) SEVEN PSYCHOPATHS Writer/director Martin McDonagh follows his 2008 cult hit In Bruges with another story of eccentric gangsters. This time, he’s got quite the canvas for his snappy dialogue: the cast includes Sam Rockwell, Christopher Walken, Woody Harrelson, Tom Waits, and Colin Farrell, and the story involves screenwriting, psychopaths, and a dognapped Shih Tzu. The actors have a good time, and there are wonderful moments in between the dead spots. McDonagh is a master storyteller, sprinkling his humor and violence with poignancy and postmodernism, but this feels more like a short-story collection than a novel. Rated R. 109 minutes. Regal DeVargas, Santa Fe. (Robert Ker) SILVER LININGS PLAYBOOK This story, based on Matthew Quick’s novel, centers on Pat Solatano (Bradley Cooper), who after being released from a mental institution moves in with his parents ( Jacki Weaver and Robert De Niro) and vows to win back his estranged wife (restraining order notwithstanding).

When friends ( John Ortiz and Julia Stiles) invite him to dinner, he meets Tiffany ( Jennifer Lawrence), who also has a couple of screws loose. She agrees to help

spicy bland

medium

mild

heartburn

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

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him patch things up with his wife — but only if he will agree to be her partner in a dance competition.

The story swerves hilariously around clichés, and finely honed dialogue, attention to everyday detail, and impressive performances make the film perfect oddball comic relief for the holiday season. Rated R. 122 minutes. Regal Stadium 14, Santa Fe. (Laurel Gladden) See review, Page 54.

SISTER The acting in this unflinching portrayal of a little boy’s need for love is superb. Simon, age 12, steals for a living. He lives in the valley of a Swiss ski town with his sister, Louise, who isn’t much inclined toward mothering her little brother. Sister asks what the difference is between love and obligation. What does it mean to be wanted? And when we know that we are not, what becomes of us? The answers are among the most emotionally brutal ever captured on film.

Not rated. 97 minutes. In French and English with subtitles. The Screen, Santa Fe. ( Jennifer Levin) SKYFALL In Daniel Craig’s third outing as James Bond, a terrorist declares war on MI6, and the agents go underground, holing up beneath the streets of London. Javier Bardem makes for a memorable, if campy, villain, and the acting from the British cast (including Judi Dench, Ralph Fiennes, and Ben Whishaw) is superb, but the crisp dialogue holds up better than the overall plot.

Cinematographer Roger Deakins gives the film a polished, sumptuous look. Rated PG-13. 143 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Jeff Acker) THE STORY OF FILM: AN ODYSSEY This is the Lord of Film Histories, its 900-minute running time eclipsing the combined duration of Peter Jackson’s Lord of the Rings trilogy by four hours. But if you have a weak bladder, have no fear — The Screen presents it in installments.

Breathtaking and audacious, it boasts more depth and breadth than any previous effort to chronicle the history of cinema. Episodes 11 and 12 screen at 7:15 p.m. Sunday, Nov. 25. Not rated. Each episode runs approximately 60 minutes. The Screen, Santa Fe. ( Jon Bowman) TALES OF THE NIGHT French animator Michel Ocelot returns with another spectacle of style and shadow-puppet narrative, delivering six tales told through the prism of an evening at a magical movie theater occupied by an aging cinema technician and two children with wild imaginations. Ornate set pieces drenched in color and crafted using traditional silhouette animation and digital technology prop up the six internationally flavored stories, which range in content from werewolves to human sacrifice and unrequited love. While

some of the subject matter may bore the smaller Pixar ponies in your family stable — and may come off as underdeveloped to some adults — Ocelot retains his gift for enchanting people of all ages with his singular visual gifts. Not rated. 84 minutes. Dubbed in English.

CCA Cinematheque, Santa Fe. (Rob DeWalt) THE TWILIGHT SAGA: BREAKING DAWN — PART 2 With this final installment of As the Vampire Turns, we can finally put the Twilight franchise in its grave. Our newly bloodsucking heroine Bella (Kristen Stewart) learns to hunt (animals, not people) and discovers that her werewolf pal Jacob (Taylor Lautner) has “imprinted” on her newborn daughter, which means they will be mates for life. The girl is half human, half vampire and grows with unusual speed; the elder Volturi council mistakes her for an uncontrollably vicious “immortal child” and pays the Cullen clan a visit. Twi-hard fans will appreciate the film’s fidelity to the novel (despite one welcome twist) and Lautner’s obligatory removingof-the-clothes moment. The rest of us should thank our lucky stars for the levity screenwriter Melissa Rosenberg injects into the story and a gripping battle scene. But the score is overblown and soapy, the CGI looks cheap, and the makeup remains ridiculously clownlike. Rated PG-13. 115 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Laurel Gladden) WRECK-IT RALPH With its many nods to old-school video games, Wreck-It Ralph initially seems like a cartoon that appeals more to ex-geek parents than their offspring. And then the story — about a villain (the title character, voiced by John C. Reilly) who breaks out of his video game to become a hero — kicks in, and the action shifts to the fictional “Sugar Rush” racing game and its colorful setting, where the film becomes a psychedelic swirl of adventure and imagination.

Wreck-It Ralph may be too long, but it racks up a high score when it comes to heart, cleverness, and humor.

Rated PG. 120 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Robert Ker)

other screenings Center for Contemporary Arts 7 p.m. Wednesday, Nov. 28: Raiders of the Lost Ark. Archaeologist and anthropologist George J. Gumerman speaks; part of Santa Fe Institute’s Science on Screen series.

Museum of Contemporary Native Arts 108 Cathedral Place, 983-1666 Grab. ◀

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Call theaters or check websites to confirm screening times.

CCA CINEMATHEQUE AND SCREENING ROOM 1050 Old Pecos Trail, 982-1338, ccasantafe.org City Lights (NR) Sat. and Sun. 12:30 p.m. Tue. 6 p.m.

The Details (R) Fri. 4:15 p.m., 8:15 p.m. Sat. and Sun. 4:30 p.m., 8:30 p.m. Tue. and Wed. 4 p.m.

Thurs. 4:15 p.m.

Raiders of the Lost Ark (PG) Wed. 7 p.m.

Samsara (PG-13) Fri. to Sun. 7:15 p.m. Fri. to Sun. 7:15 p.m. Tue. 7:15 p.m. Tue. 7:15 p.m. Wed. and Thurs. 7:30 p.m. Wed. and Thurs. 7:30 p.m.

Searching for Sugar Man (PG-13) Fri. 2:15 p.m., 6:15 p.m. Fri. 2:15 p.m., 6:15 p.m. Sat. and Sun. 2:30 p.m., 6:30 p.m. Sat. and Sun. 2:30 p.m., 6:30 p.m.

Tue. 2 p.m., 8:15 p.m. Tue. 2 p.m., 8:15 p.m.

Wed. 2 p.m. Wed. 2 p.m. Thurs. 2:15 p.m., 6:15 p.m., 8:15 p.m. Thurs. 2:15 p.m., 6:15 p.m., 8:15 p.m.

Tales of the Night (NR) Fri. to Sun. 5:30 p.m. Fri. to Sun. 5:30 p.m. Tue. to Thurs. 5:15 p.m. Tue. to Thurs.

5:15 p.m.

Wild Horse,Wild Ride (PG) Fri. to Sun. 1 p.m., 3:15 p.m. Fri. to Sun. 1 p.m., 3:15 p.m. Tue. 3 p.m.

Tue. 3 p.m. Wed. 3:15 p.m. Wed. 3:15 p.m. Thurs.

3 p.m.

REGAL DEVARGAS 562 N. Guadalupe St., 988-2775, fandango.com Argo (R) Fri. and Sat. 1:20 p.m., 4:30 p.m., 7:10 p.m., 9:55 p.m. Sun. to Thurs. 1:20 p.m., 4:30 p.m., 7:10 p.m.

Cloud Atlas (R) Fri. to Thurs. 12:50 p.m., 4:15 p.m., 7:40 p.m.

Diana Vreeland:The Eye Has to Travel (PG-13) Fri. and Sat. 1 p.m., 3:10 p.m., 5:20 p.m., 7:30 p.m., 9:50 p.m.

Sun. to Thurs. 1 p.m., 3:10 p.m., 5:20 p.m., 7:30 p.m.

A Late Quartet (R) Fri. and Sat. 1:30 p.m., 4 p.m., 7 p.m., 9:45 p.m. Sun. to Thurs. 1:30 p.m., 4 p.m., 7 p.m.

The Perks of Being a Wallflower (PG-13) Fri. to Thurs. 4:20 p.m., 7:20 p.m.

The Sessions (R) Fri. and Sat. 1:05 p.m., 3:20 p.m., 5:35 p.m., 7:50 p.m., 10:05 p.m. Sun. to Thurs. 1:05 p.m., 3:20 p.m., 5:35 p.m., 7:50 p.m.

Seven Psychopaths (R) Fri. and Sat. 1:10 p.m., 10 p.m.

Sun. to Thurs. 1:10 p.m.

REGAL STADIUM 14 3474 Zafarano Drive, 424-6296, fandango.com Bless Me, Ultima (PG-13) Fri. to Thurs. 12:05 p.m., 2:45 p.m., 5:20 p.m., 7:55 p.m., 10:30 p.m.

Flight (R) Fri. to Thurs. 12:50 p.m., 4:05 p.m., 7:20 p.m., 10:25 p.m.

Life of Pi (PG) Fri. to Sun. 10:45 a.m., 4:45 p.m., 10:45 p.m. Mon. to Thurs. 4:45 p.m., 10:45 p.m.

Life of Pi 3D (PG) Fri. to Sun. 10:15 a.m., 1:15 p.m., 1:45 p.m., 4:15 p.m., 7:15 p.m., 7:45 p.m., 10:15 p.m.

Mon. to Thurs. 1:15 p.m., 1:45 p.m., 4:15 p.m., 7:15 p.m., 7:45 p.m., 10:15 p.m.

Lincoln (PG-13) Fri. to Thurs. 12:10 p.m., 3:45 p.m., 7:10 p.m., 10:30 p.m.

Red Dawn (PG-13) Fri. to Thurs. 11:20 a.m., 2:10 p.m., 5 p.m., 7:50 p.m., 10:35 p.m.

Rise of the Guardians (PG) Fri. to Thurs. 12:10 p.m., 2:40 p.m., 5:10 p.m., 7:40 p.m., 10:10 p.m.

Rise of the Guardians 3D (PG) Fri. to Thurs.

11:30 a.m., 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m.

Silver Linings Playbook (R) Fri. to Thurs. 11:05 a.m., 1:55 p.m., 4:45 p.m., 7:35 p.m., 10:25 p.m.

Skyfall (PG-13) Fri. to Thurs. 12:15 p.m., 12:55 p.m., 3:50 p.m., 4:10 p.m., 7:05 p.m., 7:25 p.m., 10:20 p.m., 10:35 p.m.

TheTwilight Saga: Breaking Dawn — Part 2 (PG-13) Fri. to Sun. 10 a.m., 10:30 a.m., 1 p.m., 1:30 p.m., 4 p.m., 4:30 p.m., 7 p.m., 7:30 p.m., 10 p.m., 10:30 p.m. Mon. to Thurs. 1 p.m., 1:30 p.m., 4 p.m., 4:30 p.m., 7 p.m., 7:30 p.m., 10 p.m., 10:30 p.m.

Wreck-It Ralph (PG) Fri. to Thurs. 11:10 a.m., 1:50 p.m., 4:35 p.m., 7:20 p.m., 10 p.m.

THE SCREEN Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, thescreensf.com All’s Well That Ends Well from Shakespeare’s Globe Theatre (NR) Sun. 11 a.m.

The Loneliest Planet (NR) Fri. and Sat. 7:45 p.m.

Sun. 4:45 p.m. Mon. to Thurs. 7:45 p.m.

A Royal Affair (R) Fri. and Sat. 2 p.m., 5 p.m.

Sun. 2 p.m. Mon. to Thurs. 2 p.m., 5 p.m.

Sister (NR) Fri. and Sat. noon Mon. to Thurs. noon The Story of Film: Episodes 11 & 12 (NR) Sun. 7:15 p.m.

STORYTELLER DREAMCATCHER CINEMA (ESPAÑOLA) 15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, storytellertheatres.com Flight (R) Fri. and Sat. 12:45 p.m., 3:45 p.m., 6:50 p.m., 9:55 p.m. Sun. 12:45 p.m., 3:45 p.m., 6:50 p.m. Mon. to Thurs. 3:45 p.m., 6:50 p.m.

Life of Pi (PG) Fri. to Wed. 3:50 p.m. Thurs. 3:50 p.m.

Life of Pi 3D (PG) Fri. and Sat. 12:50 p.m., 6:40 p.m., 9:25 p.m. Sun. 12:50 p.m., 6:40 p.m. Mon. to Wed. 6:40 p.m. Thurs. 6:40 p.m.

Lincoln (PG-13) Fri. to Sun. 12:40 p.m., 4:10 p.m., 7:20 p.m. Mon. to Thurs. 4:10 p.m., 7:20 p.m.

Red Dawn (PG-13) Fri. and Sat. 1:15 p.m., 4:05 p.m., 6:55 p.m., 9:45 p.m. Sun. 1:15 p.m., 4:05 p.m., 6:55 p.m.

Mon. to Wed. 4:05 p.m., 6:55 p.m. Thurs. 4:05 p.m., 6:55 p.m.

Rise of the Guardians (PG) Fri. and Sat. 1:05 p.m., 3:40 p.m., 6:35 p.m., 9:15 p.m. Sun. 1:05 p.m., 3:40 p.m., 6:35 p.m. Mon. to Wed. 3:40 p.m., 6:35 p.m. Thurs.

3:40 p.m., 6:35 p.m.

Rise of the Guardians 3D (PG) Fri. and Sat. 1:20 p.m., 4:20 p.m., 7:05 p.m., 9:20 p.m. Sun. 1:20 p.m., 4:20 p.m., 7:05 p.m. Mon. to Wed. 4:20 p.m., 7:05 p.m. Thurs.

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

Skyfall (PG-13) Fri. and Sat. 12:55 p.m., 3:55 p.m., 6:45 p.m., 9:50 p.m. Sun. 12:55 p.m., 3:55 p.m., 6:45 p.m.

Mon. to Thurs. 3:55 p.m., 6:45 p.m.

TheTwilight Saga: Breaking Dawn — Part 2 (PG-13) Fri. 1 p.m., 1:25 p.m., 4 p.m., 4:25 p.m., 7 p.m., 7:25 p.m., 9:40 p.m., 10 p.m. Sat. 1 p.m., 1:25 p.m., 4 p.m., 4:25 p.m., 7 p.m., 7:25 p.m., 9:40 p.m., 10 p.m.

Sun. 1 p.m., 1:25 p.m., 4 p.m., 4:25 p.m., 7 p.m., 7:25 p.m.

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

Wreck-It Ralph (PG) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:15 p.m., 9:35 p.m. Sun. 1:30 p.m., 4:30 p.m., 7:15 p.m.

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

MITCHELL STORYTELLER CINEMA 110 Old Talpa Canon Road, 575-751-4245 Flight (R) Fri. and Sat. 4:15 p.m., 7:05 p.m., 9:55 p.m.

Sun. to Thurs. 4:15 p.m., 7:05 p.m.

Life of Pi (PG) Fri. to Sun. 1:50 p.m., 4:30 p.m. Mon. to Thurs. 4:30 p.m.

Life of Pi 3D (PG) Fri. and Sat. 7:10 p.m., 9:50 p.m.

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

Red Dawn (PG-13) Fri. and Sat. 2:20 p.m., 4:55 p.m., 7:30 p.m., 9:40 p.m. Sun. 2:20 p.m., 4:55 p.m., 7:30 p.m.

Mon. to Thurs. 4:55 p.m., 7:30 p.m.

Rise of the Guardians (PG) Fri. to Sun. 2 p.m., 4:35 p.m. Mon. to Thurs. 4:35 p.m.

Rise of the Guardians 3D (PG) Fri. and Sat. 7 p.m., 9:35 p.m. Sun. to Thurs. 7 p.m.

Skyfall (PG-13) Fri. and Sat. 2:25 p.m., 6:50 p.m., 9:45 p.m. Sun. 2:25 p.m., 6:50 p.m. Mon. to Thurs.

4:25 p.m., 7:20 p.m.

TheTwilight Saga: Breaking Dawn — Part 2 (PG-13) Fri. and Sat. 2:15 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m.

Sun. 2:15 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs.

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

Wreck-It Ralph (PG) Fri. and Sat. 2:05 p.m., 4:40 p.m., 7:20 p.m., 9:45 p.m. Sun. 2:05 p.m., 4:40 p.m., 7:20 p.m.

Mon. to Thurs. 4:40 p.m., 7:20 p.m.

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CIRQUE de COOLEY It’s a pop-up of Art and Fun seven days a week, Thanksgiving to Christmas Dennis Larkins, Esteban Bojorquez, Joe Buffalo Nickels, Holly Wood, Mark West, Don Kennell, Michael Sharber, Gilbert Candelaria, Michael Stone, Kathleen O’Neill, Pamela Frankel Fiedler, Leah Saulnier, Jennie Cooley, Stan Solomon and David Cudney FIVE GROUP SHOWS OF FINE ART Openings with Artists Demos, Entertainment & Surprises Fridays 5pm - 7pm, November 23 & 30, December 7, 14 & 21 Gallery open 10am - 5pm, Sunday - Thursday & Saturday; 10am - 7pm Friday Lucky Bean Cafe, Sanbusco (formerly Borders)

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PASATIEMPO

51

MOVING IMAGES film reviews

Only the lonely Adele Oliveira I The New Mexican The Loneliest Planet, drama, not rated, The Screen, 3 chiles It’s hard not to think of the alternative, marketed-tocool-tourists Lonely Planet guidebook series during the first scenes of The Loneliest Planet. Though the title alone suggests that the implication is deliberate, the connection is more in the way that Nica (Hani Furstenberg) and Alex (Gael García Bernal) — the two main characters in this understated and disquieting film, written and directed by Julia Loktev — interact with a foreign environment. We don’t know much about Nica and Alex at the beginning of the film (and throughout) other than that they’re seasoned travelers, in love, and engaged to be married.

The film opens in a small town at the foot of the Caucasus Mountains in Georgia. Nica and Alex are like free-spirited backpackers the world over. They mime different animals when ordering meat on a skewer from a street vendor (Nica pulls up on the tip of her nose, indicating pork) and smile and nod a lot when trying to communicate with locals. They haggle with Dato (Bidzina Gujabidze), an English-speaking guide from the village who will lead them on a several-day trek through the Caucasus.

Nica and Alex don’t know exactly what’s going on, and neither do we. Snatches of Georgian are not translated into subtitles, and while Nica and Alex might be able to muster “thank you,” “cheers,” and “how much” in the language, that’s about it. The tone at the beginning of the movie is perfect: Loktev easily

52

November 23 -29, 2012

Are we there yet? Gael García Bernal, Bidzina Gujabidze, and Hani Furstenberg

establishes what it feels like to be very far from home, the delicate emotional cocktail of fear and insecurity swirled with seemingly infinite possibility.

Settling on a price with Dato, the trio heads off into the mountains. Here, Loktev reveals a preference for long uncut sequences, most shot from very far away, in which the tiny figures of Alex, Nica, and Dato cross the vast and open landscape in summertime, all soft grass and jagged stone. Inti Briones’ cinematography during these cuts is excellent, mostly because the Caucasus is so beautiful. Loktev allows her characters to walk across the span of the mountainside and the screen, set to a soundtrack of loose and mournful stringed instruments. Except for these long takes, which end abruptly but occur at regular intervals, the hiking is generally quiet and intense, punctuated by brief, playful moments of conversation. Tension slowly and very effectively builds. We spend the first half of the movie waiting for something to happen.

When something finally does happen, it is not what we expect, a small and brief gesture. If you’re not paying close attention, you might miss its significance. But after this moment, everything is subtly and entirely different.

Even after the halfway point, The Loneliest Planet is a quiet movie. Like Loktev, we learn to scrutinize everything: facial expressions, gestures, the brands of backpacks and Eastern European cigarettes. The film’s thoughtful and precise composition is reflected in what the characters say (and mostly don’t say) to each other, as well as in their clothing — Nica wears a green Fair Isle sweater, while Dato sports worn cargo pants — which blends almost seamlessly into the mountains.

Only Nica’s curling red hair stands out. Loktev’s

sensibilities are geared toward minutiae, and she amplifies small noises, like the clatter of tent poles or the sound wind makes as it moves through the grass.

Given the film’s proclivities for landscape and lack of dialogue, one imagines that the short story “Expensive Trips Nowhere” by Tom Bissell, on which The Loneliest Planet is based, is heavy on description.

I don’t know how much of the trio’s inner dialogue the story reveals, if any, but in the film we get Dato’s back story alone. A nonactor and a real-life mountaineer, Gujabidze gives an unstudied and suitably gruff performance. In looks and in bearing, Furstenberg is reminiscent of Jessica Chastain, particularly as she appeared in last year’s Take Shelter. Slight but scrappy, Furstenberg portrays Nica as independent yet fragile.

García Bernal sports a backpacker’s overgrown beard and is generally spot on as he inhabits a familiar and comfortable mode of soulful sensitivity (as also seen in The Motorcycle Diaries and The Science of Sleep).

Like The Loneliest Planet, Loktev’s previous film — Day Night Day Night, which follows a female suicide bomber through New York City — leaves many things unsaid. In both films, questions and expectations go unanswered and unfulfilled. Loktev’s willingness to be as subtle as she pleases is refreshing, as is her dedication to making her characters and scenes feel real.

Nica, Alex, and Dato deal with circumstances by practicing the silent treatment and getting drunk around the campfire. In life, we often don’t talk about the things we should.

We believe in Nica and Alex and what happens to them because they remind us of people we’ve met on the road. But a bit more dialogue (and slightly less obscurity) would have served the film well. ◀

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PASATIEMPO

53

MOVING IMAGES film reviews

Don’t call it a comeback Laurel Gladden I For The New Mexican Silver Linings Playbook, oddball family dramedy, rated R, Regal Stadium 14, 3.5 chiles Everyone knows you shouldn’t judge a book by its cover. In a few rare cases, you shouldn’t judge a film by its trailer, either. Summarized in a two-minute nugget, Silver Linings Playbook, the new film from director David O. Russell, looks like a predictable dud: a handsome but troubled man meets an attractive but troubled young woman; by teaching him to dance, she helps him overcome his problems and brings him back to life. If you decide not to see this film based on that summary or on the preview you have by now probably seen several times, you’ll miss out on something really interesting.

The film has more in common with the director’s 2004 dramedy, I Heart Huckabees, or even Jonathan Dayton and Valerie Faris’ Little Miss Sunshine (2006) than it does with Russell’s last outing, 2010’s Oscarnominated The Fighter. Though the summary above is actually a reasonable account of what happens in Silver Linings Playbook, what saves it from being a run-of-the-mill mainstream comedy are a story that swerves hilariously around clichés (until the final 20 minutes, at least), finely honed dialogue, and impressive performances from the curious ensemble cast.

Based on the novel by Matthew Quick, Silver Linings Playbook is the story of bipolar Pat Solatano (former “sexiest man alive” Bradley Cooper, glamming it down by spending much of the movie in sweats and a garbage bag). As the movie opens, he is being released after spending several months in

Meet the parents: Jacki Weaver and Robert De Niro

54

November 23 -29, 2012

Girl on fire: Jennifer Lawrence and Bradley Cooper

a mental institution. He moves in with his parents ( Jacki Weaver and Robert De Niro), who hope he can resume his place in suburban Philadelphia society and watch the Eagles games with them every Sunday.

All Pat wants to do is win back his estranged wife, Nikki, whose infidelity drove him to the violent act that got him locked up in the first place. He assures his folks that he is mentally and emotionally stable, is in the best shape of his life, and doesn’t need his meds anymore.

Yeah, right. Pat has almost no verbal filter, storms into his parents’ bedroom in the wee hours and launches into a tirade about the ending of A Farewell to Arms, and dismantles the attic in a manic-panic search for his wedding video. He agrees to go to therapy, but when he hears Stevie Wonder’s “My Cherie Amour” in the waiting room, he has a paranoid, angry outburst.

One evening Pat’s friends Ronnie ( John Ortiz) and Veronica ( Julia Stiles) invite him to dinner. Also at the table is Veronica’s younger sister, the recently widowed Tiffany ( Jennifer Lawrence) — a self-described “crazy slut with a dead husband” who, like Pat, has a couple of screws loose. These two were meant for each other, and everyone realizes it but them. They start to get to know each other on jogs through the neighborhood and over a bowl of Raisin Bran and a cup of tea at a local diner. Tiffany agrees to help Pat patch things up with Nikki — but only if he will agree to be her partner in an upcoming dance competition.

This is a motley crew. But thanks to careful, insightful casting, it all works. Cooper displays amazing focus and restraint in his somewhat-showy role.

De Niro is more vivacious and engaged than he has been in years — and he proves that he can be relaxed and still show off his comic chops. Weaver trades the terrifying matriarch of Animal Kingdom for a warm woman who’s the calm center of her family. As Pat’s psych-ward pal, a somewhat subdued Chris Tucker generates giggles every time he pops up. When

Ronnie talks about the pressures of home and work, Ortiz radiates verge-of-a-nervous-breakdown stress.

But Lawrence dominates the film, commanding the audience’s attention every time she’s on screen — even when she’s revealing Tiffany’s vulnerability.

You thought Ree (her character in Winter’s Bone) and Katniss (in The Hunger Games) had heart and spunk?

Wait till you meet Tiffany.

The attention to detail here — on the part of Russell, art director Jesse Rosenthal, and the cast — is superlative. Check out the décor in the Solatano living room.

Watch Pat’s father as he preps for the week’s football matchup, proudly donning his Eagles sweater, folding and holding his Eagles handkerchief just so, and carefully arranging his remotes. Chances are, these are places you have been and people you have met.

The film’s soundtrack and Danny Elfman’s score are thoughtfully woven in with the action, setting the mood and often mirroring the wild swings of Pat’s condition. With its swirls, sweeps, and abrupt zooms, Masanobu Takayanagi’s camera work feels intended to do the same.

The film generally eschews straightforward exposition, and the story veers in directions you might never expect. For quite a while, it’s pleasantly unpredictable, not to mention terrifically, bizarrely, darkly funny — though it might take you a little while to acclimate and realize that you’re laughing out loud. And then comes the ending, so predictable it could have derailed the entire film. Somehow it’s just screwy enough and executed with sufficient bravado and energy that it redeems itself, and you find yourself grinning along.

The Weinstein Company could have released Silver Linings Playbook as a summertime comedy and seen decent box-office returns. But frankly, a Thanksgivingweek opening feels perfectly appropriate. This is the sort of screwy, slightly foul-mouthed family comedy that serves as relief during the holiday season. ◀

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MOVING IMAGES film reviews

Faction show Laurel Gladden I For The New Mexican Diana Vreeland: The Eye Has to Travel, documentary, rated PG-13, Regal DeVargas, 3 chiles Before she took her first job, Diana (pronounced dee-ANN-ah, by the way) Vreeland claimed she never got dressed before lunch, but she was certainly no layabout. A chance meeting with Harper’s Bazaar editor Carmel Snow led to jobs as a columnist and then fashion editor for that magazine, where she worked for more than 25 years. She moved on to helm Vogue, which she transformed from a stuffy publication to a socially significant one during her decade-long tenure as editor-in-chief. She then became a consultant to the Metropolitan Museum of Art’s Costume Institute, creating displays so theatrical that people lined up around the block to see them. Asked why she pursued another job after Vogue, she shrugged, “I was only 70. What was I supposed to do, retire?”

Vreeland’s granddaughter-in-law, Lisa Immordino Vreeland, along with Bent-Jorgen Perlmutt and Frédéric Tcheng, wrote and directed this entertaining, reverential documentary, which draws on conversations Vreeland had with George Plimpton while they worked on D.V., her 1984 memoir. Vreeland was born in Paris in 1903 and died in New York in 1989, and any story about her life ends up also being a chronicle of some of the most significant cultural events of the 20th century. This film is jam-packed with interviews — with designers, photographers, models, and celebrities (Hubert de Givenchy, Oscar de la Renta, Diane von Fürstenberg, Calvin Klein, Richard Avedon, David Bailey, Polly Tree, Veruschka von Lehndorff, Marisa

Hail to the chic: Diana Vreeland 56

November 23 -29, 2012

That eye sure gets around: Diana Vreeland

Berenson, Anjelica Huston, and Vreeland’s onetime assistant Ali MacGraw). We see Vreeland being interviewed by such TV-journalism luminaries as Dick Cavett, Jane Pauley, and Diane Sawyer.

Anyone not familiar with Vreeland or her impact on popular culture should watch and listen closely. Under her command, Vogue published the very first photograph of Mick Jagger. Von Fürstenberg insists that Vreeland started her career. De la Renta remembers Vreeland looking through his early sketches. “That, really, in a way, decided my career,” he confesses.

Manolo Blahnik recalls her advice: “Young man, why don’t you do ‘extremities?’ Do shoes or something like that.”

Vreeland was rarely predictable. From the beginning, she advocated uncommon ideas. Her first assignment at Harper’s Bazaar was penning a whimsical column called “Why Don’t You ...” which proposed new, creative ideas in fashion and home décor. Some of her suggestions included covering a child’s bedroom walls with a map of the world, rinsing blond hair with champagne, and wearing violet velvet mittens with everything.

She championed denim and the bikini — things we don’t think twice about today but that at the time surely seemed outrageous in the world of high fashion. She was the first to publish photographs of stars and models with uncommon looks or “flaws.”

When the distinctive-looking Vreeland was a girl, her mother would call her “my ugly little monster” and say, “It’s too bad that you have such a beautiful sister and that you’re so extremely ugly.” Perhaps this is why Vreeland always insisted that one should make an asset of one’s faults — and used the pages of her magazines to show everyone how.

Although Lisa Immordino Vreeland’s access to family members and memorabilia may have contributed to the richness of this film, you get the feeling that it may also have kept her from venturing into uncomfortable, less-flattering territory. Diana Vreeland’s two sons, Frecky and Tim, admit to wishing they had “any mother but this mother” or “an old, nice mom “like

their friends had. But the revelations about her personal life don’t go much deeper than that. We hear a good bit about how much Vreeland adored her husband but almost nothing about whether her dogged dedication to her work affected their relationship or about her grief when he died. Very little is said about her firing from Vogue. In its attempt to paint a pretty picture of its subject, the film sometimes makes her seem flat and cold. She asks Plimpton, “Why all this family talk? Shouldn’t we get to the more exciting stuff?” and later admits, when the subjects of family and grief come up again, “Those things haven’t touched me much.”

The film doesn’t break any new ground in the documentary field, either. It’s chockablock with talking heads — so many that it begins to get dizzying. Sections where voice actors read transcribed conversations are less enjoyable. Annette Miller does a reasonable job of imitating Vreeland’s voice, but the effect still comes across as disappointingly staged and artificial. The use of random movie clips and photographs to illustrate what Vreeland and others are saying feels forced. An animated segment at the end struck me as a surprisingly silly and saccharine way to conclude a film about such a sophisticated, stylish person.

Vreeland seems to have relished telling, and perhaps embellishing, tales about significant events in her life — seeing Nijinsky dancing in her parents’ living room, spending summers in the Rocky Mountains with Buffalo Bill, watching the coronation of King George V, and catching a glimpse of Charles Lindbergh overhead as he began his historic trans-Atlantic flight. When she recalls selling nightgowns to Wallis Simpson before a rendezvous with King Edward VIII, she trills excitedly, “My little lingerie shop had brought down the throne!” Many of these stories Vreeland admitted were neither lies nor truth but, as she put it, faction. Does it matter if they were true?

Vreeland molded culture as we know it by espousing “all that was new and different and wild,” so who cares? Now where are my violet mittens? ◀

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58

November 23 -29, 2012

Here’s yet another unnecessary remake to toss on the funeral pyre of original cinema. John Milius’s 1984 film wasn’t exactly a masterpiece, but Gen-X moviegoers have a soft spot for it, possibly because it stars Patrick Swayze, C. Thomas Howell, Lea Thompson, Charlie Sheen, and Jennifer Grey. This perplexing revamp makes a serviceable action flick, but that doesn’t mean it needed to be made.

After a mysterious citywide power outage, the citizens of Spokane, Washington, wake up to parachuting soldiers filling the skies — the U.S. is being invaded by North Korea (Russia also seems to be involved in some way, though we never learn how or why). The militia rounds up potentially dangerous members of the community — you know, the mayor, the police chief, and the cheerleading squad — and detains them in prison yards, where they are forced to wear matching reddish-orange jumpsuits.

A group of teens, led by Iraq War veteran Jed (Chris Hemsworth, aka Thor), evades capture and heads for the hills. Vowing to liberate their friends and families, they gather resources and organize as a ragtag group of guerilla fighters nicknamed the Wolverines (after their high-school football team’s mascot).

From their hidden base in the woods, they plan missions to shoot people and blow things up. Presumably because of all the Halo and Call of Duty they’ve been playing, warfare comes easily.

Not much happens between Wolverine attacks, which left me with time to ponder the film’s problems. When the original Red Dawn hit theaters, Cold War paranoia was at a peak. These days, more-plausible threats include terrorist attacks, cyber warfare, and that looming “fiscal cliff.” Still, the sight of soldiers parachuting into your neighborhood would be terrifying — though it would be scarier here if the CGI weren’t so poor.

If members of some foreign nation actually did attack the U.S., I’m betting they’d be savvy enough to guard pretty heavily any empty buildings or stages where rallies could be held. Why are some city dwellers kept in camps while others are allowed to roam the streets, shop at hip secondhand-clothing stores, and enjoy sandwiches at Subway?

While we do get some big, bold (and nearly bloodless) action sequences, many of them suffer from that now-prevalent shaky, chaotic handheld camera work.

Instead of achieving the (presumably) desired effect of making us feel like we’re part of the action, it just makes things hard to follow — and, frankly, it made me a little queasy.

Most unsettling are the vaguely xenophobic, racist, and pro-citizens-militia undertones. Many things — including the nature of warfare — have changed dramatically since the original Red Dawn. If this new film seems more like something from the last century than this one, why even bother making it? ◀

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RESTAURANT REVIEW Bill Kohlhaase I For The New Mexican

Spanish satellite

Taberna La Boca 125 Lincoln Ave., Suite 117, 988-7102 Lunch 10:30 a.m.-2 p.m. Mondays-Fridays, dinner 5 p.m.-11 p.m. daily, brunch 10:30 a.m.-2 p.m. Saturdays & Sundays Beer & wine Vegetarian options Noise level: moderate to bustling Credit cards

!

The Short Order Chef James Campbell Caruso’s Taberna La Boca is more than just a place to catch the overflow from his nearby and popular La Boca. Taberna feels more comfortable and looks sleeker than the original, even when it, too, is crowded. Diners will recognize the themes as well as some of the specific dishes offered at La Boca, and all the small plates, whether fresh, cured, or grilled, are of the quality Campbell Caruso is known for. Prepared dishes sporting fanciful flavor combinations are perfectly done, and your server can suggest a fine Spanish wine to accompany them. Recommended: marinated octopus, manchego croquettes, flat-iron steak, tuna la plancha, chistorra, frituras, and the pot de crème.

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

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

62

November 23-29, 2012

It’s hard not to think of James Campbell Caruso’s Taberna La Boca as an extension of his popular tapas restaurant, La Boca. And why shouldn’t you? Taberna is just steps across the brick alley from the back of La Boca.

You’ll often recognize floor service staff from the parent restaurant at Taberna, and you’ll even see chef Campbell Caruso himself. The service here, as at the original, can be pinched when the place is packed. Don’t be surprised when servers brush your back as they squeeze through to other tables. The menu, with its Mediterranean-influenced small plates made of imported and locally accessed ingredients — with a certain creative spark that characterizes Campbell Caruso’s cooking — resembles that at the La Boca.

Some of the offerings, like the pleasingly sweet flat-iron steak with smoked sea-salt caramel or the olives that shame any you’ll find at your neighborhood market’s olive bar, are featured at both. Both wine lists emphasize Spanish bottles, with plenty of opportunity to try something unfamiliar.

But there are differences. Taberna is sleeker in design than the simply outfitted La Boca. Taberna’s only decorations are the chalkboards listing specials and wine selections and a large hanging tapestry of an open tin of sardines. Though the place looks more formal, it feels less so. Its wide bar and community table, backed by a stacked-stone wall, encourage a sort of coming together. Unlike La Boca, which seems a place specifically for eating first, Taberna is more a place for drinking wines and choosing appropriate foods. It is, after all, a tavern, though hardly as simple as its name’s Latin origins might suggest. It’s comfortable, even if it’s just as crowded as La Boca. A pedestal-mounted gas flame burns cheerily on a patio outside the front door, a wonderful place to wait for a table with a glass, even when the temperatures aren’t conducive to outdoor dining. If it’s warm enough, you might want to eat outside — especially since it’s often less crowded.

On one fine autumn afternoon, just made for alfresco dining, the smell of grilling steak drifting over from the nearby Bull Ring drove a friend and me to take a table inside. We started with mariscada verde, a shellfish stew in a broth flavored with Portuguese albariño wine and green with cilantro and parsley. The shrimp it held were firm and flavorful (think of those fine garlic gambas served at La Boca), the mussels were mild and freshly sweet, but the tiny bay scallops lacked the character of the other ingredients. A grilled tuna steak, its gray sear attractively framing its crimson inner flesh, was a marvel this far from the sea. After the server recommended the Spanish Altas “El Convento” red for its broad body and flashy finish, we switched directions and ordered sausages: a fat-studded chorizo that came with slices of an assertive Galician cheese (Galicia, the northwestern corner of the Iberian peninsula, has a pronounced influence here; the word appears more than once on the menu and wine list) and then a dark, mysterious morcilla blood sausage that melted in our mouths. After these two, the Basque chistorra sausage, served on an open roll, was a sweet and spicy novelty. I was disappointed that I’d ordered only half of the long, skinny thing.

Early evening is a great time to take a seat at the bar if you can find one. Start with a glass of the Beronia Reserva,

another wine wisely suggested by our server. You can enjoy half-priced selections at hora feliz: tapenades, crostini sandwiches, grilled vegetables, mixed sliced olives — most of which are waiting in bowls and on platters right there at the bar. I paired the escalivada — a Catalan tussle of flavors coming from roasted and marinated peppers, eggplant, onions, cherry tomatoes, garlic cloves, and summer squash — with the serranitos, thick toasts topped with roast pork shoulder, roasted peppers, dry cured ham, and a single, curling sweet pepper. Small plates, yes, but those portions made a meal. Most of Taberna’s entrées can be ordered in a larger size, but — don’t tell them I told you this — those small plates can easily give you and a friend more than a taste.

During another dinner, no one at my table wanted to share the pulpo (octopus marinated in lemon and olive oil), so I enjoyed the gentle meat and its lemony sea taste all by myself.

Croquettes stuffed with manchego cheese were evenly golden and smoothly textured. A special penne verde with piñon nuts, its fresh-flavored pesto lightly cut with cream, was a balanced delight. A vegetarian paella was the only disappointment, its brothless mix of rice and grilled veggies too lightly seasoned to measure up to the other dishes.

Desserts are equal to if not better than what came before.

A chocolate pot de crème, topped with a heap of hardly sweet whipped cream and a frilly wafer, was so good that I hated to swallow it. Even better were apple frituras, perfectly done fritters that contrasted crunch with sweet, soft, spiced flavor.

The fact that they were warm, even hot, spoke to our server’s vigilance. But then again, this often-crowded place wasn’t so busy that lazy (for me, anyway) afternoon. ◀

Check, please

Dinner for three at Taberna La Boca: Marinated octopus, happy hour price ......................... $ 4.00 Manchego croquettes ................................................... $ 8.00 Penne piñon verde ....................................................... $ 7.00 Flat-iron steak ............................................................. $ 14.00 Vegetarian paella .......................................................... $ 18.00 Pot de crème ................................................................ $ 8.00 Pellegrino water ........................................................... $ 2.50 TOTAL ......................................................................... $ 61.50 (before tax and tip) Lunch for two, another visit: Seafood stew ................................................................ $ 12.00 Chorizo with Galician cheese ...................................... $ 12.00 Half chistorra sausage roll ........................................... $ 5.00 Tuna la plancha ............................................................ $ 9.00 Blood sausage .............................................................. $ 10.00 Glass, Atlas “El Convento” 2007 ................................. $ 13.00 Glass, Beronia Reserva 2006 ........................................ $ 12.00 Apple frituras ............................................................... $ 5.00 TOTAL ......................................................................... $ 78.00 (before tax and tip)

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Sunday, December 2, 2012 1-5 PM Once again we’ve cleaned out our back room and there are lots of great deals to be found.

We look forward to seeing you for food, friends, and lots of glass!

NOW ACCEPTING APPLICATIONS Complete your application for assistance online at www.santafenewmexican.com/ emptystocking Applicants who do not have access to a computer can complete an application online at several public libraries free of charge and several businesses. ï Santa Fe Public Main Library at 145 Washington Ave. ï La Farge Branch Library at 1730 Llano St. ï Southside Library at 6599 Jaguar Dr. ï New Mexico Work Force Connection, 301 W. DeVargas St. ï Hopewell Center, 1800 Espinacitas St. ï Presbyterian Medical Services 1409 2nd St. All applications must be received by 5:00 p.m. on December 7th to be considered by the Empty Stocking Fund Committee. The Empty Stocking Fund will consider every applicant who meets the eligibility criteria, without regard to race, creed, place or country of origin, age, disability, ethnicity, color, gender identify, marital status or sexual orientation.

TO DONATE Make your tax deductible donation online at www.santafenewmexican.com/ emptystocking or you may mail a check to: The New Mexicaní s Empty Stocking Fund c/o The Santa Fe Community Foundation, P.O. Box 1827, Santa Fe, NM 87504≠ 1827.

If you can provide a needed service such as roofing, car repair, home repairs, etc. contact Roberta at Presbyterian Medical Services at 505≠ 983≠ 8968.

If you can contribute food, clothing toys, housewares or furniture in good condition or other items or services, please contact The Salvation Army at 505≠ 988≠ 8054.

Empty

stocking fund ®

Founded by The Santa Fe New Mexican and jointly administered by

Five miles North of Santa Fe on Bishop’s Lodge Road

1510 Bishop’s Lodge Road Tesuque, NM 87574 505.988.2165 tesuqueglassworks@gmail.com PASATIEMPO

63

pasa week 23 Friday

BOOKS/TALKS Andrew Beckham The author/illustrator signs copies of The Lost Christmas Gift, 4 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see story, Page 44).

Radius Books’ holiday book sale 25-percent discounts, 10 a.m.-4 p.m., 227 E. Palace Ave., Suite W, 983-4068.

GALLERY/MUSEUM OPENINGS Alexandra Stevens Fine Art 820 Canyon Rd., 988-1311. Small Treasures, gallery artists miniatures group show, reception 4-7 p.m., through November.

Blue Rain Gallery 130-C Lincoln Ave., 954-9902. Launch, new sculpture by Rik Allen, reception 5-7 p.m., through November.

Casweck Galleries 203 W. Water St., 988-2966. Walk on Water, silent auction benefiting the National Museum of Women in the Arts; fashion designs by Atelier Danielle; jewelry by Alice Bailey, 5:30 p.m.

Gallery 822 822 Canyon Rd., 989-1700. Group small works holiday show, reception 4-7 p.m.

Legends Santa Fe 125 Lincoln Ave., 983-5639. Small Works Holiday Show, reception 5-7 p.m., through Jan. 1.

Lucky Bean Café 500 Montezuma Ave., Sanbusco Center, for information call Jennie Cooley, 490-1155. Cirque de Cooley, pop-up group show, reception 5-7 p.m., through Dec. 23.

Manitou Galleries 225 Canyon Rd., 986-9833. Painters of Taos: Don Brackett, Jeff Cochran & Jerry Jordan, reception 5-7 p.m., through Dec. 14.

Marigold Arts 424 Canyon Rd., 982-4142.

Fractured Squares, tapestries by Donna Loraine Contractor, reception 5-7 p.m., through Jan. 2.

Monroe Gallery of Photography 112 Don Gaspar Ave., 992-0800. Mark Shaw: The Kennedys, reception 5-7 p.m., through Jan. 27.

NativeStock Gallery 1036 Canyon Rd., 888-765-3332. Photographic exhibit of work

by Marilyn Angel Wynn honoring National American Indian Heritage Month, open house 10 a.m.-4 p.m., continues Saturday, Nov. 24.

Pippin Contemporary 125 Lincoln Ave., 795-7476. Holiday Presence, small works group show, reception 5-7 p.m., through Jan. 1; 10-percent of sales benefits the Santa Fe Children’s Museum.

Selby Fleetwood Gallery 600 Canyon Rd., 992-8877. As I Remember, paintings by Gigi Mills, reception 5-7 p.m., through Dec. 6.

Signature Gallery 102 W. Water St., 983-1050. Work by Denise Imke, reception noon-8 p.m., through Dec. 30.

Silver Sun Gallery 656 Canyon Rd., 983-8743. leather belt designs

by Mariel Lynch, reception 10 a.m-6 p.m.; work by Navajo silversmith Gary Custer, reception 2-6 p.m.; Colors of Santa Fe, photographs by Yuko Hirao, reception 3-6 p.m., through Jan. 6.

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

64

November 23-29, 2012

compiled by Pamela Beach pambeach@sfnewmexican.com

OUTDOORS Post-Thanksgiving Stuffing Strut Sarah Wood leads an informative five-mile hike (hikers are free to peel off at any point) through Cerrillos Hills State Park, 10 a.m., 16 miles south of Santa Fe off NM 14, meet at the parking area about a half mile north of the village of Cerrillos, $5 per vehicle, 474-0196.

EVENTS Annual holiday lighting of the Plaza Poet laureate Jon Davis recites Christmas poems at 3 p.m.; entertainment begins at 3:30 p.m.; Santa and Mrs. Claus make a guest appearance around 4 p.m.; the mayor flips the switch about 5:45 p.m. then local bands Sol Fire and Solera, and musician Ryan Montaño entertain the crowd; also, Girl Scouts will be selling hot cider, hot chocolate, and cookies; for information call Bobbi Mossman at 955-6979.

Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through December.

NIGHTLIFE

Dress by Nancy Judd, at Santa Fe Weaving Gallery, 124½ Galisteo St.

Waxlander Gallery 622 Canyon Rd., 984-2202. Holiday Aglow, gallery artists show, reception 5-7 p.m., through Jan. 1.

William R. Talbot Fine Art, Antique Maps & Prints 129 W. San Francisco St., second floor, 982-1559. Landscape Dreams, a New Mexico Portrait, photographs by Craig Varjabedian, reception and book signing 5-7 p.m., through Dec. 29 (see story, Page 32).

Winterowd Fine Art 701 Canyon Rd., 992-8878. Illumination and Alchemy, new paintings by Tom Kirby, artist talk and book signing 4:30 p.m., reception 5-6:30 p.m., through Dec. 14.

Worrell Gallery 103 Washington Ave., 989-4900. Holiday open house 5-7 p.m.

In the Wings....................... 68 Elsewhere............................ 70 People Who Need People..... 71 Short People........................ 71 Sound Waves...................... 71

CLASSICAL MUSIC Music on Barcelona The chamber music ensemble performs music of C.P.E. Bach, Hindemith, and Reger, 5:30-6:30 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., no charge, 424-0994.

TGIF piano recital Victoria Hudimac performs music of Debussy, 5:30 p.m.,First Presbyterian Church, 208 Grant Ave., 982-8544, Ext. 16, donations appreciated.

THEATER/DANCE Circus Luminous Circus-arts troupe Wise Fool New Mexico’s 10th annual Thanksgiving tradition, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $10-$30, discounts available, 988-1234, ticketssantafe.org, through Sunday, Nov. 25 (see story, Page 28).

(See Page 65 for addresses) ¡Chispa! at El Mesón The Three Faces of Jazz and friends, featuring Bryan Lewis on drums, 7:30 p.m., no cover.

Cowgirl BBQ Americana/blues guitarist Jim Almand, 5-7:30 p.m., no cover. Felix y Los Gatos, zydeco/Tejano/juke-swing, 8:30 p.m., $5 cover.

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

Evangelo’s Led Zeppelin tribute band Moby Dick, 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 Syd Masters & the Swing Riders, Western swing, 8-11 p.m., no cover.

calendar guidelines Please submit information and listings for Pasa Week

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

La Posada de Santa Fe Resort and Spa Nacha Mendez Trio, pan-Latin rhythms, 6:30-9:30 p.m., no cover.

Pranzo Italian Grill Geist Cabaret with pianist David Geist, 6-9 p.m., $2 cover.

Second Street Brewery Americana band Boris & The Salt Licks, 6-9 p.m., no cover.

Second Street Brewery at the Railyard Bluegrass band Free Range Ramblers, 6-9 p.m., no cover.

Taberna La Boca Accordionist Pedro Romero, 6-8 p.m., no cover.

Tiny’s Chris Abeyta Duo, 5:30-8 p.m., no cover. Anthony Leon & The Chain, rockabilly, 8:30 p.m.-12:30 a.m. no cover.

Vanessie Pianist Doug Montgomery, show tunes and standards, 6-8 p.m., no cover. Singer/songwriter Zenobia, R & B/gospel, 8:30 p.m., call for cover.

Native Stock Gallery 1036 Canyon Rd., 888-765-3332. Photographs

by Marilyn Angel Wynn honoring National American Indian Heritage Month, open studio 10 a.m.-4 p.m.

Red Sky/New School Studios 1519-1521 Upper Canyon Rd., 301-9142.

Red Crow Collective open studios, 2-5 p.m., continues Sunday, Nov. 25.

Signature Gallery 102 W. Water St., 983-1050. Still lifes by Denise Imke, reception noon-8 p.m., through Dec. 30.

24 Saturday

Circus Luminous Circus-arts troupe Wise Fool New Mexico’s 10th annual Thanksgiving tradition, 2 and 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $10-$30, discounts available, 988-1234, ticketssantafe.org, continues Sunday, Nov. 25 (see story, Page 28).

GALLERY/MUSEUM OPENINGS Chiaroscuro Contemporary Art 702½ and 708 Canyon Rd., 992-0711. The Lost Christmas Gift: Images & Artifacts, work by Andrew Beckham (see story, Page 44); Holiday Group Show, gallery artists; reception 5-7 p.m., through Dec. 29.

Jane Sauer Gallery 652 Canyon Rd., 995-8513. Meander, dolls

by Charla Khanna, reception 2-5 p.m., artist talk 3 p.m.

Little Bird at Loretto 211 Old Santa Fe Trail, 820-7413. Jewelry by silversmith Ray Tracy, reception and tufa-casting demonstration 5-7 p.m.

PASA’S LITTLE BLACK BOOK nt & Bar Anasazi Restaura Anasazi, the of Rosewood Inn e., 988-3030 113 Washington Av e Betterday Coffe , Solano Center 905 W. Alameda St. nch Resort & Spa Bishop’s Lodge Ra ., 983-6377 Rd 1297 Bishops Lodge ón es M El at ¡Chispa! e., 983-6756 213 Washington Av Cowgirl BBQ , 982-2565 319 S. Guadalupe St. lton Hi e El Cañon at th 811 8-2 98 , St. al ov nd 100 Sa El Farol 3-9912 808 Canyon Rd., 98 ill Gr & r Ba o El Pase 2-2848 208 Galisteo St., 99 Evangelo’s o St., 982-9014 200 W. San Francisc Santa Fe de ó Hotel Chimay 988-4900 e., Av ton ing ash 125 W Hotel Santa Fe ta, 982-1200 1501 Paseo de Peral La Boca 2-3433 72 W. Marcy St., 98 ina nt Ca na La Casa Se 988-9232 125 E. Palace Ave.,

LA CIENEGA

Artists Studio Tour

IN CONCERT Max Gomez Taos singer/songwriter, 7:30 p.m. Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, 988-1234, ticketssantafe.org.

THEATER/DANCE

OUTDOORS Santa Fe Botanical Garden walking tours Guided tours of the future Museum Hill Garden, 11 a.m.-1 p.m., meet at the south end of the overflow parking lot on Camino Lejo, across from the Museum of International Folk Art, 471-9103.

EVENTS 39th annual La Cienega Artists Studio Tour Self-guided tours run 10 a.m.-5 p.m. through the weekend; preview of participating

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 Ore House at Milagro 139 W. San Francisco St., 995-0139 The Palace Restaurant & Saloon 142 W. Palace Ave, 428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 986-0022 Pranzo Italian Grill 540 Montezuma Ave., 984-2645 Pyramid Café 505 W. Cordova Rd., 989-1378 Rouge Cat 101 W. Marcy St., 983-6603

Sculpture by Gilberto Romero

artists’ works runs concurrently at Sunrise Springs Resort Center; directions to the village just southwest of Santa Fe are available online at lacienegastudiotour.com, tour maps are available at all studios and at Sunrise Springs; call Lee Manning at 699-6788 for information.

2012 SWAIA Winter Indian Market Southwestern Association for Indian Arts’ annual holiday show, 10 a.m.-6 p.m., 130 Native artists from the U.S. and Canada; fashion show; artist demonstrations; performance from storyteller/ flutist Tchin; screening of 2012 Class X film winners films; silent auction; raffle of two trees decorated with handmade ornaments; Santa Fe Community Convention Center,

Santa Fe Sol Stage & Grill 37 Fire Pl., solofsantafe.com Second Street Brewer y 1814 Second St., 982-3030 Second Street Brewer y at the Railyard Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 989-3278 The Starlight Lounge RainbowVision Santa Fe, 500 Rodeo Rd., 428-7781 Stats Sports Bar & Nightlife 135 W. Palace Ave., 982-7265 Taberna La Boca 125 Lincoln Ave., Suite 117, 988-7102 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 Tortilla Flats 3139 Cerrillos Rd., 471-8685 The Underground at Evangelo’s 200 W. San Francisco St., 577-5893 Upper Crust Pizza 329 Old Santa Fe Trail, 982-0000 Vanessie 434 W. San Francisco St., 982-9966 Zia Diner 326 S. Guadalupe St., 988-7008

In its 39th year, the La Cienega Artists Studio Tour is one of the oldest tours in the state. Artists open their studios to visitors from 10 a.m. to 5 p.m. Saturday and Sunday, Nov. 24-25, offering metal and wood sculpture, paintings, photographs, pottery, fiber arts, and more. Sunrise Springs Resort Center hosts a preview of works by participating artists as well as the entire collections of artists with studios too small to accommodate the public. Directions to the village just southwest of Santa Fe are available online at lacienegastudiotour.com. Tour maps are available at all studios and Sunrise Springs Resort Center.

201 W. Marcy St., $5 at the door, children under 12 no charge, performances and screenings included with admission, 983-5220 or visit swaia.org, continues Sunday, Nov. 25.

A Very Chaplin Holiday Center for Contemporary Arts presents a Charlie Chaplin film festival through Jan. 2, City Lights, 12:30 p.m., 1050 Old Pecos Trail.

Complete screening schedule available online at ccasantafe.org, $9.50 general admission, series pass $30 (discounts available for both), tickets and passes available in advance by calling the box office, 982-1338.

Contra Dance New England folk dance with live music by the Thrifters and calls by Erik Erhardt, beginner classes 7 p.m., dance 7:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $8, students, $4, 820-3535.

The Flea at El Museo Holiday Market 8 a.m.-3 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through Dec. 30.

Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through December.

Santa Fe Artists Market 8 a.m.-2 p.m. Saturdays through December, at the Railyard between the Farmers Market and REI, 310-1555.

Santa Fe Children’s Museum event Gift sale and fundraiser, handmade glass beads, jewelry, and handknit accessories; also, children are welcome to participate in a make-your-own crafts station; 11 a.m.-3 p.m., no admission charge, but donations welcome, 1050 Old Pecos Trail, 989-8359, continues Sunday, Dec. 16 and Saturday, Dec. 22.

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

Santa Fe Tango Club alternative milonga Dancing begins at 7 p.m., Lucky Bean Café, 500 Montezuma Ave., Sanbusco Center, $10, 982-3926.

NIGHTLIFE (See addresses to the left) Betterday Coffee Folk-rock and electro-pop showcase: The Big Boo, DLou, Will Schreitz, Grannia Griffith Story, and The Dead Kids, 7 p.m., $3 cover. ¡Chispa! at El Mesón Andy Kingston Trio, jazz, 7:30-10:30 p.m., no cover.

pasa week

continued on Page 69

PASATIEMPO

65

EXHIBITIONISM

A peek at what’s showing around town

Gigi Mills: Chocolate Cake, 2012, oil on panel. Selby Fleetwood Gallery (600 Canyon Road) presents the spare figurative imagery of Gigi Mills in the exhibition As I Remember. The show features paintings from her CafĂŠ Series, inspired by a recent visit to France. It opens on Friday, Nov. 23, with a reception at 5 p.m. Call 992-8877.

Tom Kirby: Enlightenment #6, 2012, oil on canvas.

Illumination and Alchemy, a show of recent work by Tom Kirby, opens at Winterowd Fine Art with a book signing and artist talk on Friday, Nov. 23, at 4:30 p.m. Kirby mixes gold dust, ground pearl, and other substances to create his minimalist, abstract paintings.

The gallery is at 701 Canyon Road. Call 992-8878.

Theodor Seuss Geisel (1904-1991): Boy in Socks Boxing a Gox, circa late 1980s, mixed media on watercolor paper. Celebrate the work of Theodor Seuss Geisel (aka Dr. Seuss) at Pop Gallery (142 Lincoln Ave.).

The show features production artwork from the 1966 film How the Grinch Stole Christmas as well as other Geisel originals. Call 820-0788.

Victoria Taylor-Gore: Table Inside, 2012, pastel on paper. Alexandra Stevens Fine Art (820 Canyon Road, 988-1311) presents Small Treasures, an exhibition of miniature paintings and sculptures by gallery artists.

It opens Friday, Nov. 23, with a reception at 4 p.m.

Jeff Cochran: Alfalfa Field After the Harvest, 2012, oil on canvas. Painters of Taos is an exhibition of idyllic Western-themed imagery and landscapes by Don Brackett, Jeff Cochran, and Jerry Jordan. The show is at Manitou Galleries (225 Canyon Road) and opens with a 5 p.m. reception on Friday, Nov. 23. Call 986-9833.

66

November 23 -29, 2012

AT THE GALLERIES Adobe Gallery 221 Canyon Rd., 629-4051. The Storage Jars of Margaret Tafoya [1904-2001], through Dec.10.

Fifty-Year Span of Hopi Katsina Dolls, through December.

Arroyo Gallery 200 Canyon Rd., 988-1002. Southwest Contemporary Realism, national group show, through Dec. 5.

Eclectics Art Gallery 7 Caliente Rd., Suite A-10, Eldorado, 603-8811. Acrylic paintings by David Friday.

Evoke Contemporary 130-F Lincoln Ave., 995-9902. Ozymandias, paintings by Sergio Garval, through November.

Heidi Loewen Porcelain Gallery 315 Johnson St., 988-2225. Cooking With Fire, smoked-porcelain work by Loewen, through November.

Mill Fine Art 530 Canyon Rd., 982-9212. Facing East, group show of contemporary works by Chinese artists; through Saturday, Nov. 24.

Photo-eye Gallery 376-A Garcia St., 988-5159, Ext. 121. Solar, group show of photographs, through November.

Radius Books 227 E. Palace Ave., Suite W, 983-4068. Sharon Core: Early American, exhibit of photographs, through mid-December.

Santa Fe Clay 545 Camino de la Familia, 984-1122. Handle With Care, group show of mugs; Selections From the Hazel Greenberg Collection; teapots and contemporary ceramics; through Dec. 8.

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. Visit santafe.edu/library for online catalog. Open 1-5 p.m. Monday-Friday to current students (call for details).

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. Dust in the Machine, group show, through Sunday, Nov. 25 (see story, Page 40) ï Stitch Thought, installation of felt livingroom furnishings by Tamara Wilson, Spector Ripps Project Space, through Dec. 9. 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, open 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.

Governor’s Gallery State Capitol Building, fourth floor, Old Santa Fe Trail and Paseo de Peralta, 476-5058. Works by recipients of the Governor’s Awards for Excellence in the Arts, through Dec. 7.

Museum of Contemporary Native Arts 108 Cathedral Pl., 983-8900. 50/50: Fifty Artists, Fifty Years ï Dual(ing) Identities, work by Debra Yepa-Pappan ï Grab, screenings of a film by Billy Luther ï Red Meridian, paintings by Mateo Romero ï Vernacular, work by Jeff Kahm; all exhibits through December. 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 ï They Wove for Horses: Diné Saddle Blankets, Navajo weavings and silverworks; exhibits through March 4 ï Margarete Bagshaw: Breaking the Rules, 20-year retrospective, through 2013 ï 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.

Painting by Tony Abeyta, a Governor’s Award for Excellence in the Arts recipient, Governor’s Gallery, Capitol Building

Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200.

New Mexican Hispanic Artists 1912-2012, installation in Lloyd’s Treasure Chest, through February ï Young Brides, Old Treasures: Macedonian Embroidered Dress ï Folk Art of the Andes, work from the 19th and 20th centuries ï Multiple Visions: A Common Bond, international collection of toys and traditional folk art. Open 10 a.m.-5 p.m.

Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays.

Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226.

Metal and Mud — Iron and Pottery, showcase of works by Spanish Market artists, through April ï San Ysidro Labrador/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin ï New Deal Art: CCC Furniture and Tinwork; Transformations in Tin: Tinwork of Spanish Market Artists; through December ï Recent Acquisitions, Colonial and 19th-century Mexican art, sculpture, and furniture; also, work by Spanish Market youth artists ï The Delgado Room, late Colonial period re-creation. Open 10 a.m.-5 p.m.

Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays.

New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. 47 Stars, tongue-in-cheek installation and items from the collection in celebration of New Mexico’s Centennial, through Sunday, Nov. 25 ï Tall Tales of the Wild West: The Stories of Karl May, collection of photographs and ephemera in relation to the German author, through Feb. 9, 2014 ï Altared Spaces: The Shrines of New Mexico, photographs

by Siegfried Halus, Jack Parsons, and Donald Woodman, through Feb. 10 ï Illuminating the Word: The St. John’s Bible, 44 pages from two of seven volumes, a page from the Gutenberg Bible, and early editions of the King James Bible; Contemplative Landscape, exhibit featuring work by photojournalist Tony O’Brien;

through Dec. 30 ï 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. TuesdaySunday. No charge on Fridays 5-8 p.m.; Open 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; NM residents no charge on Sundays.

New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Alcove 12.6, revolving series of group exhibits, through Dec. 2 ï Chromatic Fusion: The Art of Fused Glass; Emerge 2012: A Showcase of Rising Talents in Kiln Glass; through Jan. 6 ï Treasures Seldom Seen, works from the permanent collection, through December ï It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday. Open 5-8 p.m.

Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; free for NM residents over 60 on Wednesdays; NM residents free 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.

SITE Santa Fe 1606 Paseo de Peralta, 989-1199. More Real? Art in the Age of Truthiness, group show, through Jan. 6. 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 ï New work by Orlando Dugi and Ken Williams, Case Trading Post. Open 10 a.m.5 p.m. Monday-Saturday, 1-5 p.m. Sunday.

Docent tours 2 p.m. Mondays, Wednesdays, Fridays, and Saturdays.

PASATIEMPO

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In the wings MUSIC Curtis Lundy Quartet New York City-based jazz bassist, 6 p.m.

Friday, Nov. 30, The Den at Coyote Café, 132 W. Water St., $55-$250, presented by the Santa Fe Jazz Club Festival, 670-6482.

Harmonia/3 Featuring cellist Michael Fitzpatrick, storydancer Zuleikha, and percussionist Issaq Malluf, 7:30 p.m.

Friday, Nov. 30, Railyard Performance Center, 1611-B Paseo de Peralta, $25, 12 and under $10, harmonia3.brownpapertickets.com, proceeds benefit Esperanza Shelter for Battered Families, Solace Treatment Center, and The Storydancer Project.

Santa Fe Public Schools Music Faculty and Friends Cabaret Fundraiser for SFPS’s Music Education Programs, 7 p.m. Saturday, Dec. 1, María Benítez Theatre, The Lodge at Santa Fe, 750 N. St. Francis Dr., $15, couples $25, drinks and dinner available at the cash bar, tickets available in advance at sfpsmusicfest.org or at the door or by calling 474-0240.

David Hidalgo and Alejandro Escovedo Singer/songwriters, 7:30 p.m. Thursday, Dec. 6, Lensic Performing Arts Center, 211 W. San Francisco St., $32-$62, 988-1234, ticketssantafe.org.

Emily Bear and the Santa Fe Concert Association Orchestra Jazz, classics, and original compositions by the young pianist, 5 p.m. Monday, Dec. 24, Lensic Performing Arts Center, 211 W. San Francisco St., $25-$95, 988-1234, ticketssantafe.org.

The Met Live in HD Verdi’s Un Ballo in Maschera, Saturday, Dec. 8; Mozart’s La Clemenza di Tito, Saturday, Dec. 29; both screenings 11 a.m. and 6 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St., $22-$28, encores $22, discounts available, ticketssantafe.org, 988-1234.

Santa Fe Community Orchestra Winter Concert, music of Rachmaninoff, Vivaldi, and Santa Fean Keith Allegretti, 2:30 p.m. Sunday, Dec. 9, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations appreciated, 466-4879, sfco.org.

Washington Saxophone Quartet 7 p.m. Sunday, Dec. 9, Lensic Performing Arts Center, 211 W. San Francisco St., $15-$30, 988-1234, ticketssantafe.org.

Santa Fe Symphony Orchestra & Chorus Weiss-Kaplan-Newman Trio join SFSOC in a celebration of Beethoven, 4 p.m. Sunday, Dec. 16; pre-concert lectures 3 p.m.; Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, 988-1234, ticketssantafe.org.

Carlton Pride and Mighty Zion Reggae artist, doors 8:30 p.m. Saturday, Dec. 29, music 10 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, holdmytickets.com.

Serenata of Santa Fe The chamber music ensemble presents Harpsichord-Centric featuring Kathleen McIntosh, 3 p.m. Sunday, Jan. 20, $20, 989-7988.

Louis Lortie The French-Canadian pianist performs Liszt’s transcriptions of Wagner’s and Mozart’s operas, 7:30 p.m. Thursday, Jan. 24, Q & A follows, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, discounts available, 988-1234, ticketssantafe.org.

THEATER/DANCE ‘Peter Pan’ Eldorado Children’s Theatre and Teen Players present the musical, 7:30 p.m.

Friday, Nov. 30 and Dec. 7, and Saturday, Dec. 8, 2 p.m. Saturday and Sunday, Dec. 1-9, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $15, discounts available, eldoradochildrenstheatre.org, 466-4656.

‘Kiss Me Kate’ St. John’s College faculty, staff, and students present the Cole Porter musical, 7:30 p.m.

Friday, 3 and 8 p.m. Saturday, 3 p.m. Sunday, Dec. 7-9, Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, $5 at the door.

Sacred Music, Sacred Dance Performance by the Drepung Loseling Monks of Tibet, 7 p.m. Saturday, Dec. 15, James A. Little Theater, New Mexico School for the Deaf, $20, advance tickets available at Ark Books (133 Romero St., 988-3799), Project Tibet (403 Canyon Rd., 982-3002), and at the door.

HAPPENINGS Winter Spanish Market Annual sale presented by the Spanish Colonial Arts Society; 9 a.m.-5 p.m. Saturday, 9:30 a.m.4 p.m. Sunday, Dec. 1-2, Santa Fe Community Convention Center, 201 W. Marcy St., no charge, 982-2226.

Santa Fe Film Festival pre-festival screening and dinner 5 p.m. Wednesday, Dec. 5 screening of Now, Forager: A Film About Love and Fungi, Q & A with co-director Jason Cortlund follows, New Mexico History Museum; three-course dinner created by chef Eric DeStefano 7:30 p.m., Coyote Café, $135 includes screening and dinner, $20 film only, a portion of the proceeds from dinner benefits the festival, 988-7414, santafefilmfestival.com.

UPCOMING EVENTS Lannan Foundation Event Hamid Dabashi discusses Iran with Alternative Radio host David Barsamian, 7 p.m. Wednesday, Dec. 5, Lensic Performing Arts Center, 211 W. San Francisco St., $3 and $6, 988-1234, ticketssantafe.org.

Souper Bowl XIX The Food Depot’s annual fundraiser continues the tradition of offering local chef-prepared soups and selling cookbooks with recipes for the creations from noon to 2:30 p.m.

Saturday, Jan. 26 at the Santa Fe Community Convention Center, for information call 471-1633.

HOLIDAY FARE WinterNite Holiday party and sale of works by Spanish Market artists, 6-9 p.m. Friday, Nov. 30, Santa Fe Community Convention Center, 201 W. Marcy St., $40, sponsored by the Spanish Colonial Arts Society, 982-2226.

‘The Nutcracker’ Aspen Santa Fe Ballet’s annual holiday-season performance, 2 p.m. Saturday, 1 and 5 p.m.

Sunday, Dec. 1-2, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$62, 988-1234, ticketssantafe.org.

Santa Fe Women’s Ensemble Caroling party and silent auction, 6 p.m.

Saturday, Dec. 1, Manitou Galleries; A Winter Festival of Song 2012: 7 p.m. Dec. 7, 9, and 14, Loretto Chapel; continues at 3 p.m. Saturday, Dec. 15, Immaculate Heart of Mary Retreat and Conference Center Chapel; visit sfwe.org for full schedule and details, call 954-4922 for tickets.

Santa Fe Men’s Camerata and the Zia Singers Holiday concert of readings and carols, 7 p.m. Saturday, 4 p.m. Sunday, Dec. 1-2, Scottish Rite Center, 463 Paseo de Peralta, $20 at the door, discounts available.

Coro de Cámara The chamber chorus in A Christmas Songbook, 4 p.m. Sunday, Dec. 2, First Presbyterian Church, 208 Grant Ave., donations welcome.

Chanticleer A cappella men’s chorus, 7:30 p.m. Friday, Dec. 7, Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place, $10-$50, 988-1234, ticketssantafe.org.

Santa Fe Skating Club Holiday Ice Show Let’s Go to the Movies, performances by the SFSC, Desert Ice Figure Skating Club, Chavez Center Learn-To-Skate participants, and special guests, 4 p.m. Saturday, Dec. 8, 1 p.m. Sunday,

The Washington Saxophone Quartet performs at the Lensic Sunday, Dec. 9.

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Dec. 9, Genoveva Chavez Community Center, 3221 Rodeo Road, $10, ages 2-12 $6, under 2 no charge, 955-4033, santafeskatingclub.org.

Sangre de Cristo Chorale The 45-member chorale celebrates its 35th anniversary with a holiday concert, 2:30 p.m.

Sunday, Dec. 9, Church of Santa Maria de la Paz, 11 College Ave., $20, discounts available, ticketssantafe.org, 988-1234.

Aaron Neville Christmas Soul and R & B artist. 7:30 p.m. Monday, Dec. 10, Lensic Performing Arts Center, 211 W. San Francisco St., $35-$62, 988-1234, ticketssantafe.org.

The Romeros With Concerto Málaga The guitar quartet and the chamber ensemble offer seasonal favorites, 7:30 p.m. Monday, Dec. 10, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, 988-1234, ticketssantafe.org.

Santa Fe Desert Chorale Carols and Lullabies, 8 p.m. Dec. 14, 18, 20, and 22, Cathedral Basilica of St. Francis of Assisi, $15-$65; The Big Holiday Sing, members of Desert Chorale with the University of New Mexico Concert Choir and the Rio Grande Youth Chorale, 2 p.m. Saturday, Dec. 15, Cristo Rey Parish, $20 and $25; The Lighter Side of Christmas, concert preceded by champagne, hors d’oeuvres, and a silent auction benefitting the chorale’s education programs, 6:30 p.m.

Wednesday, Dec. 19, LewAllen Galleries at the Railyard, $80; ticketssantafe.org, 988-1234.

Schola Cantorum of Santa Fe The sacred music ensemble in Schola Christmas at the Loretto Chapel, concert preview 6:30 p.m.

Monday, Dec. 17, performance 8:45 p.m., tickets available at schola-sf.org; Noël Nouvelet — The First Christmas, 7 p.m. Sunday, Dec. 23, Shrine of our Lady of Guadalupe, no charge; Gregorian chant during Christmas Eve Mass, 5 p.m. Monday, Dec. 24, San Miguel Mission, no charge.

Santa Fe Concert Band The annual holiday performance presented by the Santa Fe Concert Association, 7 p.m.

Monday, Dec. 17, Lensic Performing Arts Center, 211 W. San Francisco St., no charge, 988-1234, ticketssantafe.org.

Santa Fe Pro Musica Baroque Orchestra A Baroque Christmas, music of Purcell, Vivaldi, and Corelli, 6 and 8 p.m. Thursday and Monday, Dec. 20 and 24, Loretto Chapel, $20-$65 ($5 premium for Christmas Eve); A Mozart Holiday, performers include soprano Kathryn Mueller and violinist Stephen Redfield, St. Francis Auditorium, New Mexico Museum of Art, 6 p.m. Saturday, Dec. 29, 3 p.m. Sunday, Dec. 30, $20-$65, discounts available; 988-1234, ticketssantafe.org.

Santa Fe Children’s Museum event Winter Solstice Festival, nightime farolito-lit labyrinth, flying farolitos, storytelling, and warm snacks, 6-8 p.m. Friday, Dec. 21, $6, 1050 Old Pecos Trail, 989-8359.

Harlem String Quartet Contemporary classic music ensemble performs at the Santa Fe Concert Association’s New Year’s Gala, 5 p.m. Monday, Dec. 31, Lensic Performing Arts Center, 211 W. San Francisco St., $25-$95, 988-1234, ticketssantafe.org.

22nd annual Light Up a Life The Hospice Center of Santa Fe’s sale and lighting of hundreds of farolitos celebrating the lives of loved ones past and present, ceremony 5:30-6 p.m., on the Plaza, free hot chocolate and bizcochitos will be served, farolitos advance sales available by calling 988-2211, or purchase at the event, bring a photo of a loved one to personalize your farolito.

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24 Saturday (continued) Cowgirl BBQ Bill Hearne Trio, roadhouse honky-tonk, 2-5 p.m., no cover. Broomdust Caravan, juke joint honky-tonk and biker bar rock, 8:30 p.m., $5 cover.

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

La Fiesta Lounge at La Fonda Syd Masters & the Swing Riders, Western swing, 8-11 p.m., no cover.

The Mine Shaft Tavern Honky-Tonk Deluxe with special guest “Mr. Honky-Tonk Piano” Earl Poole Ball, 7 p.m., call for cover.

La Posada de Santa Fe Resort and Spa Jazz vocalist Whitney and guitarist Pat Malone, 8-11 p.m., no cover.

Pranzo Italian Grill Geist Cabaret with pianist David Geist, 6-9 p.m., $2 cover.

Second Street Brewery Bluegrass band Mystic Lizard, 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 The Jakes, classic-rock band, 8:30 p.m.-close, no cover.

Tortilla Flats Singer-songwriter Dave Maeslon, 6-9 p.m., no cover.

Upper Crust Pizza Balladeer Michael Combs, ranchera, folk, and honky-tonk, 6-9 p.m.; joined by daughter Eagle Star, 7-8 p.m.; no cover.

Vanessie Pianist Doug Montgomery, show tunes and pop/jazz standards, 6-8 p.m., no cover. Tiho Dimotrov Band, blues, 8:30 p.m.-close, call for cover.

Talking Heads

25 Sunday GALLERY/MUSEUM OPENINGS Red Sky/New School Studios 1519-1521 Upper Canyon Rd., 301-9142.

Red Crow Collective open studios, 2-5 p.m.

CLASSICAL MUSIC

New Mexico Bach Chorale Winter Solstice Celebration, Bach’s Christmas Oratorio, chorales, and German carols, 5:30 p.m., Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $25 in advance, discounts available, ihmretreat.com, presented by the New Mexico Performing Arts Society, 474-4513.

THEATER/DANCE Circus Luminous Circus-arts troupe Wise Fool New Mexico’s 10th annual Thanksgiving tradition, 4 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $10-$30, discounts available, 988-1234, ticketssantafe.org (see story, Page 28).

Performance at The Screen The HD series continues with All’s Well That Ends Well performed at Shakepeare’s Globe Theatre, 11 a.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $20, discounts available, 473-6494.

BOOKS/TALKS How Hollyhocks Came to New Mexico Meet-and-greet and signing with author Rudolfo Anaya, illustrator Nicolás Otero, and translator Nasario García, 2-4 p.m., Community Room, Santa Fe Public Library, Main Branch, 145 Washington Ave., 955-6780 (see Subtexts, Page 18).

Ilan Stavans The author discusses and signs copies of his mystery, which involves the history of crypto-Jews, El Iluminado, 2 p.m., New Mexico History Museum, 113 Lincoln Ave., by museum admission, 476-5200 (see story, Page 36).

On Gratitude and Thanksgiving A conversation with Unicopia Green Radio host Faren Dancer and the station’s associate executive director Maxine Swisa, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226, presented by JourneySantaFe.

EVENTS

Artists of New Mexico Traditions: The National Heritage Fellows Santa Fe writer Michael Pettit celebrates his latest book drawing from the lives of New Mexico potters, storytellers, weavers, and musicians with a reading and signing at 6 p.m. Tuesday, Nov. 27, at Collected Works Bookstore, 202 Galisteo St., 988-4226.

39th annual La Cienega Artists Studio Tour Self-guided tours run 10 a.m.-5 p.m.; preview exhibit of participating artists’ works runs concurrently at Sunrise Springs Resort Center; tour maps are available at all studios and at Sunrise Springs, online directions to the village just southwest of Santa Fe are available at lacienegastudiotour.com, call Lee Manning at 699-6788 for information.

2012 SWAIA Winter Indian Market Southwestern Association for Indian Arts’ annual holiday show, 10 a.m.-4 p.m., 130 Native artists from the U.S. and Canada; fashion show; artist demonstrations; performance from storyteller/ flutist Tchin; screening of 2012 Class X film winners films; silent auction; raffle of two trees decorated with handmade ornaments; Santa Fe Community Convention Center, 201 W. Marcy St., $5 at the door, children under 12 no charge, performances and screenings included with admission, 983-5220 or visit swaia.org.

A Very Chaplin Holiday Center for Contemporary Arts presents a Charlie Chaplin film festival through Jan. 2, City Lights, 12:30 p.m., 1050 Old Pecos Trail.

Complete screening schedule available online at ccasantafe.org, $9.50 general admission, series pass $30 (discounts available for both), tickets and passes available in advance by calling the box office, 982-1338.

Cheer Up, by Lori Faye Bock, Waxlander Gallery, 622 Canyon Rd.

The Flea at El Museo Holiday Market 9 a.m.-3 p.m. El Museo Cultural de Santa Fe, 555 Camino de la Familia, santafeflea.com, 982-2671, weekends through Dec. 30.

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, 983-3168, beginners welcome.

A Luminous Feast Wise Fool New Mexico celebrates its 10th year with a fundraising gala/dinner, 6:30-9 p.m., Taberna La Boca, 125 Lincoln Ave., Suite 117, $150, $250 per couple, available in advance at wisefoolnewmexico.org.

Pueblo of Tesuque Flea Market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday Sunday through December.

Railyard Artisans Market 10 a.m.-4 p.m. weekly, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 670-6544.

NIGHTLIFE (See Page 65 for addresses) Cowgirl BBQ Chanteuse Lizette de la Paz, with trumpeter Tom Rheam, Latin and Bossa Nova, 8 p.m., no cover.

El Farol Nacha Mendez and guests, pan-Latin rhythms, 7-10 p.m., 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, 7-10 p.m., no cover.

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

26 Monday BOOKS/TALKS Grand Canyon: How Glen Canyon Dam Changed Habitats Former Grand Canyon ornithology researcher Bryan Brown speaks,

6 p.m., part of Southwest Seminars’ lecture series, Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.

New Deal Camp for Women Near Capitan, New Mexico Historical writer/ researcher Lynn Adkins speaks, 2 p.m., Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, $10, 982-2226.

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 65 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover.

El Farol Geeks Who Drink Trivia Night, 7 p.m., no cover.

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

La Fiesta Lounge at La Fonda Country band Sierra, 8-11 p.m., no cover.

Santa Fe Sol Stage & Grill Big Penny, dark-country/folk/rock, 7:30 p.m., $5 cover.

Taberna La Boca Flamenco guitarist Chuscales, 7-9 p.m., call for cover.

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

27 Tuesday IN CONCERT Wovenhand Alt-country/neo-folk band, 8 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $12 in advance at 988-1234, ticketssantafe.org. ▶▶▶▶▶▶▶▶ PASATIEMPO

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BOOKS/TALKS

NIGHTLIFE

Michael Pettit The author reads from and signs copies of Artists of New Mexico Traditions: The National Heritage Fellows, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

(See Page 65 for addresses) ¡Chispa! at El Mesón Pat Rhodes and Richard Snider, jazz piano and bass, 7-9 p.m., no cover.

Cowgirl BBQ Guitarist Anthony Leon, country angst, 8 p.m., no cover.

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

The Matador DJ Inky spinning soul/punk/ska, 8:30 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.

Taberna La Boca Nacha Mendez, pan-Latin Chanteuse, 6:30-9:30 p.m., no cover.

Tiny’s Broomdust Caravan, juke joint honky-tonk and biker bar rock, 8 p.m.-midnight, no cover.

Vanessie Bert Dalton Duo, jazz, 6:30 p.m.-close, call for cover.

EVENTS A Very Chaplin Holiday Center for Contemporary Arts presents a Charlie Chaplin film festival through Jan. 2; City Lights, 6 p.m., 1050 Old Pecos Trail.

Complete screening schedule available online at ccasantafe.org, $9.50 general admission, series pass $30 (discounts available for both), tickets and passes available in advance by calling the box office, 982-1338.

International Folk Dances Lesson 7-8 p.m., dance 8-10:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, or 983-3168, beginners welcome.

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

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

Cowgirl BBQ Austin, Texas, singer/songwriter Danny Santos, 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 Country band Sierra, 8-11 p.m., no cover.

Rouge Cat Ultra-Fabulous Dance Competition, individual and team categories, all styles of dance, weekly cash prizes, Tuesdays through Nov. 27, call for time and cover.

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

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

28 Wednesday BOOKS/TALKS An Evening With David Sedaris The humorist presents new, unpublished works followed by a Q & A session and a book signing, 8 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $55, ticketssantafe.org, 988-1234.

Collecting Art: Artists and Collectors Come Together Panel discussion in conjunction with the Santa Fe Arts Commission Community Gallery exhibit The Fine Folk of New Mexico, 6-8 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., no charge, 955-6705.

School for Advanced Research lecture The Life and Paradoxical Leadership of Archaeologist William S. Webb, by Douglas Schwartz, noon, 660 Garcia St., no charge, 954-7203.

NIGHTLIFE (See Page 65 for addresses) ¡Chispa! at El Mesón Flamenco guitarist Joaquin Gallegos, 7:30-10:30 p.m., no cover.

Cowgirl BBQ Songswap with guitarist Sean Healen and friends, 8 p.m., no cover.

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November 23-29, 2012

▶ Elsewhere ALBUQUERQUE Hidden Birds Augury, by Charla Khanna, Jane Sauer Gallery, 652 Canyon Rd.

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.

The Pantry Restaurant Acoustic guitar and vocals with Gary Vigil, 5:30-8:30 p.m., call for cover.

Taberna La Boca Jazz guitarist Pat Malone, 7-9 p.m., no cover.

Vanessie A Kurt Weill tribute with pianist David Geist and guest vocalist Bob Sinn, 6:30 p.m.-close, call for cover.

29 Thursday GALLERY/MUSEUM OPENINGS Santa Fe Weaving Gallery 124 ½ Galisteo St., 982-1737. Time Capsule, group show of textile designs, artist talks 9:30 a.m., through Dec. 8.

BOOKS/TALKS Jonathan Loretto The artist shares his experience as a 2012 Rollin and Mary Ella King Native Artist fellow, 5:30 p.m.; the event includes a reception and a visit to Dubin Studio to see Loretto’s work, School for Advanced Research boardroom, 660 Garcia St., no charge, limited space, call 954-7205.

Museums/Art Spaces 516 Arts 516 Central Ave. S.W., 505-242-1445. ISEA2012 Albuquerque: Machine Wilderness, international group show of interactive installations, prints, and sculpture, part of the International Symposium of Electronic Art, through Jan. 6.

Holocaust and Intolerance Museum of New Mexico 616 Central Ave. S.W., 505-247-0606. Disturbing, But Necessary, Lesson, scale model of a WW II prisoner transport to Auschwitz ï Hidden Treasures, 158-year-old German-Jewish family heirloom dollhouse belonging to a family that fled to the U.S. and settled in New Mexico. Open 11 a.m.3 p.m. Tuesday-Saturday, donations accepted.

Indian Pueblo Cultural Center 2401 12th St. N.W., 866-855-7902. 100 Years of State & Federal Policy: The Impact on Pueblo Nations, through February ï Challenging the Notion of Mapping, Zuni map-art paintings, through August. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50.

National Hispanic Cultural Center 1701 Fourth St. S.W., 505-246-2261. Via Nuestros Maestros: The Legacy of Abad E. Lucero (19092009), paintings, sculpture, and furniture, through January 2013 ï Stitching Resistance: The History of Chilean Arpilleras, a collection of appliqué textiles crafted between 1973 and 1990, through January 2014 ï ¡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.

New Mexico Museum of Natural History & Science 1801 Mountain Rd. N.W., 505-841-2804. ISEA2012 Albuquerque: Machine Wilderness, international group show of prints, interactive installations, and sculpture, part of the International Symposium of Electronic Art, through Jan. 6 ï Dinosaur Century: 100 Years of Discovery in New Mexico, showcases of new finds change monthly through 2012. Open 9 a.m.-5 p.m. daily; adults $7, seniors $6, under 12 $4; NM seniors no charge on Wednesdays.

UNM Art Museum Center for the Arts Building, 505-277-4001.

Dancing in the Dark, Joan Snyder Prints

1963-2010, exhibit of prints spanning 47 years of moments in Snyder’s life ï The Transformative Surface, film and digital works by faculty; both exhibits through Dec.15. Open 10 a.m.-4 p.m.

Tuesday-Saturday; $5 suggested donation.

Events/Performances Sunday Chatter The chamber-music ensemble performs Brahms’ String Quintet in G Major and the premiere of Chatter artistic director James Shields’ string quintet Holds Ghosts; also, Tricklock Theatre actor Kevin Elder; 10:30 a.m. Sunday, Nov. 25, Factory on 5th, 1715 Fifth St. N.W., chatterchamber.org, $15 at the door.

Frank Leto and Pandemonium Pan-Caribbean all-star ensemble, 7:30 p.m.

Thursday, Nov. 29, Outpost Performance Space, 210 Yale Blvd. S.E., $10 and $15, 505-268-0044.

ESPAÑOLA Bond House Museum 706 Bond St., 505-747-8535. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945).

Open noon-4 p.m. Monday-Friday, no charge.

Misión Museum y Convento 1 Calle de los Españoles, 505-747-8535. A replica based on the 1944 University of New Mexico excavations of the original church built by the Spanish at the San Gabriel settlement in 1598.

Open noon-4 p.m. Wednesday-Friday, 11 a.m.3 p.m. Saturday; no charge.

LOS ALAMOS Bradbury Science Museum 15th and Central Avenues, 667-4444. Open 10 a.m.-5 p.m. Tuesday-Saturday, 1-5 p.m.

Sunday-Monday; no charge.

Pajarito Environmental Education Center 3540 Orange St., 662-0460. Exhibits of flora and fauna of the Pajarito Plateau; live amphibians, an herbarium, and butterfly and xeric gardens.

Open noon-4 p.m. Tuesday-Friday, 10 a.m.-1 p.m.

Saturday, no charge.

MADRID Johnsons of Madrid 2843 NM 14, 471-1054. Group show of gallery artists; paintings by Mel Johnson; through Wednesday, Nov. 28.

Madrid Old Coal Town Mine Museum 2846 NM 14, 438-3780 or 473-0743. Steam locomotive, mining equipment, and vintage automobiles. Open 10 a.m.-6 p.m. daily. $5, seniors and children $3.

TAOS Museums/Art Spaces E.L. Blumenschein Home and Museum 22 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish Colonial antiques. Open 10 a.m.5 p.m. Monday-Saturday, noon-5 p.m. Sunday.

Adults $8; under 16 $4; children under 5 no charge; Taos County residents with ID no charge on Sunday.

Encore Gallery Taos Community Auditorium, Taos Center for the Arts, 133 Paseo del Pueblo Norte, 575-758-2052. Force of Nature, group show of Taos-based contemporary artists, through Dec. 2.

Harwood Museum of Art 238 Ledoux St., 575-758-9826. Maye Torres: Unbound, drawings, sculpture, and ceramics ï Three exhibits in collaboration with ISEA2012 Albuquerque: Machine Wilderness — Curiosity: From the Faraway Nearby ï Falling Without Fear ï Charles Luna. All exhibits through Jan. 27. Open 10 a.m.-5 p.m. Tuesday-Saturday,

noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday.

La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Cultural Threads: Nellie Dunton and the Colcha Revival in New Mexico, through Jan. 30. Open 10 a.m.5 p.m. Monday-Saturday, noon-4 p.m. Sunday.

Adults $8; under 16 $4; children under 5 no charge; Taos County residents with ID no charge on Sunday.

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

Unknown Was a Woman, group show of pottery, baskets, and weavings, through December. Open 10 a.m.-5 p.m. daily. $8, Taos County residents with ID no charge on Sunday.

Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690.

Visual Impressions, paintings by Don Ward, weekend artist demonstrations through Jan. 6, in Fechin Studio. Open 10 a.m.-5 p.m.

Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.

Events/Performances Yuletide in Taos Holiday activities beginning Friday, Nov. 23, and running through Friday, Dec. 14; 30th annual Yuletide Arts & Crafts Fair, Friday-Sunday, Nov. 23-25, Taos Civic Center, 120 Civic Plaza Drive, for information call 575-758-4160.

▶ People who need people Volunteers Reading Tutors Share your love of reading with children in the United Way Let’s Read Afterschool Program at Aspen Community Magnet School, 450 La Madera; grades K-5; MondaysThursdays; call Susan, 216-2983, or Erin, 670-5044.

Santa Fe Botanical Garden General help needed to guide garden tours, organize events, and help in the office; planners sought to organize the 2013 grand opening of the new garden at Museum Hill during a three-day period in July; 471-9103 or santafebotanicalgarden.org or.

Donations Canyon Road — Giving Back to the Community The Canyon Road Merchants Association and participating galleries will provide food-collection barrels for The Food Depot through Dec. 14; drop off nonperishable food at Canyon Road Contemporary Art, Darnell Fine Art, Dominque Boisjoli Fine Art, William & Joseph Gallery, and Ventana Fine Art; contact Mary Bonney for information, 982-9404.

Smith’s Holiday Program Smith’s Food & Drug invites customers to donate $5, $10, or $15 to their purchases for gift cards to be given to The Food Bank through Thursday, Dec. 29.

Artists/Craftspeople 62nd Annual Traditional Spanish Market 2013 Artists may submit work for jurying on Feb. 2; applications due by Jan. 25; guidelines available upon request; visit spanishcolonial.org for details and applications, 992-8212, Ext. 111.

Landscape Dreams Photo Contest Santa Fe Creative Tourism seeks contestants’ images of New Mexico places, portraits, and moments, Friday, Nov. 30 deadline; visit newmexicophotocontest.com for information and guidelines.

MasterWorks of New Mexico 2013 Entries open to New Mexico artists for the 15th Annual Spring Art Show, April 5-27, Expo New Mexico Hispanic Arts Building, fairgrounds, Albuquerque; miniatures, pastels, watercolors, oil/acrylics; deadline Jan. 25, details and prospectus available online at masterworksnm.org; for additional information contact Barbara Lohbeck, 505-260-9977.

Filmmakers/Poets/Writers 2012 PEN Literary Awards Send in submissions or nominate someone to be considered in the fields of fiction, science writing, essays, sports writing, biography, children’s literature, translation, drama, or poetry; deadline Feb. 1; visit pen.org or write to awards@pen.org for more information.

Pasatiempo 2012 Writing Contest Contribute a story on any subject in poetry or prose. Prizes for winning entries. Three categories: Ages 19 and up 1,000 words maximum, ages 13-18 1,000 words maximum, and ages 5-12, 500 words maximum. (A great holiday classroom activity!) Mail entries to: 2012 Writing Contest, c/o The Santa Fe New Mexican, 202 E. Marcy St., 87501. Email entries to: writingcontest@sfnewmexican.com.

Electronic entries are highly recommended.

Deadline 4 p.m. Monday, Dec. 3, winning entries will be published in Pasatiempo on Friday, Dec. 28.

Snow Poems SITE Santa Fe’s SPREAD 3.0 winning community poetry project stenciling selected lines of poetry onto public windows, buildings, and schools through out the city; one poem per person may be submitted online at snowpoemsproject.com through Monday, Dec. 17; presented by the Cut + Paste Society (cargocollective.com) and the Santa Fe Art Institute (sfai.org).

▶ Short People Annual holiday lighting of the Plaza Friday, Nov. 23: poet laureate Jon Davis recites Christmas poems at 3 p.m.; entertainment begins at 3:30 p.m.; Santa and Mrs. Claus make a guest appearance around 4 p.m.; the mayor flips the switch about 5:45 p.m. then local bands Sol Fire and Solera, and musician Ryan Montaño entertain the crowd; also, Girl Scouts will be selling hot cider, hot chocolate, and cookies; call Bobbie Mossman at 955-6979 for information.

Santa Fe Children’s Museum event Gift sale and fundraiser, handmade glass beads, jewelry, and handknit accessories; also, children are welcome to participate in a make-your-own crafts station; 11 a.m.-3 p.m. Saturday, Nov. 24, no admission charge, but donations welcome, 1050 Old Pecos Trail, 989-8359, continues Sunday, Dec. 16 and Saturday, Dec. 22.

A Very Chaplin Holiday Center for Contemporary Arts presents a Charlie Chaplin film festival beginning with City Lights at 12:30 p.m. Saturday and Sunday, Nov. 24-25, and 6 p.m.

Tuesday, Nov. 27, continuing through Jan. 2; 1050 Old Pecos Trail. Complete screening schedule available online at ccasantafe.org, $9.50 general admission, series pass $30 (discounts available for general admission and passes), all tickets available in advance by calling the box office, 982-1338.

Santa Fe Public Library Children’s Programs Books and Babies, 10:30-11 a.m.

Wednesdays, La Farge Branch, 1730 Llano St., and 10:30-11 a.m. Thursdays, Southside Branch, 6599 Jaguar Dr.; Family Story Hour, 6:30 p.m. the first Wednesday of every month; no charge, visit santafepubliclibrary.org for other events. ◀

Boo ... Yaaay!

I’m not sure anyone can do a better job of musically reflecting how I feel about the holidays this year than Loudon Wainwright III, who sings in his tune “Thanksgiving,” from the 1989 album titled (appropriately enough) Therapy: Lord, every year we gather here to eat around this table/give us the strength to stomach as much/as fast as we are able/ bless this food to our use/though communication’s useless/don’t let me drink too much wine/Lord, you know how I get ruthless … Remind us that we are all grown up/adults, no longer children/now it’s our kids that spill the milk/and our turn to want to kill them.

Noah DeVore of The Big Boo

Announcing that I have the potential to bring an uncomfortable amount of cynicism, dysfunction, and seasonal neurosis to your favorite party or holiday gathering probably isn’t the best way to get invited to the neighbor’s “Egg Nog-stravaganza and Baby Shower.”

And that’s fine, because I’m done. I’ve had it with Black Friday advertisements and tinsel and Marie Callender’s pies and frozen turkeys and icicle string lights and cinnamon potpourri and most of all with the sad fact that no decent song about Thanksgiving has been written since Loudon stuck his giblets out and told it like it is. I just want to see or hear or feel something real this season, and few things do that for me like Wainwright’s sage words do.

Thank gobble, then, for Noah DeVore, aka local musician Keyboard, who gathers with some longtime mates this weekend for a reunion of the Santa Fe band The Big Boo. Wainwright once said of his body of work, “You could characterize the catalog as somewhat checkered, although I prefer to think of it as a tapestry.” The Big Boo canon is more like a tattered thong made of glitter, which is to say, unconventional thoughts run naked and screaming through DeVore’s head. In 2006 DeVore told Sound Waves about The Big Boo: “We had the ability to make jokes — sort of a parody of what pop music and pop culture is becoming ... a lot of people nowadays are culture addicts, like with the internet.

And an addict is selfish by nature. There’s a sense of pretentiousness and entitlement in mainstream pop music, and it’s fairly alienating.”

The quirky, rap-kissed, Casio-drenched electropop songs DeVore and his bandmates (Michael Rae, Zac Sheinbaum, and Adam Koroghlian) have crafted run the gamut from odes to ice water to soupy, sappy love ballads, and not one song has to do with how much better they are than everyone else. Furthermore, DeVore can be immensely self-deprecating while still hitting a raw nerve, which is one of the reasons he’s such a draw — and such a modern pop-music curiosity.

Now more than ever, the world needs The Big Boo, if not for its straightforward approach to silly pop, then for its ability to temporarily erase your gravy-fueled rampage from memory.

Despite some frustrating double-booking issues, the band is rolling out a rare all-ages performance at The Betterday Coffee Shop (905 W. Alameda St.) at 7 p.m. Saturday, Nov. 24, and there’s a $3 cover. Also on the bill are local garage-folk/rock outfit The Dead Kids, nü-folk ensemble The Grannia Griffith Story, hip-hop artist D-Lou, and singer-songwriter Will Schreitz.

So with age and experience, has DeVore’s self-deprecation been subdued? When asked if The Big Boo would be rolling out new material or sticking to “the greatest hits,” DeVore said, “If we played our ‘greatest hits,’ there’d be nothing to play.” Ahh. You can almost hear the awesome.

— 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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