Pasatiempo, Nov. 2, 2012

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

November 2, 2012

Lensic Presents

World Music

November 15

The internationally acclaimed quintet that’s redefining traditional Irish music returns to The Lensic.

“The material, both original and traditional, becomes a springboard for explorations that go beyond folk, dipping toes into chamber music, jazz and beyond.” —NPR

7:30 pm, $15–$45 GEN EROUSLY SPONSOR ED BY

Celebrate the release of Beaujolais Nouveau at RISTRA Thursday, November 15 4-course dinner paired with 4 different wines from Beaujolais $48 ï

join us for a tradition: Thanksgiving at Ristra

Thornburg Investment Management

2pm - 9pm ï $4 LUNCH GIFT CERTIFICATE Present certificate Tues.–Sat. 11:30–2:30 One certificate per person Tickets: 505-988-1234 www.TicketsSantaFe.org S E R V I C E C H A R G E S A P P LY A T A L L P O I N T S O F P U R C H A S E

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November 2-8, 2012

14 artists. 14 rule to be broken.

Some are subtle, some are blatant, but these works in a variety of media represent the culmination of a years worth of creative experimentation.

You don’t want to miss this exceptional exhibit of fresh work!

iVO V contemporary

November 1 ñ January 1 Opening Reception Friday, November 2 5pm ñ 7pm

725 Canyon Rd, Santa Fe ï 505≠ 983≠ 1320 ï www.vivocontemporary.com

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Celebrate the holiday season at Rio Chama!

Book your private party in one of our intimate dining rooms.

For reservations please call 505-955-0765

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5

THE SANTA FE NEW MEXICAN

November 2, 2012

ON THE COVER 32 Paint and suffrage “The first time I voted, I cast my ballot for Michael Dukakis,” artist Natasha Isenhour told Pasatiempo. “I remember it felt futile, yet empowering.” Though Dukakis’ bid for the presidency expired decades ago, participating in American democracy in the age of Citizens United can certainly evoke the disparate sensations Isenhour described.

She is among the artists featured in VOTE, an exhibit that opens Friday, Nov. 2, at the William & Joseph Gallery. On our cover is another work featured in VOTE, a painting by Tim Althauser, also called Vote; image courtesy William & Joseph Gallery and the artist.

MOVING IMAGES

BOOKS 14 16 36 40 44

In Other Words In search of the internet David Suzuki If only he were president “Wilson – That’s All” Campaign songs Ten-cent Jimmy Buchanan Campaign posters Dance in American art Sharyn R. Udall

48 Pasa Pics 52 Sister

CALENDAR

MUSIC 18 20 23 24 63

56 Pasa Week

AND

Terrell’s Tune-Up A mighty lonesome man Pasa Tempos CD Reviews Onstage This Week Per Tengstrand Parkington Sisters Soulful nor’easters Sound Waves High Mayhem’s fall collection

10 Mixed Media 13 Star Codes 54 Restaurant Review

TEDXACEQUIAMADRE 26 Ideas center stage Talking ’bout a new solution

ART 28 Cups at Santa Fe Clay You can’t handle the truth!

ADVERTISING: 505-995-3819 santafenewmexican.com Ad deadline 5 p.m. Monday

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

by The New Mexican. Our offices are at 202 E. Marcy St. Santa Fe, NM 87501.

Editorial: 505-986-3019. Fax: 505-820-0803. E-mail: pasa@sfnewmexican.com PASATIEMPO EDITOR — KRISTINA MELCHER 986-3044, kmelcher@sfnewmexican.com ■

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

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

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

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

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

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

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CONTRIBUTORS Laurel Gladden, Julie Ann Grimm, Robert Ker, Bill Kohlhaase, Jennifer Levin, Adele Oliveira, Susan Meadows, Robert Nott, Jonathan Richards, Heather Roan-Robbins, Casey Sanchez, Michael Wade Simpson, Steve Terrell, Khristaan 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 Kaycee Canter 995-3844 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

What’s happening Talk and Book Signing

HOW DO

november 2 friday

GIRLS

Sharyn Udall, independent curator and art historian, discusses her new book, Dance and American Art: A Long Embrace. 5:30–6:30 p.m. Free.

Gallery Talk

november 4 sunday

“A Tale of Two Paintings.” In 1952 and 1953, Peter Hurd painted two portraits of Gerald Marr. This is a rare opportunity to see both paintings side by side, and hear about their unusual history. 2–3 p.m.

Free with regular museum admission.

Centennial Concert

A world première of a Centennial composition by Roberto Sierra, plus works by Schoenberg and John Adams. Co-presented with Chatter: Music Worth Knowing About. St. Francis Auditorium, 6–8 p.m. Ticket information at www.chatterchamber.org.

Family Activity Day

SUCCEED?

november 9 friday

november 10 saturday

“Get to Know Your Art Museum.” Enjoy an afternoon full of insider information about the museum, including fun family activities.

1–4 p.m. Free.

NEW MEXICO MUSEUM OF ART

107 WEST PALACE AVENUE · ON THE PLAZA IN SANTA FE · 505.476.5072 · NMARTMUSEUM.ORG

Santa Fe

Girls’ School

FACT #1:

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

Santa Fe Girlsí School ï Grades 6≠ 8 ï www.santafegirlsschool.org ï 505.820.3188

PASATIEMPO

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Fall Classic Weekend Lensic Performing Arts Center

Santa Fe Pro Musica Orchestra Thomas Oí Connor, conductor | Per Tengstrand, piano

Piano Recital Concerto Saturday, November 3 at 6:00pm Sunday, November 4 at 3:00pm Greig | Schubert | Beethoven

Santa Fe

Friday, November 2 at 7:30pm Schubert | Lizst

Meet the Music Introduction: Saturday and Sunday one hour before each performance.

Pro Musica

$20≠ $65. Students $10 Santa Fe Pro Musica Box Office: 505.988.4640 (ext.1000) Tickets Santa Fe at the Lensic: 505.988.1234 For complete season concert listing visit www.santafepromusica.com

The 2012≠ 2013 Season is partially funded

by New Mexico Arts (a Division of the Department of Cultural Affairs) and the National Endowment for the Arts.

HOW DO

GIRLS SUCCEED? Santa Fe

Girls’ School

FACT #2:

Girls succeed when they find their voices through dialogue in a supportive, middle school, single-gender classroom.

Major Lodging Sponsor

Santa Fe Girlsí School ï Grades 6≠ 8 ï www.santafegirlsschool.org ï 505.820.3188

PASATIEMPO

9

Words and Music

MIXED MEDIA

Behind the Segesser Hides

Saturday, Nov. 3, 2 PM, Meem Community Room

Historian Thomas E. Chávez speaks about and signs copies of his new anthology, A Moment in Time: The Odyssey of New Mexico’s Segesser Hide Paintings. Free.

Sunday, Nov. 4, 2 PM, NMHM Auditorium

KAREN KUEHN

Poet Lisa Gill reads from her book Red as a Lotus: Letters to a Dead Trappist amid selections of the film Compassion Rising, a meditative musical montage. Part of Illuminating the Word: The Saint John’s Bible and Contemplative Landscape, courtesy of the New Mexico Humanities Council.

Free with admission; Sundays free to NM residents.

Chatter: Music Worth Talking About

Friday, Nov. 9, 6 PM, Museum of Art, St. Francis Auditorium

An evening of chamber music including Arnold Schoenberg’s Pierrot Lunaire, John Adams’ Grand Pianola Music and the world premiere of Roberto Sierra’s Caprichos, commissioned by Chatter in honor of New Mexico’s Centennial — plus limited-edition keepsakes from the Palace Press. $25; $9 students and people under 30.

Tickets at www.chatterchamber.org and at the door.

Native American Portraits: Points of Inquiry Exhibition closes Nov. 4

Original photographs from the 1800s through today revealing a nation’s changing attitudes toward Native peoples. Free with admission.

10

November 2-8, 2012

Westward expansion In 1937 German painter Heinz Emil Salloch fled Europe to escape persecution from the Nazis. At the time, Salloch was teaching art to Jewish children and refused to join Germany’s Heinz Emil Salloch at Fire Island; top, Cundiyo, National Socialist 1955, watercolor Party. Salloch immigrated first to Cuba and then to the United States, where he died in 1985. Throughout the late 1930s and 1940s, he painted coastal scenes along the Eastern seaboard, but in the 1950s, he turned his attention to the landscapes and distinctive Pueblostyle architecture of the Southwest. His subjects include oil rigs, Spanish missions, mesas, and buttes; he depicted villages and towns in Northern New Mexico such as Cundiyo, Española, Cerrillos, and Galisteo. Santa Fe’s newest gallery space, A Gallery Santa Fe, presents an exhibition of Salloch’s Southwestern watercolors and pastels in its inaugural exhibition, Journeys West. The show opens Friday, Nov. 2, with a reception at 5 p.m.

At 7 p.m. on Wednesday, Nov. 7, actors from Theater Grottesco read from Salloch’s son Roger’s new play Donald, loosely based on his father’s life. The title refers to one of the characters and also to a hurricane described in the play as approaching the eastern United States from the Caribbean. The free reading is at A Gallery Santa Fe (154 W. Marcy St., 603-7744).

— Michael Abatemarco

HOW DO

One man’s junk ...

The 14th annual Recycle Santa Fe Art Festival is bigger than ever, with about 100 artists from around the country participating. “I think this is a testament to resourcefulness,” said festival coordinator Sarah Pierpont. “If you’re an artist, most of your raw material is free, and you’re turning it into an item of value. And people purchasing the art are appreciative of that. It’s a great combination of promoting recycling and illuminating the wastefulness of our society, while providing artists the opportunity to support themselves through their art.”

After several years at El Museo Cultural de Santa Fe, the 2012 juried art exhibit and market is held at the Santa Fe Community Convention Center, 201 W. Marcy Street. One of the highlight artists is Mitch Berg, who has been involved with the show for almost a decade. His fantastic pieces, many made from materials scrounged along the Santa Fe River, include Prince of Thumbs, Large Face, and Just Hit the Button and You’ll Go. Julia Cizeski offers the realistic Barn Owl, made from newspaper, paper bags, shopping receipts, cigarette-rolling paper, and other materials. Kristin Diener made a fantastically gaudy necklace called Whiskey Lullaby using gemstones, reclaimed silver and gold, bullet casings, a feather, a milagro, and vintage shell buttons. The festival also features jewelry by local art teacher Carol Ware, who invented a technique to crush old cans into miniature pendants.

Festival hours are 5 to 9 p.m. Friday, Nov. 2; 9 a.m. to 5 p.m. Saturday, Nov. 3; and 10 a.m. to 5 p.m. Sunday, Nov. 4. Two special events take place on opening day. At 5 p.m. on Friday, middle-school students from the Santa Fe School for the Arts and Sciences will create a “bottle-top mandala” using plastic and metal bottle lids. Then at 7 p.m., there’s the popular Trash Fashion & Costume Contest.

Friday admission is $5, no charge for kids 12 and under. Tickets for that day’s fashion show (which include general admission) are $15 and $20, available through Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org.). Admission on Saturday and Sunday is free. Call 603-0558 and visit www.recyclesantafe.org.

— Paul Weideman

GIRLS SUCCEED? Santa Fe

Girls’ School

OPEN HOUSE NOVEMBER 8, 6≠ 8PM

Now accepting applications.

Fostering academic excellence, thinking, creativity, and emotional strength.

Tuition assistance available

Santa Fe Girlsí School ï Grades 6≠ 8 ï www.santafegirlsschool.org ï 505.820.3188

Solar Celebration Nov 3, 2012 info@sollunasolar.com www.sollunasolar.com Ph (575) 770-7042

plugging you into the sun!

Serving Taos, Santa Fe, Espanola and Northern New Mexico

Photovoltaic | Solar Thermal Radiant | Solar Hot Water

Your Local Solar Experts!

Located @ 56 C Cnty Rd 65. Turn left after the Dixon Elementary School. Signs will be posted!

Mitch Berg: Just Hit the Button and You’ll Go, 2011, glass and found objects License #33662

PASATIEMPO

11

The Finest in Art and Craft since 1982

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.

Saturday and Sunday

DAVID SUZUKI with Clayton

November 3 & 4 9am-5pm

Thomas-Müller

WEDNESDAY 7 NOVEMBER AT 7 PM LENSIC PERFORMING ARTS CENTER David Suzuki is a scientist, author, broadcaster, and cofounder of the David Suzuki Foundation, established in 1990 to “work with government, business and individuals to conserve our environment by providing science-based education, advocacy and policy work for social change that today’s situation demands.” Dr. Suzuki is Professor Emeritus at the University of British Columbia in Vancouver and recipient of numerous awards, including the 2009 Right Livelihood Award and UNESCO’s Kalinga Prize for the Popularization of Science. Author of more than 50 books, his newest work is Everything Under the Sun: Toward a Brighter Future on a Small Blue Planet, coauthored with Ian Hanington.

Human use of fossil fuels is altering the chemistry of the atmosphere; oceans are polluted and depleted of fish; 80% of Earth’s forests are heavily impacted or gone; yet their destruction continues. An estimated 50,000 species are driven to extinction each year. We dump millions of tons of chemicals, most untested for their biological effects, and many highly toxic, into air, water and soil. We have created an ecological holocaust. Our very health and survival are at stake, yet we act as if we have plenty of time to respond.

— David Suzuki

Meet the artists and see examples of their work at the Collected Works Show, Friday, November 2 nd from 5:30 - 7:30 at the Toolshed (½ mile from the Hwy 68/75 turnoff).

Show continues through the weekend.

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TICKETS ON SALE NOW

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

www.lannan.org

for maps and information:

www.dixonarts.org 505.579.4671 Funded in part by Rio Arriba lodger’s tax

12

November 2-8, 2012

PEÑASCO

EMBUDO RINCONADA

STAR CODES

Discount Home Supplies A fund raiser for Habitat for Humanity.

Heather Roan Robbins

Donate This week’s work is to restore and rebuild lines of communication broken by rough moods and rough weather as Mercury retrogrades and pulls away from a square to soggy and confusing Neptune, while argumentative Mars pulls out of an opposition to exacerbating Jupiter. We may feel brave, but not always brimming with foresight. We’ll be home free if we can direct Mars toward tackling problems instead of one another.

Mercury appears to move backward for three weeks, three times a year, bringing planetary slapstick, though we won’t find all its jokes funny. In 2000, the election year of hanging chads, retrograde Mercury stationed, or appeared to hold still, as it turned direct on Election Day. This year it stations late on Election Day and retrogrades for the next three weeks.

A few things astrologers can predict about the elections are that they will contain surprises and results may be unclear or delayed. Both presidential candidates show great uncertainty in their charts, and neither has the signature of a sudden change in his profession.

We can prepare for this retrograde by voting early, firming up schedules, and generally battening down our systems of communication and transportation.

This retrograde Mercury is great for storytelling, so be ready to spin the winter’s tales, but let the world know fiction does not belong in our government.

The weekend starts industriously and then requires time for emotional processing. Our hearts may feel haunted as Venus squares Pluto and reminds us about what we have lost and what we have not yet achieved. Let the feelings flow, and let them inspire presence and thoughtful action.

Friday, Nov. 2: Conversation is filled with snappy sound bites laced with misinformation; look deep. Argumentative words may relieve stress but aren’t about the real problems; they run a quiet stream underneath as the Gemini moon opposes Mars. Later, light conversation helps us reconnect with one another.

your gently used furniture, appliances, books, doors, windows, new and used building materials to the ReStore.

WE PICK UP! Call 505-473-1114 to schedule a pick up 2414 Cerrillos Road  Monday - Saturday 9 - 5 www.santaferestore.org

OPEN HOUSE Nov. 2, 3, & 4 - DURING DIXON STUDIO TOUR ï Charming artistí s home ï Guesthouse ï 2 studios ï Friendly community of Dixon New Mexico

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Saturday, Nov. 3: We need coziness this morning — our home, our homeland, and our home team need nurturing as a moody Cancer moon trines Neptune.

Don’t push people out of their comfort zone; comfort them instead. Feel that deep strength as Venus squares Pluto.

Sunday, Nov. 4: A spiritual framework helps. We are defensive about our perceived inadequacies. We need to feel we have one another’s backs — we pass unexpected tests this afternoon when we prioritize mutual support.

Monday, Nov. 5: Let people arrive slowly on this low-key, guarded morning; they come out of their shells as the moon heads into Leo midday. It may be hard to concentrate on ordinary work as the extroverted moon whips up the election’s media circus and our personal moods. Expect hyperbole and conjecture.

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Tuesday, Nov. 6: Vote early. Odd delays and obstacles, questions of honesty and malfeasance, and misunderstandings complicate the day; we reveal a lot by how we respond. Optimism sparks midday as the sun quincunxes Jupiter.

Technical problems and misinformation abound. Nerves tighten later as Mercury retrogrades. Don’t jump to conclusions.

Wednesday, Nov. 7: The morning is feisty with dramatic moods. Midday brings karmic twists and trouble letting go of an ideal. This tenacity can help us finish important tasks as the moon heads into Virgo later. Critical analysis instigates headaches tonight as the moon opposes Neptune; rest to think clearly.

Thursday, Nov. 8: The Virgo moon calls us to clean up and grow up, but our dreams call us elsewhere. Work may just not keep our interest, and we wrestle with some touchy personal questions about our ability to reach the mark. We need to make an effort to understand one another. If it is not healing, maybe we don’t need to say it. ◀ www.roanrobbins.com

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13

IN OTHER WORDS Tubes: A Journey to the Center of the Internet

by Andrew Blum, Ecco/HarperCollins, 294 pages The ubiquitous and mysterious internet seems to have made our planet feel both bigger and smaller.

Communicating with, and across, several continents takes an effortless click of a mouse. The internet lets us learn about and share with one another, as well as conduct countless economic transactions. But is it a thing at all? How does it happen?

And where?

Andrew Blum doesn’t try to answer every question about the birth and life of the internet in this book, which takes its name from something Alaska Sen. Ted d Stevens said in 2006 (that the internet was “a series of tubes”). Blum employs a universe of analogies to explain something common and complex — how information passes from one end of the tube to the other. It’s like a necklace strung around the Earth, like an ant colony or mountain range beyond human design, like a bowl of spaghetti or a latter-day Pony Express.

“Two billion people use the internet, in some form, every day,” he writes. “Yet physically speaking, it is utterly disembodied, a featureless expanse: all ether, no net.” So, he sets out to find the internet. He lands in obvious locations such as buildings at the University of California in Los Angeles and Stanford University’s Palo Alto facility, where academic researchers first connected their computers to circulate ideas in the fast-evolving field of computer science in the late 1960s. After that, the development is exponential. In 1985 there were 2,000 computers with access to the internet. By 1989 that number grew to 159,000. In 1997, he notes, 20% of American adults were using the web.

Unsatisfied with photographs and telephone interviews, the author becomes an internet tourist. He bounces from Milwaukee to Frankfurt, Amsterdam, and Virginia. Sometimes he reaches far back into history, explaining how telephone cables first stretched across New York City and telling the story of technological advances, such as fiber optics, that were symbiotic with the development of the internet. But he mostly explores and explains present-day technology.

Blum takes the reader inside exchanges, the hubs where major internet content providers install routers that are connected with small cables. Entire geographic regions tap into each other in these buildings, in row after row of humming machines.

Decisions about who connects to whom get made by a group of specialized internet whizzes who work in the field of “peering.” Demand for speed drives innovation to create the shortest path between two points.

14

November 2-8, 2012

book reviews For the most part, Blum avoids excessive technical jargon, calling instead on everyday imagery and sometimes literature to explain the intricacy at play.

Like Ralph Waldo Emerson’s transparent eyeball, he writes, “I am nothing. I see all.”

He travels to the edge of a manhole in a New York City street where two union workers install fiberoptic cables in the dead of night. The reader stands with him on the western tip of England, where a row of tiny huts receive the end of an undersea cable hundreds of thousands of miles long, the “plugging in of a continent.” Later, he meets a diver who emerges from the ocean to pull a cable ashore in Lisbon, Portugal, and then swims back with a knife to cut away the buoys that marked it as it dropped from a specialized ship.

He records the physical process of bonding the two ends of fiber into one continuous, globespanning link. He takes you on an urban hike through Amsterdam. He perches on the docks of London’s East India Company, where the streets are named for spices, but the industry is now solidly based in communication and banking.

Back in the States, he visits storage houses for data, but these trips are markedly guarded compared to the relatively unfettered access he gains to all the other “parts of the internet” that he explores. For example, when Blum tries to access a facility he calls “the Googleplex” in The Dalles, Oregon, he gets only a cursory tour before he’s shown the door.

Media managers never even let him inside the building, and he writes that it looks like a prison from a distance — an ironic twist for a business that is thought of as providing easy, open access to information. (In October, Google made public a series of photographs from inside its data centers and other infrastructure facilities.)

Although Blum’s goal is to discover the places of the internet, his portraits of the people who work in its technical, mechanical, and administrative aspects of the web reveal just as much. The internet is not a single thing run by a homogeneous sea of smartphone-wielding geeks. It is data-center managers with active imaginations, executives with only cursory understanding of the physicality of their domains, and network engineers sitting on the floor in a dimly lit exchange center, hunched over laptops and tapped into the backbone — to name only a few.

One of the men credited with the title of “Internet Father” makes that connection. “In those early days, none of us any idea what it would become. I had a vision, and I got a lot of it right,” says Leonard Kleinrock, a UCLA professor involved in the early development of networking. “But what I missed was the social side — that my ninety-nine year old mother would be on the internet. ... I thought it was going to be computers talking to computers or people talking to computers. That’s not what it’s about. It’s about you and me talking.”

— Julie Ann Grimm

SUBTEXTS In-depthy analysis Cable television’s knack for supplying the viewing public with bizarre punditry is always at its highest in the weeks and days leading up to a national election. For the sake of our own sanity (and, in some cases, family unity), we have to laugh at the freak show that has become American politics.

Stephen Colbert, the host of the highly rated Comedy Central news-satire show The Colbert Report and coiner of the term “truthiness,” is the razor-clawed lioness of lampooners in the fake-butmight-as-well-be-real news jungle, and in his third book, America Again: Re-becoming the Greatness We Never Weren’t (Grand Central Publishing), Colbert explains contemporary American identity in his typically tongue-twisted and cavalier fashion.

He may just be playing a character, but in his examination of employment (or the lack thereof), healthcare, food culture, energy, elections, the economy, and other topics, Colbert reminds us that things could be worse — but probably not. “The Real Question is: are America’s best days behind us? Of course they are, and always have been. We have the greatest history in the history of History.

But never forget, our best days are also ahead of us, and always will be. Because America also has the Greatest Future in the history of the Future. It’s our Present that’s the problem ... and always is be.”

Adding to the book’s quirky nature is its design (by New York firm Doyle Partners), which includes 3-D glasses because the book is “Now in 3-D HighDef Depthiness!”

If you’ve had it up to here with the muddied concept of “American exceptionalism” — even the satirical variety that Colbert has perfected — there’s still some great material to pore over in America Again. Just skip to the last chapter, “I am Drunk,” in which Colbert, in a booze-fueled rampage, laments, “Face it, we’re Rome. The Empire is crumbling at the edges. We live in the last decadent days of a dying giant, who’s just trying to get in one last gay orgy before he falls on his samurai sword.”

If you eat and breathe the frothy, succulent nectar of American exceptionalism, maybe just read the Cliffs Notes instead. Or actually, don’t.

— Rob DeWalt

Love your BO D Y !

Buy a 60-minute custom facial or massage and Nature’s Compass: The Mystery of Animal Navigation by James L. Gould and Carol Grant Gould, Princeton University Press, 280 pages Imagine sailing from Alaska to New Zealand. A compass, detailed nautical maps, and a GPS would be standard onboard equipment. Knowledge of celestial navigation would confirm your electronics. You would chart a course and calculate corrections as you sailed to compensate for insidious crosswinds and currents that might mean you would never arrive at your destination. Pretty complicated stuff for a birdbrain, but millions of birds do just this sort of navigating twice a year and without any tools or electronics other than their neural wiring. And not only do they do it when they already know the route, many young birds, only recently fledged, do it with no previous experience of their destination or without any guidance from older birds who blithely leave them behind. Honeybees, creatures as nearsighted as Mr. Magoo, still manage after a foraging session to find the one hole in the single tree in a forest where their hive is located. Even the lowly dung beetle makes a beeline from its preferred delicacy to its burrow.

The question, of course, is how do they do it? James L. Gould, a professor of ecology and evolutionary biology at Princeton University — and his wife, Carol Grant Gould, a science writer, explain the current research on animal navigation in one of the most fascinating books I have read this year. As it turns out, many animals do, in fact, have an internal navigation system that works like a compass, a map, and even a kind of onboard GPS. They also use celestial cues and polarized light (which, unlike us, many animals can see), and generally they use more than one technique — just as human navigators do — to confirm and correct their course.

The Goulds provide countless fascinating examples and results of navigation experiments with a large number of species including ants, honeybees, newts, lobsters, sea turtles, rats, dogs, and a variety of birds. I often referred to the useful diagrams and graphs — explaining navigation can be as complicated as doing it.

The Goulds finish with a timely question. What will happen to animal migrants on our rapidly changing planet when the destination for which they are evolutionarily programmed no longer fits their physiological needs — say, when they find a forest where the tundra used to be or a concrete desert where the marsh or beach used to be? The book offers some hope for the few species that might be saved by clever reprogramming or using artificial cues to lead them elsewhere. But nature is not always easily fooled: green sea turtle eggs reintroduced to Bermuda from the Caribbean hatched an all-male colony because of the lower sand temperature in Bermuda.

While this is certainly a book for birders, beekeepers, and lovers of the natural world, it’s also a book for sailors, pilots, and anyone who has ever had trouble finding their car in the parking lot. According to James Gould’s research — and that of other scientists — evolution has been less kind to humans than to homing pigeons when it comes to navigation. But then, given what we are doing to our home planet and our fellow travelers on it, most biologists would agree we have lost our way. Better hang on to that GPS. And read this book to see how the pros do it.

— Susan Meadows

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WE’RE BACK! The Santa Fe Playhouse and For Giving Productions Present Nora and Delia Ephron’s

LOVE, LOSS AND WHAT I WORE Based on the book by Ilene Beckerman

“This is standing ovation theatre. And not just for women. Well, it’s Nora and Delia Ephron’s words, with a superlative cast under the direction of Janet Davidson. Guys don’t beg out of this one. It’s smart, insightful and devastatingly funny”! -Screen and Playwright Ron Bloomberg.

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PASATIEMPO

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Susan Meadows I For The New Mexican

JOBS MORE IMPORTANT THAN

DAVID SUZUKI ON HUMANS’ GREATEST NEEDS

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????. ? - ?, 2012

avid Suzuki is a Canadian geneticist and co-founder of the David Suzuki Foundation, the mission of which is “to protect the diversity of nature and our quality of life, now and for the future. Our vision is that within a generation, Canadians act on the understanding that we are all interconnected and interdependent with nature.”

Suzuki is among the authors of An Introduction to Genetic Analysis, one of the basic texts in genetics, and has a long career as a scientist, environmental activist, and science communicator including radio programs and PBS and Discovery Channel specials. He has won multiple Gemini awards from the Academy of Canadian Cinema & Television.

The author and co-author of many books, including Everything Under the Sun: Toward a Brighter Future on a Small Blue Planet (co-written with Ian Hanington and published this year by Greystone Books/D&M), Suzuki speaks in Santa Fe on Wednesday, Nov. 7, in an appearance presented by the Lannan Foundation. He is joined by Clayton Thomas-Müller, a member of the Mathias Columb Cree Nation of Manitoba and an activist for indigenous rights and environmental justice.

Suzuki spoke with Pasatiempo by phone from his office in Vancouver, British Columbia.

Pasatiempo: In Everything Under the Sun, you say that it’s not the “environment vs. the economy,” an idea based on deceptive accounting that excludes nature’s essential services and the benefits of biodiversity from an economics model that you refreshingly term “stupid.” Isn’t this economic model the crux of the whole problem?

David Suzuki: I think it is. The irony is that economy comes from the same root as ecology — ecos means household or domain, and our domain is the biosphere. The ecologists study it to determine what we need to survive ... but economists miss that. We forget the connection to the original ecos — our home. It’s always onwards and upwards.

After huge successes for 30 years, the environmental movement is failing. We beat the proposal to drill in ANWR [the Arctic National Wildlife Refuge]. We stopped Brazil from building dams in the Amazon watershed ... yet 30 years later, we are fighting the same battles again. What we thought were victories were just skirmishes. The real battle is how do we see the world? If we just see the world as an opportunity to take its resources and dump waste ... we need to shift our paradigm. The prime minister of Bhutan in April proposed to the United Nations that the wellness of all life and happiness of people should be the highest priority of governments. And 68 countries signed on. But, they asked, what is happiness? What are the hard definitions that can be measured?

And then how do we increase the level of happiness and wellness? Bhutan has set up committees, and I am on the best one — the one to develop measures of wellness and happiness that we must present in two years to the UN. This is a new paradigm. We act as if the economy is the purpose of government.

Pasa: As the effects of climate change are being felt globally, the deniers have shifted their argument from “it won’t happen” to “it isn’t our fault.” The deniers refuse to accept that if the scientists’ predictions were correct, they are also probably right about what’s causing it. As a scientist, you write that politicians who reject science aren’t fit to lead. But you also note that science won’t save us on its own. What else is needed?

Suzuki: Politicians are beholden. We have a democratic system that is undemocratic; so much is based on campaign funding. ... Corporations are not people. Yet because they fund campaigns, they get into politicians’ offices first, and the government is paralyzed. ... Also, there is a problem of scientific literacy — the level of ignorance [among politicians] makes them incapable of assessing climate change.

Pasa: In the book, you quote Albert Einstein, who said, “We cannot solve our problems with the same thinking we used when we created them.” What new kind of thinking do you envision?

Suzuki: I get asked to talk to corporate boards and governments, and I am tired of fighting. ... So now I say, can we leave our vested interests outside and start with agreement? What are the most important things in the world? From the moment you are born and until you die you need air. Without air you die, and if you breathe polluted air you get sick. We are 60 percent water, so if you don’t have water you die, and if it’s polluted you are sick. Any government protecting its people must protect the air and water and the soil. I defy anyone to show us a higher priority.

We are also social creatures. We need love. I don’t mean that in a hippie-dippie way. Children have windows in their childhood when they need love, usually from their parents, and are crippled physically and emotionally if they don’t get it. We need to ensure that. We need to protect families, protect them from war and social injustice. We are also spiritual beings. Nature is our birthplace, and we need to have sacred places as spiritual creatures. Then we ask, how do we live? How do we build an economy that provides this? Those are our biological and spiritual needs, but we have it set so the economy comes first. Our economy uses nature as raw materials and a place to dump our toxic waste. But if you don’t protect your home, where do you live? It takes nature’s services ... and we ignore these services in our economy.

How did we get to this point? I am a geneticist by training, and I am intrigued by how we can trace human movements around the planet, and they all lead back to Africa. In 150,000 years we have taken over the planet. ... There has never been a billion of any mammal. It takes a huge amount of air and water to keep us alive. Seventy percent of our economy is based on consumption, and most of it is not about our needs. My parents taught me to live within our means. It seems quaint today. I think we have to change all that and the way we look at the world.

Of course the end is wellness and human happiness. If you listen to the American presidential election campaigns right now, you would swear it was the economy. ... But we can change our economic system, because it is a human construct. ◀

There has never been a billion of any mammal. It takes a huge amount of air and water to keep us alive. Seventy percent of our economy is based on consumption, and most of it is not about our needs.

— David Suzuki

details ▼ David Suzuki in conversation with Clayton Thomas-Müller, presented by the Lannan Foundation ▼ 7 p.m. Wednesday, Nov. 7 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $6, students $3; 988-1234, www.ticketssantafe.com

PASATIEMPO

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TERRELL’S TUNE-UP Steve Terrell

Traveling all alone

Photo Rich Chapla

Let’s get right to the point: Mighty Lonesome Man

by James “Slim” Hand is the best county album of the year. The best basic old-fashioned, honestto-God heartache and honky-tonk country music of the year. Maybe in the last several years. Do I make myself clear?

And surprise, surprise — you haven’t heard this on so-called country radio stations. Probably not on many radio stations at all. And chances are, unless you’re from Texas, you haven’t even heard of Hand.

I’d never heard of him until earlier this year, when I went to a show at the Austin Moose Lodge — an official meeting place of the Loyal Order of Moose — during South by Southwest. While I was watching a young “underground country” band called Hellbound Glory, a guy about my age wearing a cowboy hat and a spiffy Western-cut jacket came up to me and introduced himself.

He was working the crowd, greeting individuals before his own impressive set that night. While on stage, he said he wanted to shake the hands of everyone in the audience. The soft-spoken singer seemed sincere, not smarmy. So maybe I shouldn’t be surprised that his new album seems like an old

18

James “Slim” Hand

November 2-8, 2012

friend. Sounds corny, I know, but I wouldn’t say it if it weren’t true.

Hand was raised in Tokio, Texas, a tiny town near Waco, the son of a rodeo rider. (Hand himself is a horse trainer by profession.) He has been singing all his life and wrote his first song when he was 15. He recorded several albums on small labels and one, The Truth Will Set You Free, on a major minor label, Rounder, in 2006. That was his first brush with national fame. He even got interviewed on NPR’s Fresh Air (http://tinyurl. com/handinterview). In my book, he ought to be a lot more famous.

On Mighty Lonesome Man, Hand is backed by a bunch of impressive Texas musicians — Cindy Cashdollar on steel guitar, Alvin Crow on fiddle, and Earl Poole Ball on piano all make appearances. And on every song, Will Indian plays electric guitar and Speedy Sparks — best known for his work with Doug Sahm and the Texas Tornadoes — plays bass. Sparks was in Hand’s band when I saw him at the Moose Lodge.

But even more impressive are the songs, all originals except for a cover of Johnny Cash’s “Get Rhythm.” The album starts out with the title tune, a nonflinching account of the lonesome life. “I know what it’s like when night starts fallin’/And God above won’t even raise his hand/And I know what sorrow steals when I start crawlin’/And I know ‘cause I’m a mighty lonesome man.”

Another song dealing with the same subject is “Lesson in Depression,” in which Hand sings, “Thanks for droppin’ by, but you don’t need to see/What I do when I get sick and tired of me.”

Many have compared Hand’s music to that of Hank Williams and fellow Texan Lefty Frizzell.

But the voice that comes to mind when I hear this song and “Mighty Lonesome Man” is that of the late Gary Stewart, whose hits “Drinkin’ Thing” and “She’s Actin’ Single (I’m Drinkin’ Doubles)” were some of the starkest, most moving sounds on country radio in the mid-’70s. Hand’s voice has that haunting Stewart quiver.

“My Witness” has all the marks of a classic honky-tonk weeper. The steel and fiddle set the mood (Bobby Flores plays both on this track).

The “witness” is some barroom chippy, while “my judge and jury” is apparently the singer’s wife, sleeping in a house down the street.

Hand has a talent for story songs. “The Drought” is a tale of a farmer watching his land go dry. “I see the tracks of baby quail/Fallen cracks along the trail/And I know like them, the earth will swallow me/But before I give up, I’ll

haul water in a coffee cup/From the pits of hell or the deepest darkest sea.” Then there’s “Old Man Henry,” the tale of another old farmer who refuses to sell his land to the government for a road project. “In his 97th year/Old man Henry had made it clear/They could build their damned highway somewhere else/He wasn’t about to go.”

This story doesn’t end happily.

The themes and situations Hand sings about and the simple music with which he conveys them are not groundbreaking or innovative. They are just honest songs that prove that old-school country can still sound fresh and that mighty lonesome men can still make mighty powerful music. Check out www.jamesslimhand.com and www.hillgrassbluebillyrecords.com.

Also recommended: Goin’ Down Rockin’: The Last Recordings

by Waylon Jennings. Jennings died in 2002.

A couple of years before his departure, he recorded a bunch of basic tracks in the home studio of his friend Robby Turner. These recordings, mostly songs he wrote himself, just feature Jenning’s voice and guitar and Turner’s bass. Nearly 10 years after Jennings’ death, Turner gathered some of Jennings’ old sidemen, including drummer Richie Albright and guitarist/keyboardist Jim “Moose” Brown, to make this album. I was skeptical when I first heard about about this project. It could have turned out cheesy and exploitative. Fortunately, it didn’t.

As the title song suggests, there are some good country rockers here, including the title song, “If My Harley Was Runnin’ ” and “Sad Songs and Waltzes,” which is neither (and it’s also not the Willie Nelson song of the same title). However, “She Was No Good for Me” is indeed a sad song and a waltz. This is one of my favorite songs Jennings did in his later years.

Another latter-day Waylon favorite is “I Do Believe,” originally appearing on a mid-’90s album by the outlaw supergroup The Highwaymen. It’s a moving statement of humanist spiritually that starts out: “In my own way I’m a believer, in my own way right or wrong/I don’t talk too much about it/Something I keep working on.” Here he rejects the hellfire sermons of a preacher and “voices I can’t hear” while embracing his inner spirit and praising a “loving father, one I never have to fear.”

This album might not stand up to Honky-Tonk Heroes and Lonesome On’ry, and Mean, but it’s a proper, if belated, goodbye from a giant who left us too soon. ◀

▼

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19

PASA TEMPOS

album reviews

AVISHAI COHEN Triveni II (Anzic) “Safety Land,” the first of four originals by Avishai Cohen, has the Israeli musician vociferously exulting in his trumpet, then trading licks with bassist Omer Avital, the goings-on energetically backed up with rat-a-tat-tat-like drumming by Nasheet Waits. At about the halfway point, the rhythm section takes the lead and takes interesting tangents. The trio has made music together since 2007. This is the second recording from a Brooklyn recording session; the first was 2010’s Introducing Triveni (“Triveni” being the Sanskrit word for the intersection of three sacred rivers). In the one-room, headphones-free session, Cohen aimed “to recreate the feeling I get when I listen to Billie Holiday: a feeling that’s pure, simple, and honest.” Triveni II, his sixth album as a leader, continues with his composition “B.R. Story.” Busy drums and the fast-moving walking-bass line propel Cohen’s playing, yielding a very live vibe. Cohen’s “Nov. 30th” is moody and placid, with some terribly fleet valve-and-mouth work nonetheless.

Another fast-swinging piece is offered in Ornette Coleman’s “Music News.” Cohen plays a lovely, funny mute on “Willow Weep for Me”; then the trio gets back into heavy swing territory on the Dizzy Gillespie song “Woody ’n’ You.” Still to come on this fine disc are respectful and inventive versions of tunes by Avishai Charles Mingus and Don Cherry. It’s modern music with a firm nod to centrist ’50s and ’60s jazz. — Paul Weideman

‘Triveni II’ is

Looper: Original Motion Picture Soundtrack

by Nathan Johnson (La-La Land Records) There’s a lot of nontraditional instrumental sound in Nathan Johnson’s soundtrack to his cousin Rian Johnson’s film Looper. According to the liner notes, director Johnson wanted to avoid traditional orchestration: “Nathan’s solution was to build massive-sounding instruments out of digitally manipulated found sounds,” in other words synthesized samples of clanking pipes, slamming doors, and other struck hardware recorded in a parking garage. The result is both tribal and futuristic, riotous and infrequently melancholic.

Despite the hybrid musical sources, it’s the traditional instruments — strings, keyboards, growling horns — that hold this aural collage together. Percussive effects drive the music forward, often at a pace that suggests anxious pursuit. The resulting mash mirrors the uncertain effects of time travel (the film’s narrative enabler) rather than actual movement through time. Realization (“The Path Was a Circle”) is announced with synthesized fanfare, lyrical piano lines, and fragile celesta notes.

Romantic pieces (“Her Face”) are more nostalgic than devotional.

The overall effect is irritation and resolution, an itch relieved by a scratch. The score is programmed for listening — but not easy listening — and comes without the selected music heard in Cohen’s the film, making a better showcase for Johnson’s sonic landscape. Fine, except that Chuck & Mac’s “Powerful Love,” a modern music welcome, repeated presence in the film with its low-fi, oldschool R&B, would have fit the program well. — Bill Kohlhaase

POUL RUDERS Offred Suite (Bridge) The Danish composer with a firm nod to centrist Poul Ruders scored a success with his opera The Handmaid’s Tale, premiered in 2000 and revived in several international SINKANE Mars (DFA) If Ahmad Gallab’s musical project ’50s and ’60s jazz. productions since them. Based on Margaret Atwood’s chilling Sinkane sounds like a product of today’s global culture, that’s novel, it’s set in a future America transformed by military because Gallab himself embodies the modern crosshatch of and ecological disasters, in which a fundamentalist theocracy countries, people, and creative ideas. Born in Sudan and raised condemns anyone not espousing approved beliefs to labor camps in Ohio, Gallab found his musical voice in the local hardcore or public execution. As punishment for attempting to escape, the scene and then in New York, where he became a touring musician with indie-rock bands such as Of Montreal and Yeasayer. Sinkane’s debut central character, Offred, is sentenced to serve as a surrogate mother is a bright, colorful blend of Afrobeat and polished dance music, opening with for infertile couples of the ruling class. This recording of the Offred Suite, extracted from the opera, features a detailed, committed interpretation a funk guitar riff that’s all points and spikes and a high hat that soars above from soprano Susanna Phillips, a Santa Fe Opera veteran who returns next the mix. “Jeeper Creeper” lets the bass and guitar carry the song, reducing summer in The Marriage of Figaro. By turns dramatic and introspective, the the drums and vocals to whispers beneath the steady groove. The album music sometimes suggests Berg’s Wozzeck in its expressive energy and its touches on sounds as diverse as early hip-hop, breakbeat, and modern mastery of symphonic effect. Also on this all-Ruders disc are Tundra, an indie rock. The vocals take many forms — a falsetto here, a disaffected orchestral homage to Sibelius (revered by Scandinavian composers), mumble there — but often work best when pushed through autotune, and the composer’s Symphony No. 3, subtitled Dreamcatcher. This as on the aggressively funky chorus to “Makin’ Time.” And the soul two-movement symphony was inspired at arm’s length by the ballad “Love Sick” dissolves into an abstract jazz finale that bleeds Native American dreamcatcher device, into the flute solo “Mars,” completing which traps nightmares and lets the good Gallab’s run through black music of the dreams through; but Ruders insists that 1970s and early ’80s. There is the question in his symphony, “things evolve in a less of authenticity; Gallab has the credentials benign way” as tectonic plates of sound to escape the “cultural tourist” label, but shift and collide. Scott Yoo conducts you can find better versions of many of the the Odense Symphony Orchestra in sounds here in the world-music section powerful renditions of these vibrant, of any record store. But as primers muscular, disturbing works. go, you could do much worse.

— James M. Keller — Robert Ker

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November 2-8, 2012

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November 2-8, 2012

ON STAGE Altered ego: comedian Mark Feigenbutz It would be a mistake to call Mark Feigenbutz a traditional stand-up comedian. It would probably be unfair to call him a traditional anything. A former grocery meat-department employee, security guard, and current student of creative writing at the Santa Fe University of Art and Design, Feigenbutz has a hybrid mind that splits its thought-processing style between that of comedians Stephen Wright and Andy Kaufman and playwrights Harold Pinter and Samuel Beckett. Feigenbutz presents his “rated PG-13” one-man show, “Himself” in … ‘Black and ___’: An Altered State of Comedy, at 7 p.m. Saturday, Nov. 3, at the Santa Fe Playhouse (142 E. De Vargas St., 988-4262). Wearing a white tuxedo on which psychedelic imagery is projected, he draws you into his strange, fascinating, and often hilarious world.

There is a $5 minimum donation for the show, which is co-produced by some of Feigenbutz’s classmates. Visit www.markfeigenbutz.com and the artist’s YouTube channel to find out more about him — and to hear him talk to a fortune cookie.

THIS WEEK

Mancini scores Veteran trumpet player Bobby Shew and singer/keyboardist John Proulx head a combo dedicated to the music of Henry Mancini at 4 p.m. on Sunday, Nov. 4. His extensive catalog includes the scores for Breakfast at Tiffany’s, Days of Wine and Roses, and The Pink Panther. The concert, also featuring bassist Michael Glynn and drummer Cal Haines, takes place at the Santa Fe Center for Spiritual Living (505 Camino de los Marquez). Shew has played with Tommy Dorsey, Woody Herman, Della Reese, and Louie Bellson during his 50-year career.

He returned to his native Albuquerque a few years ago and is a treasured performer on the local scene. There is a 7 p.m. Saturday, Nov. 3, concert in Albuquerque at Nahalat Shalom (3606 Río Grande Blvd. N.W.). Tickets for the Mancini gigs are $25 at www. brownpapertickets. com or at the door.

Call 989-1088 for information.

Classical weekend: Santa Fe Pro Musica

Two trios played by one trio Violinist Philip Setzer, cellist David Finckel, and pianist Wu Han delivered a high point of the 2010-2011 season when they appeared in Santa Fe playing Schubert’s piano trios. This weekend they alight in Los Alamos to perform two trios by another 19th-century master, Antonín Dvoˇrák: his Piano Trios in F Minor and E Minor (the “Dumky” Trio). In addition, Finckel and Wu Han, who are the artistic directors of Chamber Music Society of Lincoln Center, play Brahms’ Cello Sonata No. 1. The performance begins at 7 p.m. on Saturday, Nov. 3, at Duane Smith Auditorium (Los Alamos High School, 1300 Diamond Drive). Tickets, $30, are available through Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org).

Santa Fe Pro Musica Orchestra, conducted by Thomas O’Connor, offers two chamber-orchestra classics — Grieg’s Holberg Suite and Schubert’s charmed Symphony No. 5 — in addition to Beethoven’s Piano Concerto in B-flat Major, with Per Tengstrand as soloist. Performances take place at 6 p.m. on Saturday, Nov. 3, and 3 p.m. on Sunday, Nov. 4, at the Lensic Performing Arts Center. Tengstrand launches the weekend by giving a recital of Schubert’s Four Impromptus, op. 90, and Liszt’s B-Minor Sonata, also at the Lensic, at 7:30 p.m. on Friday, Nov. 2.

Tickets ($20-$65, discounts available) for all of these concerts can be acquired through Santa Fe Pro Musica (988-4640) and by calling 988-1234 or visiting www.ticketssantafe.org. Preconcert talks on Saturday and Sunday, beginning one hour before the shows, are free to ticket holders.

PASATIEMPO

23

Bill Kohlhaase I For The New Mexican

F I D D L I N G

A R O U N D

W I T H

he Parkington Sisters are something other than your usual acoustic, folk-rock, string-centric, vocal-harmony quartet. Their singing suggests comparisons with the Roches, the vocal threesome of sisters who came out of the late ’70s and perform a sort of alt-Irish folk music. But the Parkingtons are more instrumentally adept, not as flippant as the Roches, and less pretentious when serious. At any one time, they might be performing on violin, viola, guitar, accordion, and floor drum while singing lyrics so personally revealing that they would make most alt-folk and alt-rock tunesmiths blush. One song may recall an old sea chantey, another may have punk-rock influences. Their blend of vocal and instrumental harmonies is unique, but they’ll also put a single singer, usually sister Rose, against piano or guitar to emphasize a lyric. Their voices are subtlety different, as the tones of a violin are different from those of a cello. Except in cellphone conversation.

Talking with the sisters, even if it’s only three of the four musical siblings that make up the group, is a study in family dynamics, shared memories, and sisterly kinship. In a conference call with Pasatiempo, viola-violinist Ariel in North Hampton, Massachusetts; guitar-piano-accordion player Rose in Wellfleet, Massachusetts; and percussionist-violinist Nora in Boston (violinist Sarah was busy at home in New York) explained the roots of their music, how they came together in 2005 to form the group, and the collaborative process that goes into the writing and orchestrating of their music. Though they promised to identify themselves as they spoke and not talk over one another, they were soon responding to one other spontaneously, laughing, and mixing things up in a way that suggests they have a lot of fun on stage. “We come from a big family and had to watch out for each other,” Ariel said. Or was it Rose? “We spent all of our time together, and there was never a dull moment.”

To understand the Parkingtons, consider their hometown of Wellfleet on Massachusetts’ Cape Cod. Though they’ve since scattered from the place (except 24

November 2-8, 2012

T H E

P A R K I N G T O N

Jackie Roman

Home is where the harmony is

S I S T E R S

for Rose), it’s there that their musical skills and ambitions, as well as their tastes, were formed. Wellfleet is a town of fewer than 4,000, but it swells to nearly five times that during the summer tourist season. The land, covered in pines where it isn’t drifted with sand, is dotted with small, mirrorlike ponds. The town started out as a fishing village, and that heritage is well preserved, but today it’s better known as an arts community (it’s still famous for the Wellfleet oysters harvested in the nearby estuaries). “There’s always great people watching,” Nora said, “lots of fun characters to see out the window while you’re practicing.”

The sisters’ parents encouraged the musical development of all seven Parkington siblings. “Our parents made music lessons as much a priority as our other school work,” explained Rose or maybe Ariel. “They made sure we practiced our instruments and did the lessons, even before we could do homework,” Nora explained.

“They were very influential.” Ariel performed with the New England Conservatory’s Preparatory String Orchestra while in high school. Ariel and Sarah studied violin at Boston University (at their final concert, they were stand partners). Ariel went off to the University of Arizona to study violin and chamber music and became a member of the Tucson Symphony Orchestra. “Ariel’s leaving out the Greater Boston Youth Symphony Orchestra; she played with them,” interrupted Rose, or maybe Nora.

Ariel picked up the story from there. “But we would all come home for the summer. What a treat to come back to Cape Cod. We always had summer jobs, even when we were in school or working with the symphony.” “We all had the same job, cleaning rental houses,” Rose added. “Lots of tourists.” Ariel spoke up. “Sarah and Rose had gotten a permit to play on the streets in [nearby] Provincetown.” “I was just learning chords on the guitar,” Rose said. “Our parents got me a Beatles fake book, and I started picking up some of the tunes.

I knew a whole three chords. We’d make maybe $5 in three hours. But it was a lot of fun.” “Then slowly we started to come together,” Nora said. “We had our

first show at the local library. The whole community came out and they pushed us to keep doing it.” “Wellfleet is a very big arts community,” Ariel added. “It’s a different scene in the winter, and the year-round community is very close. That was definitely a big part of our making a band, all the local people that encouraged us. It just took off from there. We started writing our own things.” “At first, we were just an instrumental band,” Rose said.

“We used to play Irish jigs, Radiohead covers, jazz things; that was our beginning.” For a while, before she went off to school, the group included youngest sister Lydia, playing cello.

You can hear the Wellfleet influence in the group’s lyrics, with their cold winter sands, snowy pines, and misty beaches. The foursome practice a democratic model of songwriting. But coming up with the harmonies and orchestration is more a collaborative effort. “Sometimes it’s easy, sometimes it takes a bit,” Ariel said. Each of them brings in tunes, and the harmonies and instrumentation evolve from there. “A lot of the mood of the song comes from the person who wrote it,” Ariel said. “One of us will bring in a song, and we’ll all play it through. Sometimes Rose is at the piano, and we work on the harmonies. Sometimes [the instrumental] parts stick, and sometimes they don’t. It can change a lot.” Nora went further: “We’ll have the general song. We’ll have three of us singing the chorus, and the [vocal] harmonies actually come pretty easily. Then we’ll work on the instrumental arrangement until it all feels good.” One of the problems using string instruments is how to establish bass lines. “We need that low end,” Ariel said. “We have the piano, which has a lower range, and the floor drum that can make things interesting, but now we also have a bass pedal for the violin.

The technique is pretty obvious when the bass is coming through and they can see us playing the violin.”

The sisters’ first full-length CD, Till Voices Wake Us, made Acoustic Guitar magazine’s “Essential Acoustic Albums of 2011” list. But it was the sisters’ earlier EP, Ours by the Day, with its frank lyrics, rich harmonies, and edgy presentation, that opened up their audience. “Cruel” and “Siren” separated the Parkingtons from the soft-voiced, female folk groups we’ve come to expect. “The difference in ‘Siren’ and that EP is that we recorded all six songs in one day,” Nora explained. “There’s just the bare bones of the arrangements. Since then we’ve spent months on those songs. The EP shows what the song is, the individual sides of our songwriting, the different styles and their influences.” “The songs evolve as we perform them,” Ariel said. “We’re always refining them on the bandstand.”

The sisters spent a week of October in a New York studio working on a new recording, one which promises even more change and refinement.

“In the past, whoever was singing the song usually wrote the lyrics,” Ariel said. “This album will be different. Whoever is singing might be different than the person who wrote the core of the song. And we’ve collaborated [on songs] more. There were duos working on some, or all four of us.”

“We’re trying different approaches,” Nora added. “We didn’t rush the album; we haven’t been hasty like in the past. And we’ve never had other musicians with us before. It was fun having a horn player, another guitar player, clarinet, bass. No guest vocalists yet.”

Asked if they ever squabble, now or when growing up, the three agree that it’s good there’s some space between them. “When we’re on the road, we go from all being in one car to all being in one green room and onto the stage.

Like any family that’s on the road together, we need some space sometimes. It’s a healthy thing. But then when we do have some free time, we usually do end up together,” Ariel said. “After we recorded, I found myself in North Hampton wanting to hang out with my sister again,” Rose said. Or was it Nora? ◀

It’s our differences that make us great.

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details ▼ Parkington Sisters ▼ 7:30 p.m. Thursday, Nov. 8 Gig Performance Space, 1808 Second St. $20 at the door; www.gigsantafe.com ▼ 7:30 p.m. Friday, Nov. 9 Outpost Performance Space, 210 Yale Blvd. S.E., Albuquerque $15 (discounts available); at the door or from 505-268-0044

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PASATIEMPO

25

Adele Oliveira I The New Mexican

TALKING ’BOUT A NEW SOLUTION IN

x TED

AcequiaMadre

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November 2-8, 2012

three minutes, author Richard St. John distills the eight secrets of success. (Passion is the first requirement, and it helps if your mother is pushy.) Photographer Paul Nicklen projects pictures of polar bears adrift on ever-shrinking glaciers as he talks about how the Arctic ecosystem hinges on microorganisms in sea ice. Boaz Almog, a Ph.D. student, demonstrates quantum levitation using a superconductor.

All are examples of TED talks. TED stands for technology, entertainment, and design, though the talks are broad by nature and can be about anything: science, art, economics, the environment, sociology, and often, nothing less than the nature of existence. The first TED conference was held in 1984 and was meant to be a one-time event. Today, TED hosts three annual conferences: at Long Beach and Palm Springs in California and in Edinburgh, Scotland. Though the annual conferences can cost upward of $7,000 to attend in person, the talks are available for free streaming and download on www.ted.com and are hugely popular, with the most-watched videos garnering millions of views. Since 1996, TED has been operated by the Sapling Foundation, a nonprofit organization.

Santa Fe-based designer and public-health worker Dominic Cappello wanted to bring the energy and brand-new-idea spark of TED to New Mexico’s capital. On Friday, Nov. 2, The Screen at the Santa Fe University of Art and Design hosts the city’s first-ever TEDx conference. The x in TEDx loosely translates to independently organized, though Cappello said it stands for experiment, too. There have been more than 4,300 such events held worldwide thus far.

Like TED, Cappello is multidisciplinary: in addition to his public-health work, he’s an author, and he maintains a space called Studiolo on Canyon Road. “It’s become a cliché, but TED really is about the power of ideas,” he told Pasatiempo. He decided he wanted to curate a TEDx conference in Santa Fe after attending a TEDx event in Albuquerque last year. “One woman, Nancy Judd, was amazing,” Cappello said of that conference.

“She gave a speech on sustainability and recycling, and afterward, there was an exhibition table where you could meet her.

The connection point is important; this is the moment when people get inspired, and find the social and political will to help solve our problems.”

The Santa Fe event is titled TEDxAcequiaMadre, because the conference is about “good ideas flowing out,” according to Cappello. The all-day conference is sold out, though the talks will be available online in a month or so. In three-, six-, or nine-minute talks, 21 speakers address everything from empowering children to make healthy food choices to local investing, bankruptcy, and the future of water in arid regions.

The connection point is important; this is the moment when people get inspired, and find the social and political will to help solve our problems. — organizer Dominic Cappello The program is organized in three 90-minute “acts,” and includes a reception afterward, where attendees can meet speakers.

“It’s a lot to take in a few hours,” acknowledged scholar Lois Rudnick, who talks about “The Immigrant Blame Game.” “I hope people don’t go bonkers,” she said, “but I think social media has gotten us more used to this intellectual jumping around. After the talks are over, I hope people will ask questions, find out more, and become invested in the action outcomes.”

TEDx conferences are an all-volunteer effort. They share with TED an imperative to spread innovative ideas, but the programming is entirely up to the individual curators. TED does not oversee production, though it does require that independently organized conferences film their talks for wider availability online.

The Santa Fe Community Foundation is the event’s main sponsor.

Proceeds from ticket sales cover production costs.

Cappello and his production team reviewed about 100 talk applications, which they winnowed down to 21 speakers. The reallygood-idea component of the proposals was important, but even more crucial was what Cappello calls the “action step,” the what’s-next portion of the program. “We’re not just going to hang out and sing ‘Kumbaya’ and have a nice latte,” Cappello said, although the program does include snacks, lunch, coffee, and socializing. “We’re going to join community-minded people in addressing Santa Fe and New Mexico’s problems. ... As every New Mexican knows, our state is on lots of lists for bad stuff: unemployment, teen pregnancy, the dropout rate — it’s a long list. But it does not have to be that way.

All of these problems have solutions.”

This do-something philosophy is central to TEDxAcequiaMadre.

Rudnick recently retired to Santa Fe after decades of teaching at the University of Massachusetts, Boston. “[TEDx] is a way to have a public forum outside the academic classroom and bring some history to people who think we didn’t have problems with immigration until recently,” she said. She has specific ideas for reform: “I’d like to see a passage toward legal residency or citizenship for the 11 million undocumented immigrants in this country or a guest-worker program — not everybody is clamoring to live here. ... [My talk] is about complicated, poignant human issues and also hard-core economic issues.”

Justina Trott’s talk, “How an Understanding of Sex, Gender, Race, and Class Can Save Our Lives and Money,” also considers the implications of public policy. Trott is a senior fellow at the Robert Wood Johnson Foundation Center for Health Policy at the

University of New Mexico. “The message is to give some hope to the idea that we can make major changes in New Mexico though healthcare reform,” Trott said. “The healthcare bill passed, and it wasn’t everything everybody wanted, but it was sufficient to begin the journey. ... [My talk] is really about policy change, and asking the question: Is the healthcare you’re accessing right for you?”

Like the annual TED conferences, TEDx toggles back and forth between disparate subjects. “Six minutes is hard,” said Justin Handley, a musician, farmer, and entrepreneur who lives with his family in Ojo Sarco. He also tours with his band in a 1979 Greyhound bus that runs mostly on recycled biodiesel. Handley’s talk is “Going Global — Destroying the Planet One Sale at a Time.”

“I talk about the relationship of oil and our food supply,” he said.

“Whether peak oil is imminent or not, it’s going to run out, and the way society is set up, this will cause mass starvation and lead to war. How do we avoid that? My call to action is largely for people to think and to do their own research.”

For most speakers, community participation is part of what they already do. In 2010, Jerry Wellman and Matthew Chase-Daniel founded Axle Contemporary — a mobile art gallery housed in a former Hostess delivery truck. “It gets art out to a lot of people, especially people who might be afraid or intimidated to visit art galleries and museums,” Wellman said. “Art should be defined in a much larger context. Axle is as much a laboratory as it is a gallery; the community itself is a major component in the whole process.”

Though attendance at TEDxAcequiaMadre is limited to about 175 people, “in many ways, the day after TED is the beginning,” Cappello said. He plans to survey attendants and participants about what went well, and what can be improved upon. “This first year is a grand experiment. If we have success, next year we’ll use a larger venue and have a simulcast online. ... But first, we need to determine if we can move people into some kind of action. Inspiration alone is not enough.” ◀

details ▼ TEDxAcequiaMadre ▼ 10 a.m.-5 p.m. Saturday, Nov. 3 ▼ The Screen, Santa Fe University of Art and Design, 1600 St. Michael’s Drive; 473-6494 ▼ $50 (sold out as of press time); see www.tedxacequiamadre.com

PASATIEMPO

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Michael Abatemarco I The New Mexican

A show ofathandles SANTA FE CLAY

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November 2-8, 2012

“M

y work doesn’t lend itself to having a structure like a handle,” said ceramist Rusty Spicer, who nevertheless made handles for the cups he is including in Handle With Care, Santa Fe Clay’s first cup show in three years. Spicer, who has studio space at Santa Fe Clay, where he and owner Avra Leodas met with Pasatiempo, did not want his handles to look like attachments. Made by pinching the walls of the vessels together to form thin protrusions without finger holds, Spicer’s handles seem to flow organically from the cups. “Architecturally speaking, it still works for me,” he said.

Spicer’s stoneware ceramics are unglazed on the outside with a food-safe glaze on the inside. A slip is applied to the surface that fissures uniformly when stretched on a wheel, lending the cups a rough texture.

Three of Spicer’s cups are included in Handle With Care, a fraction of the more than 300 cups by roughly 100 artists that were submitted to the invitational. Each artist could send up to three works. Having a handle was part of the criteria for cups to be included in the show. All pieces had to fit on a 6-inch shelf that runs along each wall of the gallery. Other than that, artists were free to do as they wished — and they did. “Every conceivable firing technique, every conceivable way of making things goes into these wonderful objects,” Leodas said. Handle With Care includes nonfunctional, sculptural objects inspired by cup forms as well as traditional cups, mugs, and tankards. Some are hand-built, others are thrown on a wheel.

Some are earthenware, others are porcelain or stoneware. They range in technique from raku-fired to soda-fired and woodfired, among other methods of hardening clay. While many of the cups are glazed, some are painted by hand, and some are decorated with decals permanently affixed to the surfaces when fired.

Handle With Care runs concurrently with Selections From the Hazel Greenberg Collection. Greenberg, a former director of the American Forum for Global Education, died in February. The selections on exhibit are from her estate and include colorful and inventive teapots, making the Greenberg Collection a good fit with Handle With Care.

“The cup show is a way to see the work of new artists we may be aware of but never worked with before,” Leodas said. The invitational is an opportunity for emerging ceramists to show work alongside wellknown and established artists such as Debra Fritts, who has exhibited with Santa Fe Clay on and off for more than 10 years. Most of the work Fritts makes is figurative sculpture with human and animal imagery.

The faces are expressive and soulful, and her three cups in the show are no exception. “I have a lot of people tell me that there’s a real spiritual connection with the work,” she said. “The cups are made using a simple technique, which is the pinch pot” — done by shaping and thinning the walls of a vessel by pinching the clay between thumb and forefinger. “I just take a chunk of clay and, working very intuitively, allow the face to appear. They are functional and sculptural. It’s kind of a combo.”

Left to right, Maryann Webster: Double Death Cuervo Shots, 4 x 1.5 inches, porcelain, 2012 Debra Fritts: Coverings, 6.5 inches high, stoneware, 2012 Sean Fairbridge: tankard, 8 x 4 x 4 inches, wood-fired stoneware, 2011 Scott Dooley: teapot, 11 x 10 inches, porcelain, 2009, Greenberg Collection Rusty Spicer: mug, 3.5 x 4 x 4 inches, stoneware, 2012

continued on Page 30

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Boat imagery appears in some of Fritts’ studio work, which can be seen on her website, www.debrafritts.net. “That was about the transition coming from the Southeast to the Southwest,” said Fritts, who moved from Atlanta to Abiquiú in May. “I had a working studio in Atlanta, and then I would come to Abiquiú and start a piece and have to go back before it was finished.” Fritts spent three years moving back and forth between the two states before making a permanent move. Much of her work touches on mythic and allegorical themes. “In the South it seems like there was always a story for everything.

I’m used to being around that. Are these my myths? I couldn’t do this if it didn’t connect to my truth somehow.”

Artists with studio space at Santa Fe Clay have been anticipating the cup show, poring over the objects as they’re unpacked and singling out favorites for purchase in advance. Still, there will be plenty available for public consumption, most at affordable prices, and all of them, even those that have sold, will be on display for the run of the show.

A few cups without handles made it into the exhibit, including Utah-based artist Maryann Webster’s Double Death Cuervo Shots, designed for drinking tequila. The cups are incised with images of human skeletons, with a deep red glaze inside. Webster’s sake cup, Sake is like a beautiful woman before drinking afterward, a demon, also on exhibit, combines imagery of a female figure rendered on the inside with that of a demon, whose ugly face can be seen on the underside of the cup. When upright, the vessel rests on slight protuberances representing the demon’s chin and horns. Webster’s sake cup is among the more inventive works on display.

For Leodas, quality ceramics are a combination of originality and good craftsmanship. “I’m excited,” Fritts said. “I would send my work to her for a show, but this is the first time I’ll get to see it on display in person. People are always on board when Avra has a good idea for a show. It just seems like artists are always willing to participate with her.” ◀

details ▼ Handle With Care & Selections From the Hazel Greenberg Collection

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Santa Fe Clay, continued from Page 29

▼ Opening reception 5 p.m. Friday, Nov. 2; exhibits through Dec. 8

2019 Galisteo Street, Unit A4 ï 505.988.3338

▼ Santa Fe Clay, 545 Camino de la Familia, 984-1122

PASATIEMPO

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PAINT

SUFFRAGE

A R T I S TS O N T H E P O L I T I C A L P RO C E S S Rob DeWalt I The New Mexican

ith each new national-election cycle comes an ever more bitter pill of mudslinging, frustration, and disillusionment. The electoral process suffers greatly for it, not only at the hands of those (such as major television networks looking for higher ratings) who hold partisan bickering in high regard, but also at the voting hands of those who are so fed up with the pop-culture nature of modern polemics that getting out the vote starts to feel more like taking out the trash. Nevertheless, voting is the cornerstone of our democratic process, and each person given the right to vote should be reminded of something Thomas Jefferson said in 1806 to former Virginia House of Delegates member Wilson Cary Nicholas: “Should things go wrong at any time, the people will set them to rights by the peaceable exercise of their elective rights.”

Spurred by a desire to leave the partisan bickering behind and focus on the act of voting, Mary Bonney, owner of the William & Joseph Gallery, decided to curate a show that does just that. VOTE, a group exhibit, opens at William & Joseph on Friday, Nov. 2, and runs through November.

Bonney said that the idea for the exhibit, which includes work in various media by more than a dozen artists, coalesced after a heated online exchange with an artist’s wife left her feeling angry and frustrated. “She was saying the most racist things concerning the president and the election,” Bonney said, “and I just had to walk away from the conversation for my sanity.”

Bonney set some simple criteria for participating in the VOTE exhibit. Each piece measures 16 x 16 inches, relates to the act or idea of voting, and is sold for $508. The year 508 B.C. is the approximate year that democracy and the act of voting were introduced to the people of Athens, Bonney said. Those elections were not quite like those in the U.S. today. For instance, Athenian citizens voted for the politician they most wanted to exile for 10 years (ah, the good old days). If a politician collected more than a set number of votes, the one with the most votes was exiled. If none received less than the set amount, they all stayed. Also, at the time, only male landowners were eligible to vote.

Pasatiempo reached out to a few of the artists participating in VOTE and asked them to discuss what voting means to them, the intersection of art and politics, and their first memorable election experience.

V JOSEPH HUTCHINSON

O

Born in Salida, Colorado, during the Great Depression, Joseph Hutchinson joined the U.S. Marines after high school. His travels while in the military helped spark his creative passions. He attended the University of Denver on the G.I. Bill and received his B.F.A. and M.A. in art history.

Hutchinson remembers his first election well. In 1956, recently married and 22 years old, he had just completed a tour of duty with the Marines.“I voted for Adlai Stevenson.

My wife was a Dwight D. Eisenhower supporter, and it caused our first argument. I admired Ike, but my experience with military generals, especially Army types, probably influenced my vote.

“At one time in history, art and politics were inseparable, because art could be used as propaganda. For example, kings and princes were painted or sculpted to be gods.

In America, art never played much of a part of political aspirations for candidates or their parties. Rarely did the U.S. government support the arts in any manner close to how the empires of Europe did. An exception was the public-works acts of the Great Depression. However, the federal government did not impose any restrictions on artists or their works. The federal support during the ’30s was instrumental in nurturing artists and developing arts programs.” Hutchinson’s M.A. art-history thesis was on the role of government in the visual arts.

“Presently, the National Endowment for the Arts continues to support the arts with grants and awards. There have been some warnings that NEA funding will be cut after the national election. If this happens, the performing and visual arts in America will be seriously diminished.”

Hutchinson’s piece, A Vote of Hands, is a reflection on the American voting process, and a call for a“hand vote.” “Members of an assembly openly show their preference by raising their hand to signify an‘aye’vote. Everyone understands that this is a democratic process, and it is a valid and trustworthy one. It may have originated in ancient Greece; in Rome, a senate vote was determined by thumbs up or thumbs down. My work is a collage of ideas as well as materials. Across the top, several hands rotate with fingers pointing up and down. Stars are held to represent the American republic. On the lower left is a profile of George Washington. Then on a field of red, white, and blue and stars there is a small print of a bluebird — representing happiness, perhaps. Above this is a photo of a young boy with a false mustache and a top hat. The message: Let’s not get too serious about this government stuff — after all, the president is just a hired hand.”

T

E

NATASHA ISENHOUR

The 2012 Honorary Artist for ARTfeast Santa Fe, an artist in residence at the Inn and Spa at Loretto, and an award-winning participant in the 2012 MasterWorks of New Mexico Spring Art Show, Natasha Isenhour believes voters and politicians have been complacent and played party politics for too long. “To vote today for me means looking past the party to the moral and ethical ground a candidate stands on. Voting today shapes tomorrow, and it is totally irresponsible for me to think my one vote doesn’t count.”

When Isenhour reached voting age, she was living in North Carolina. She wasn’t raised around the discussion of politics and as a teen found the entire idea boring and not worth her time. “The first time I voted, I cast my ballot for Michael Dukakis, the Democrat running against George H.W. Bush. I remember it felt futile, yet empowering.

“I think I could write a novella on each of about a dozen different ways to interpret the question of how art and politics relate. We could use more creativity in the esoteric sense to problem-solve in politics. I think it’s the inability to infuse critical thinking with creative ideas that is the essence of our current difficulties. My degree is in science, and I know that our best theory based on facts and critical thinking today can change overnight if there is new information. But it takes a creative mind to reinterpret the data to find a different solution. It seems like many of our politicians rely on the same old black-and-white line drawings, refusing to acknowledge that color exists.”

Isenhour’s contribution to VOTE is The Conscientious Objector.“The pandering in the political field reminds me of the 6-year-old who just blows her part in her ballet recital, yet everyone comforts her by saying what a good job she did. These are supposed to be grown-ups vying for our vote. The lack of respect and honor saddens me deeply.

What does it say about other nations’ opinion of me, based on the leadership that I elect? The painting is about not being afraid to think for yourself and about being a part of what you feel is right, as well as how important each and every vote is. It is also about making room for change and tolerance. We can indeed coexist. So the questions you answer with your vote are, Where are my priorities and what exactly do I believe is right for humanity?” continued on Page 34

Opposite page, top, left to right: Deborah Hutchinson: And the Winner Is...?, watercolor on Arches paper; Natasha Isenhour: The Conscientious Objector, pastel; bottom, left to right, Marci Erspamer: Vote, acrylic on canvas; Joseph Hutchinson: A Vote of Hands, mixed media 32

November 2-8, 2012

PASATIEMPO

33

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Before moving to Santa Fe, self-taught painter Tim Althauser was a professional logger, outfitter, guide, and home builder in Colorado and Arizona. At the age of 38, he had a brain hemorrhage and learned how to walk again and take care of himself during his recovery.

He returned to work within a few months of the injury,“trying to work as hard as I ever had.

I simply didn’t know what else to do with my life. I used to look at art as something I couldn’t do in light of needing to support my family. Ten years after first burying myself in my work as a painter, though, I see it as a blessing that I found it. When Mary Bonney asked me to be a part of this exhibit, I jumped at it, dropped everything, and painted the aspens with the‘vote’ heart.” (For VOTE, Althauser created an oil painting of the show’s title carved onto a tree.)

With the encouragement of his wife, Loretta, and friend Dave Davila, a chainsaw artist, Althauser took up painting, and used his love of the outdoors and nature for inspiration.“My friend told me, Now that you’ve lost the left side of your head, you might as well start using your right side. Get after it. I did, and somehow have managed to make a go of things.”

Althauser recalled his first voting experience as feeling like a rite of passage. He took his first turn at the voting booth in Colorado at age 19 while serving in the U.S. Air Force.

“I don’t remember much about it other than it was a step in the approach to manhood, you know? Today, I have staunchly progressive Democrat friends, and I have cowboy friends who belong to the National Rifle Association. Whichever way they lean, I tend to feel like a vote for someone who supports arts education is the only real way to go.

“The only way we’re going to get out of the situation this country finds itself in globally and at home economically is by using our heads creatively, which sadly doesn’t happen much anymore.”

DEBORAH HUTCHINSON

“As Americans, we have the right to vote and the freedom to vote,” Deborah Hutchinson said.

Her art career began when she was a medical illustrator at the college of medicine at Texas A&M University. She moved to Santa Fe in 2005 to pursue her passion for watercolor painting.

“The older I get, the more important this freedom means to me. The first time I remember voting, it was early in the morning. The weather was cloudy, and it was cold. It was the presidential election, and I arrived a little apprehensive, not knowing what the process was.

I remember feeling like everyone was watching me and would know that this was my first time. Of course, everyone was only concerned about themselves.” Hutchinson’s parents and grandparents had always voted for one party, but she stood on her own two feet at the voting booth that cold November day.“I decided who to vote for, and it felt good.”

As an artist, Hutchinson is concerned that many art programs are being eliminated from school curricula.“Depending on the outcome of this election, more areas of the arts may become obsolete, being seen as frivolous and unnecessary. The arts play an important role in our society. The Vietnam Veterans Memorial Wall, for example, or the 9/11 Memorial, were designed and built with great sensitivity to the lives that were lost and to their families.

We need the sensitivity and creativity that artists bring to the daily world.”

Hutchinson’s work for VOTE, And the Winner Is ...?, is intended to represent a sign, similar to the political signs on lawns and at early-voting locations. “The bold lettering and the vibrant colors are meant to attract attention and to pass on a message. I want to inspire a sense of inner excitement about one’s own importance in the political process. I want to encourage all voters to take notice and stand up for freedom, rights, and privilege. Be bold, be vibrant, and your voices will be heard.”

MARCI ERSPAMER

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Utah native Marci Erspamer began exhibiting her work in 2003 and had her first Santa Fe solo exhibition at the William & Joseph Gallery earlier this year.“When voting,” she said,“you are contributing to our society and expressing your beliefs in order to establish rules, rights, and guidelines that we all must follow.” She recalled her first election as insignificant to her at the time, because she had no interest in politics.

“Whether we are aware of it or not, politics have an influence in our work as artists, although I personally do not directly use politics as a mode of expression. Only for this specific project did I integrate the word vote into the piece and even consider politics directly. For that reason I used the word vote as the landscape itself in order to express how politics can be unseen yet is there all of the time. It may go unnoticed, but it is part of the structure of our lives. Yes, I do believe art can threaten or keep politics in check. In many ways, I see myself as a reporter. I’m just telling you what I see, using shape and color. I don’t want to tell you what to think or feel. My hope is that everyone would just take notice.” ◀

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PASATIEMPO

35

James M. Keller I The New Mexican

ave you heard any infectious campaign songs lately? Probably not, or at least none that relate to any of the candidates you’ll be voting for on Tuesday, Nov. 6. But if you were to dial back the calendar by a century, you would find yourself bombarded by any number of snappy tunes proclaiming the virtues of the three principal candidates who made the presidential race of 1912 an unusual contest. Yes: three candidates. That year, the first in which New Mexicans were able to vote in a presidential election, the Republican incumbent William Howard Taft was up against the Democratic challenger Woodrow Wilson, and the progressive Republican Theodore Roosevelt, who had already served as president from 1901 to 1909, threw his hat in the ring yet again, this time as the candidate of the Progressive, or “Bull Moose,” Party.

(This doesn’t even factor in Eugene V. Debs, in his fourth bid as the Socialist candidate — not a negligible force, as he ended up winning 6 percent of the popular vote.) With the right split between Taft and Roosevelt, Wilson swept to a handy victory, carrying 40 of the 48 states, including New Mexico, and the incumbent Republican, amazingly, came in third. All of the candidates waged their campaigns on wings of song.

The role music has played in political campaigns through American history is the subject of a new book released in time for our current political fray: Don’t Stop Thinking About the Music: The Politics of Songs and Musicians in Presidential Campaigns, by Benjamin S. Schoening and Eric T. Kasper (published by Lexington Books). The election of 1912 figures about halfway through the authors’ coverage of the “historical” era of campaigns, which by their accounting — as judged by the campaigns’ use of music — runs until a new approach to election music took over in 1988, in the “pop era.” Popular song (if not modern “pop music”) was a huge 36

November 2-8, 2012

industry in 1912. Tin Pan Alley publishers were cranking out sheet music as fast as they could print it, piano manufacturers were in their peak decade of supplying affordable instruments for home use, and phonographs were staking their place as must-have appliances. Radio had not yet come into its own, so the candidates’ contact with the electorate was effectively limited to stump speeches, whistle-stop tours, and whatever form of printed media they could harness to distribute their message. Popular songs often served as a form of media in the 19th and early 20th centuries, and they were of obvious value in such campaigns, both as repertoire that could be performed at political gatherings and in the form of sheet music that could be sent out to grass-roots supporters.

Those candidates in 1912 were buoyed by pertinent, if ephemeral, ditties. Taft enthusiasts needed new material to replace their songs from 1908, since those earlier pieces no longer responded to current needs. For example, “B-I-Double L-Bill,” with words by Monroe Rosenfeld (who not only coined the term “Tin Pan Alley” but also wrote such songs as “Johnnie, Get Your Gun”), had carried on about Taft’s 1908 opponent William Jennings Bryan, who was no longer a factor; and the rollicking tune “Get on the Raft With Taft” expressed regret that Teddy (“the greatest man that ever ran/the greatest land on earth”) was leaving office — and now here he was reemerging as one of Taft’s chief opponents. Then, too, the president had been putting on weight during his time in the White House, tipping the scales at about 340 pounds by the time he left; the idea of getting on a raft with him may have seemed increasingly injudicious to voters in 1912.

His opponents got better songs, including “Teddy, Come Back,” “When Teddy Comes Marching Home,” “Teddy’s Comin’ Back Again,” and “We’re Ready for continued on Page 38

The role music has played in political campaigns is the subject of a new book:‘Don’t StopThinking About the Music.’

PASATIEMPO

37

We need a man to guide us Who’ll always stand beside us, One who is a fighter through and through A man who’ll make the White House Shine out just like a lighthouse And Mister Harding, we’ve selected you.

The Republicans did not hold a monopoly on celebrity entertainers. By 1928, we find Irving Berlin lending his voice to the left by penning “(Good Times With Hoover) Better Times With Al”; its words acknowledge that prosperity will be certain cer no matter which candidate wins, but that things will be even better with Al Smith than with Herbert Hoover (“Blue skies with Hoover,/Bluer skies with Al”). A year later, of course, the Great Depression hit. So much for lyric prognostication. Berlin, by the way, would also cross the aisle when he provided the tune “I Like Ike” for Dwight D. Eisenhower’s 1952 campaign (“I like Ike/I’ll shout it over a mike”). Schoening and Kasper parse this piece carefully, as they do with many of the campaign songs they consider, elucidating passing but potent references to Joseph Stalin, to Eisenhower’s military record, and the much-planted idea that Ike stood rather above the muck of politics.

Notwithstanding their insight, however, the authors do sometimes slide a bit with their history. They really ought to have mentioned that “I Like Ike” wasn’t entirely entir new in 1952 but was rather a reworking of a song from Berlin’s 1950 musical Call Me Madam. For that matter, it’s hard to imagine how they can have overlooked the song “The White House Chair” in their coverage of the election of 1856. Probably the most sheerly beautiful campaign song of the 19th century, it was composed by star songwriter Stephen Foster to support James Buchanan, his sort-of brother-in-law (Foster’s sister having married Buchanan’s brother).

And it seems less than optimal that they should have entirely overlooked music supporting suppor our first woman candidate for president, Victoria Woodhull of the Equal Rights Party, who in 1872 challenged incumbent Ulysses S. Grant, to the tune of “Comin’ Thro’ the Rye”: If you nominate a woman In the month of May, Dare you face what Mrs. Grundy And her set will say?

Presidential songs, continued from Page 36 Teddy Again,” the last sporting a pleasant internal rhyme in its title and a proper “Bull Moose” sentiment in its verse: Progressive deeds, progressive needs And equal rights for all; We’ll now begin to fight and win For Teddy in the fall.

Once more, once more We want our Theodore!

Astute tune-watchers of the time might have noticed that the lyrics for “Get on the Raft With Taft” and “We’re Ready for Teddy Again” were by the same wordsmith: Harry D. Kerr. Perhaps Kerr’s allegiance shifted between 1908 and 1912, but it’s also possible that, in the fashion of most Tin Pan Alley professionals, he was happy to write for whoever was signing the check. In any case, the winning song of the winning campaign was “Wilson — That’s All,” its title and lyrics echoing an advertising slogan for Wilson Whiskey (no relation), a popular intoxicant of the day. After the election was over, its lyricist, Ballard MacDonald, turned his attention back to songs with a longer shelf life, including “The Trail of the Lonesome Pine,” “Beautiful Ohio,” and “Second Hand Rose.”

Schoening and Kasper recount a fascinating history of presidential songs, from their tentative origins in the campaigns of John Adams and Thomas Jefferson, through the major breakthrough in campaign marketing achieved by William Henry Harrison in 1840, to the rancorous campaigns of the late 19th century and the exuberant songsmithing of the vaudeville era. They note how musical superstars were eventually drafted to lend partisan support. Al Jolson penned “Harding, You’re the Man for Us” as the “official Republican campaign song” for 1920: 38

November 2-8, 2012

Schoening and Kasper grow more passionate in their treatment of the “pop era,” when ever more sophisticated marketers largely stop crafting original songs for their candidates and instead graft on general pop songs that embody a certain feeling or emotion. The process doesn’t always go smoothly. smoothly “Ronald Reagan,” they recount, “attempted to associate his 1984 campaign with [Bruce] Springsteen’s song ‘Born in the U.S.A.,’ only for the management for the more liberal Springsteen to rebuff his request.” George H.W. H.W Bush oddly associated his campaign with “This Land Is Your Land,” its lyrics being the work of the very proletarian Woody Guthrie. Bill Clinton leaned on Fleetwood Mac’s “Don’t Stop,” which the authors consider “likely chosen to resonate with baby boomers, a group from which Clinton wanted to solicit votes.”

Their discussion extends through the 2008 election, when electioneering included prominent use of AC/DC’s “Thunderstruck” (by John McCain, who abandoned it before people got upset about the song’s apparent advocacy of promiscuity and driving over the speed limit), John Mellencamp’s “Our Country” (by John Edwards), Celine Dion’s “You and I” (by Hillary Clinton), and Stevie Wonder’s “Signed, Sealed, Delivered I’m Yours” (by Barack Obama), as well as unsolicited input through YouTube and social media sites. Then, too, one encountered Mitt Romney’s use of “A Little Less Conversation,” made famous by Elvis Presley. It seemed a plausible choice to the extent that the song is a call to action; Gov. Romney, a staffer explained, “believes there needs to be more action to address our nation’s challenges, with less talk and partisan bickering.” And yet the action longed for in the song is clearly of a sexual nature — not a proposition routinely associated with the Romney platform. The road of politics is indeed riddled with potholes. ◀

“Don’t Stop Thinking About the Music: The Politics of Songs and Musicians in Presidential Campaigns,” by Benjamin S. Schoening and Eric T. Kasper is published

by Lexington Books.

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PASATIEMPO

39

Jonathan Richards I For The New Mexican

n the first presidential debate, Mitt Romney vaulted into the lead in the polls with a performance that featured a wide, confident grin, while Barack Obama looked serious and dour. For most of the history of presidential politics in this republic, Obama would have been the one looking presidential. Romney would have appeared frivolous and slightly insane.

In this campaign year, the Library of Congress has issued a handsome tome, Presidential Campaign Posters, measuring 14 by 11 inches and featuring posters and broadsides from three centuries of American presidential elections. The editors begin with the contest that pitted incumbent John Quincy Adams against challenger Andrew Jackson in 1828, and they roll through 180 years of images, up to the iconic 2008 Shepard Fairey silkscreen image of Obama emblazoned with the word “HOPE.” Here’s the fascinating thing about those images: for the first hundred and twenty years or so, the faces they show are a grim lot. There is not a flicker of a smile to be found. These guys took the president business seriously. At best, they raise their eyes soulfully toward the distance. More often, they scowl. That first image of Jackson shows Old Hickory with a vaguely yearning expression, gazing out beneath the slogan “Protector & Defender of Beauty & Booty.” This refers to accusations against the candidate for bloody actions in the Battle of New Orleans, 40

November 2-8, 2012

but as the editors note, “What began as a taunt became a campaign slogan that would lead Jackson to the presidency.”

There were apparently no posters from earlier presidential campaigns, although there was plenty of electioneering, smearing, and character assassination once George Washington declined a third term and political parties got involved. But if there had been posters, it’s pretty hard to imagine John Adams flashing his pearly whites from them or James Madison grinning like JFK. Once the poster era does get going, the presidential office-seekers don’t seem to be having a very good time of it. An image of William Henry Harrison in 1840 shows him posed in a black suit and cape against a chilly, lowering sky, top hat in hand, lips pursed like a man tasting wormwood. He looks as though he’s on his way to a funeral, and in a way he is: he gave his inaugural address hatless and coatless in a snowstorm, caught pneumonia, and died a month into his presidency.

There’s a lovely one of James K. Polk four years later. He too is dressed all in black, and he looks like a hotel manager or a butler turning down a bed for Edgar Allan Poe. Franklin Pierce in his ’52 poster looks like a patient in a dentist’s continued on Page 42

Here’s the fascinating thing about the images in‘Presidential Campaign Posters: From the Library of Congress’:

for the first hundred and twenty years or so, the faces they show are a grim lot.

There is not a flicker of a smile to be found.

PASATIEMPO SA SATIEMPO

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waiting room. On and on they go, Buchanan, Lincoln, Grant, Hayes, each one grimmer than the one before. The presidency appears to be a bitter pill to swallow.

The common man is a common theme among aspirants from the start, and a Currier & Ives poster from 1880 shows a muscular, determined James Garfield wielding a scythe, his sleeves rolled up to display rippling muscles as he slices away at a writhing serpents’ bed of Calumny, Fraud, and Falsehood above the words “FARMER GARFIELD: Cutting a Swath to the White House.”

The first break in the clouds comes with William Howard Taft. Taft was Theodore Roosevelt’s protégé, and his mentor advised him on the importance of cultivating the proper public image.

According to this account, Roosevelt advised him “Photographs on horseback, yes, tennis, no, and golf is fatal.” Taft inaugurated the tradition of a president throwing out the first ball to open the baseball season. One 1908 image of Taft shows the candidate unsmiling but genial-looking beneath his handlebar mustache, and from his buttonhole dangles a paper tag with the cheerful slogan “Good Times.” And on the next page, the sun breaks through: the rolypoly Taft beams like a kindly Santa Claus in a poster that shows just his head, round as the sun itself, and the single word “BILL.” Do things lighten up from here on out? They do not. It is possible that Woodrow Wilson never smiled in his life, and he certainly didn’t in his campaign posters, one of which features the catchy slogan “I am willing, no matter what my personal fortunes may be, to play for the verdict of mankind.” The youthful Theodore Roosevelt, a man we have no trouble picturing with a toothy grin, plays up his serious maturity in his 1904 poster with his running mate, Charles “Icebanks” Fairbanks. His cousin Franklin is also fixed with a jaunty grin and a jutting cigarette holder in our collective memory, but not in his campaign posters.

Ike is the man who breaks the spell. Dwight David Eisenhower may not have been as jolly a fellow as some of his predecessors, but he was possessed of a killer grin, and he flashed it all the way to the White House. By their second go at it in 1956, even Adlai Stevenson was smiling from his campaign buttons, but he was no match for the beaming president waving from a poster that trumpeted “VOTE for peace. VOTE for prosperity! VOTE for IKE!” Now that the genie was out of the bottle, there was no restraining the candidates’ glee, although Lyndon Johnson showed a proper solemnity in his “LBJ for the USA” poster in the wake of the Kennedy assassination. By now we were in the television age, and voters were getting to know their candidates the way they knew their movie stars. Richard Nixon, Robert Kennedy, Romney père, Nelson Rockefeller, and Mr. Sunshine himself, Ronald Reagan — they all beam from their posters like lottery winners. The only ones who show a serious mien are the comedians, Dick Gregory and Pat Paulsen.

The year 1972 brings a jolt. It’s the first major female candidate for the presidency. And she’s black. Shirley Chisholm, “unbought and unbossed,” makes a bid to crack open the men’s club. Chisholm had been the first AfricanAmerican woman elected to Congress; and, as the editors tell us, “When she announced her presidential candidacy on January 25, 1972, Chisholm became the first woman and the first person of color to seek the Democratic nomination.” A generation later came Hillary Clinton and Obama.

Not all the images are pro-candidate. There’s a lot of attack stuff, like the 1856 poster of a donkey and the copy “The above is a true likeness of ‘ten-cent Jimmy’ Buchanan, the ‘Damed [sic] Black-Rat’s’ candidate for President.” As you weather the barrage of negative campaign ads in the coming days, it’s comforting to remember that they reflect a proud old American tradition. ◀ “Presidential Campaign Posters: From the Library of Congress” was recently published by Quirk Books and the Library of Congress.

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43

James M. Keller I The New Mexican

Interplay DANCE IN AMERICAN ART haryn R. Udall, an independent art historian and curator who lives in Santa Fe, has become an energetic force of the New Mexico museum scene. Her book Carr, O’Keeffe, Kahlo: Places of Their Own, published in 2000 by Yale University Press, gave rise to the similarly named exhibition — focusing on three leading woman artists of Canada, the United States, and Mexico — that during the course of two years touched down not only at the New Mexico Museum of Art but also at venues in Toronto, Vancouver, and Washington, D.C. In 2011, she curated a stimulating show titled Sensory Crossovers: Synesthesia in American Art at the Albuquerque Museum of Art and History, which the museum also published as a lavishly produced book. Now she has written her seventh book, Dance and American Art: A Long Embrace (published by University of Wisconsin Press), which, like her synesthesia project, led her deep into interdisciplinary territory.

“I like to learn something new with each research project,” she said. “One of the things that attracted me to the interaction of dance and the visual arts is that I was not a dance expert.”

44

November 2-8, 2012

On Friday, Friday Nov. 2, Udall pr presents an hour-long -long lecture on dance in American art (followed by a book signing) at St. Francis Auditorium in the New Mexico Museum of Art. There will be special resonance in that two of the works pictured in her book are housed in that museum’s collection. Both are images of the renowned dancer Isadora Duncan — one a gouache by Ernest Blumenschein, the other an etching by John Sloan. “You could focus a study on just the dance-oriented works by those two artists,” Udall said. “That our state has such noteworthy examples of the interplay of dance and visual arts suggests how much material exists on the topic.

Of course, I wanted to include a few pieces from my home state, and these very much enrich the subject.”

Pasatiempo caught up with Udall to learn more about her new book.

Pasatiempo: Your book covers a panorama of American art, mostly from the middle of the 19th century through the first few decades of the 20th, which is to say through the period of modernism.

Did you find much variety in the attitudes of artists vis-à-vis dance during that span?

Sharyn R. Udall: In some cases their attitudes were personal. It depended on the individual artists and on

their personal attraction to dance or to dancers. For an artist who was in New York, it could be pretty easy to have opportunities to see performances. But there were also those who stood a bit apart from the field of dance, who didn’t have much personal acquaintance with dance as an art, and they tended to look at it in the context of general, larger American culture. For example, they might be faced with what dance looked like in the Western frontier or how it came across as a form of amusement in the 19th century, when people had to make their own entertainment.

Pasa: So, quite a bit of diversity?

Udall: The fact that it was so diverse makes this subject so interesting. When I wrote this book, it was not a question of fixing on an idea — artists portraying dance — and then seeing it played out 50 times in 50 different artists. Instead, I tried to see the subject as part of a process in American art. Somehow, the subject just started to pop up. I’ve spent a lot of years teaching art history and also humanities, where we look at how the arts are related to one another.

I have always found it attractive to cross boundaries that separate academic fields, and that brings me to these areas that are a little less explored.

Pasa: In your book you present such an abundance of paintings and photographs that spotlight the

dance that it seems surprising that it hasn’t been the focus of a book already.

Udall: The history of this has been written about, but not much in the United States. From the outset I thought that in European and probably Asian art the connection between dance and the visual arts would be well documented. Everybody knows about Degas and his dancers, but nobody thinks of American art in this regard. So I thought I’d take a closer look and that maybe it would lead to an article. It grew into a book.

Pasa: In what ways does American art portray dance in a specifically American way?

Udall: In American art in the 19th century, the dance was often portrayed in a landscape. It’s seen as an outdoor activity. A famous example would be George Caleb Bingham’s well-known painting The Jolly Flatboatmen [1846], or Asher B. Durand’s Dance on the Battery in the Presence of Peter Stuyvesant [1838]. In paintings like those, you get a sense that

Right to left, Elie Nadelman: Dancer [High-Kicker], circa 1920; Abraham Walkowitz: Isadora Duncan Dancing, circa 1916; John Sloan: Isadora Duncan, 1915; opposite page, John Singer Sargent, El Jaleo, 1882

the artist feels he can make this an American subject by making it an American scene. They could do this with interior settings, too: maybe a dancehall on the frontier, a rough-and-tumble sort of place, would be one way to convey that sense of American place. And sometimes we find an interweaving of folk or street dance in a way that suggests the cultural diversity of the nation. I cite any number of artists in New York who go out on the streets or into the slums, who see children dancing in the streets, who maybe document a party thrown by immigrants. They’re interested in what these people may have brought of their own heritage, their own dances. Sometimes the artists adopt a journalistic way of reporting. Sometimes they’re interpreting what is culturally distinctive — what is German, what is Italian — about what these people bring to the American scene.

Pasa: Most of the artworks you discuss are paintings, are they not?

Udall: There is a lot of painting but also a good deal of photography, especially as we get into modernism.

And also sculpture.

Pasa: Historically, painters and photographers have seemed predisposed to stationary subjects: landscapes, portraits, still lifes. It would seem that a subject like dance, which is all about motion, would present some conflict or structural energy, when portrayed on a two-dimensional surface and within the standard rectangular formats of painting or photography.

Udall: That is part of the whole appeal and challenge.

Dance is the most ephemeral of all the arts. Music, too, takes place in a moment of performance, but it can be written down. The problem with dance is how to make it repeatable. Various notational systems have been developed, but dance really does continued on Page 46

There were a number of artists who would talk their way backstage and watch night after night, until they got to know how a dancer moved.

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Dance in American art, continued from Page 45

William Sidney Mount: Dance of the Haymakers or Music Is Contagious, 1845; right, Man Ray: Danger/Dancer ILXT or L’Impossibilité, 1920/1972; images courtesy University of Wisconsin Press

Sharyn R. Udall

exist “in this very moment,” and then the moment is gone because the dancer has moved.

This problem was especially of interest to people teaching the figure in art schools. To challenge their students, they might have them make quick sketches of dancers to capture a sense of how the person moves. Robert Henri told his students to go see Isadora Duncan. He would instruct them to just sketch as fast as they could, and then they would take their sketchbooks back to the studio the next day, and he would talk to them about how they did or did not capture the moments. Other teachers might take a more formal approach, having their students picture the dancers in a pose more associated with religious or mythical subjects.

Pasa: I suppose the most extreme example of seizing a dancer’s movements through sketches must be the modernist Abraham Walkowitz.

Udall: He was devoted to Duncan. It seemed as if he couldn’t see her enough, see enough versions of her.

He was trying to do what several of his European predecessors had done: trying to capture a gesture, rather as Rodin did in his line drawings. He’s the prime example of an artist who became obsessed with a particular dancer, almost as if in building up a vast number of individual images he might cumulatively show the ongoing motion of the dancer. He also did drawings of Martha Graham, but his obsession was Isadora Duncan. He did these drawings by the thousands — five to eight thousand is a good estimate — and he was so impoverished he used to sell them on the street for as little as five cents, so nobody took them very seriously.

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Pasa: On the other hand, photographers could unquestionably capture a moment. Did they face special challenges?

Udall: They did. When photographers were using fairly long exposures, for example, the dancers could have trouble holding a pose long enough. They had to devise support mechanisms or wires that could help keep them in place without moving. Some dancers liked to be photographed — Graham, for example — but others were less comfortable. The sculptor Malvina Hoffman was devoted to Anna Pavlova. Hoffman used to watch her from the stage wings, and her case wasn’t unique. There were a number of artists who would talk their way backstage and watch night after night, until they really got to know how a dancer moved; it’s similar to an artist who paints a particular landscape again and again. Another example is the photographer Barbara Morgan and Martha Graham. Sometimes these became real collaborations; the artist and the dancer worked together to capture and publish images that they both were involved in creating.

Pasa: So, in such a case Malvina Hoffman might be creating a pose that was not original to Pavlova?

Udall: Yes, in a way. But this is after Hoffman has spent countless hours backstage observing her, developing a friendship, when she has returned from studies in France with Rodin and has spent many sessions in Pavlova’s studio seeing what the possibilities are. Hoffman would say: “You know that particular movement from your Gavotte or your Autumn Bacchanale? Let’s see if we can achieve that in sculpture.”

Pasa: Have you been a dancer?

Udall: No more than most of us who took dancing lessons as children. I’ve always been an admirer of dance, and quite a few of these images include spectators as well as dancers. The gaze of the spectator becomes important: Are they looking on with objectification, longing, appreciation, disdain?

Pasa: Is there a particular reason this book appears on University of Wisconsin Press?

Udall: They happen to be particularly allied to the field of dance and have published a number of distinguished dance books over the years. They have an impressive dance program at the University of Wisconsin. I had been looking around quite a bit at various publishers when somebody suggested it, and it turned out to be a great match.

Pasa: Have you thought about what your next project may be?

Udall: There is going to be an exhibition based on this book, circulated by the American Federation of Arts in New York. The organization is chartered by the government to organize and tour art exhibits, and this one will be ready to go in 2015. That will keep me occupied for the immediate future. ◀

details ▼ Sharyn R. Udall, presentation and book signing for Dance and American Art: A Long Embrace ▼ 5:30 p.m. Friday, Nov. 2 ▼ New Mexico Museum of Art, 107 W. Palace Ave. ▼ No charge; 476-5072

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PASATIEMPO

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MOVING IMAGES pasa pics

— compiled by Robert Ker

Crowe stars. The soundtrack, no doubt, will be bumping. Rated R. 96 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) NATIONAL THEATRE OF LONDON LIVE: TIMON OF ATHENS Simon Russell Beale tackles the title role in director Nicholas Hytner’s staging of the richesto-rags play by Shakespeare and Thomas Middleton.

150 minutes, with one intermission. 7 p.m. Thursday, Nov. 8. Lensic Performing Arts Center, Santa Fe. (Not reviewed)

Somebody’s doing burpees: Cung Le in The Man With the Iron Fists, at Regal Stadium 14 in Santa Fe

opening this week ALL TOGETHER Five French senior citizens facing the glum realities of advancing age decide to live together as an alternative to the encroaching prospect of consignment to an old folks home. In the mix are dementia, cancer, heart attacks, and erectile dysfunction. The seniors are lifelong friends — two couples (Pierre Richard and Jane Fonda speaking impeccable French, and Geraldine Chaplin and Guy Bedos) and a single aging Lothario (Claude Rich), and they’re joined by a young anthropology student (Daniel Brühl) who’s doing his thesis on old people.

The performances are nice, but the subject matter, though treated with some humor, is predictable and depressing. Not rated. 96 minutes. In French with subtitles. Center for Contemporary Arts, 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

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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. (Not reviewed) LUNA FEST This traveling festival of nine films by women filmmakers stops in Santa Fe for one day, where proceeds benefit the Breast Cancer Fund and Girls Inc. of Santa Fe. 3:30 p.m. Saturday, Nov. 3, only. A panel discussion accompanies the screening.

Center for Contemporary Arts, Santa Fe. (Not reviewed) THE MAN WITH THE IRON FISTS As the mastermind behind the Wu-Tang Clan, RZA conquered the world of hip-hop in the 1990s. Now he gets out of the recording studio and into the director’s chair as his career goes where it has perhaps been leading all along: helming a crazy kung-fu movie. Eli Roth co-wrote the script (along with RZA), and it centers on a blacksmith (RZA) who makes outlandish weapons for a big battle in feudal China. Russell

THE PAPERBOY Director Lee Daniels won awards and plaudits for the painfully titled Precious: Based on the Novel “Push”

by Sapphire. This one will get some attention, too.

Matthew McConaughey delivers another of the lean, dark-tinged, laconic performances that have marked his resurgence, and Nicole Kidman, playing a Southern Barbie, has a couple of startling scenes that will command much of the attention. The story, based on a Pete Dexter novel, brings a Miami reporter (McConaughey) and his partner (David Oyelowo) to backwater Florida in 1969 to investigate a possible miscarriage of justice. Once you meet the imprisoned subject, a super-creepy John Cusack, you’ll want the miscarriage left as is. The movie has power and originality, but it’s an over-the-top mess of styles, shocks, and excess. It got booed at Cannes, which may or may not be a recommendation. Rated R. 101 minutes.

Regal DeVargas, Santa Fe. ( Jonathan Richards) PERFORMANCE AT THE SCREEN The series of high-definition screenings of performances from afar continues with a showing of Rossini’s L’Italiana in Algeri from Spain’s Teatro Comunale di Bologna.

Marianna Pizzolato, Anna Maria Sarra, and Michele Pertusi star. 11 a.m. Sunday, Nov. 4, only. Not rated.

142 minutes, with one intermission. The Screen, Santa Fe. (Not reviewed) 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) See review, Page 52.

WRECK-IT RALPH Video games have had a tough time getting to the big screen without losing all the life that draws fans to them to begin with. Disney tries to give the concept a “1-up” by bringing lots of iconic gaming characters to life — including Super Mario Bros., Sonic the Hedgehog, and Pac-Man — hoping to do for pixel-drawn creations what Who Framed Roger Rabbit? did for pencil-drawn ones. John C. Reilly voices Wreck-It Ralph, a video-game villain who has a midlife crisis and escapes his game to become a hero. Rated PG. 120 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)

now in theaters ARGO Ben Affleck takes a true story by the throat and delivers a classic seat-squirming, pulse-pounding nailbiter. 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 Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. ( 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.

Performances are mostly strong, and the dialogue moves quickly, as does the action. Rated PG-13.

105 minutes. In English and Spanish, no subtitles.

Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. ( Jennifer Levin)

CHASING MAVERICKS Troubled teen Jay Moriarity ( Jonny Weston) learns that one of the biggest surfing spots in the world exists near his home, so he pouts his lips, squints his eyes, and aims to take it on. Frosty Hesson (Gerard Butler), a grizzly and troubled surf legend, helps train him to survive. Bonds are formed, emotional scars are healed, and the trailer explicitly tells us that surfing is a symbol for life, in case you couldn’t figure it out.

Rated PG. 111 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) CLOUD ATLAS If you see only one movie this year, perhaps it should be Cloud Atlas.

Not that it’s the best movie of the year, but it’s six movies for the price of one, and it packs the running time of two more modest features. 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 Stadium 14, Santa Fe. (Jonathan Richards) FRANKENWEENIE One of director Tim Burton’s first works was Frankenweenie, a 1984 short film about a boy who brings his dead pet back to life. Here, Burton resurrects the concept as a feature-length tribute to the horror cinema of yesteryear. The minimalist black-andwhite stop-motion animation and many references — characters act like Vincent Price, Peter Lorre, and Fu Manchu — nicely evoke classic scare flicks from Universal to Hammer to Toho (Godzilla). Aside from nostalgia, however, there isn’t much to justify stretching the story out to more than an hour. Rated PG. 87 minutes. Screens in 2-D at Regal Stadium 14, Santa Fe. (Robert Ker) FUN SIZE This Halloween, teenage Wren (Victoria Justice) faces an evening so chilling and horror-filled that it would make H.P. Lovecraft say, “OMG!” She’s invited to a party by the local hunk and her total crush (Thomas McDonell), but her mom makes her take along her bratty little brother (Jackson Nicoll). Naturally, Halloween high jinks follow.

Rated PG-13. 90 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed)

Wreck-It Ralph

HERE COMES THE BOOM Kevin James plays a teacher so devoted to his pupils that when the school faces budget cuts, he embarks on a mixed-martialarts career to raise funds. He gets beaten up, presumably to comic effect, but will this sacrifice help him land the girl (Salma Hayek)? Rated PG. 105 minutes.

Regal Stadium 14, Santa Fe. (Not reviewed) HOTEL TRANSYLVANIA Welcome to the Hotel Transylvania — such a scary place (thanks to Dracula, voiced by Adam Sandler), such a hairy place (thanks to Wayne the Wolfman, voiced by Steve Buscemi).

Andy Samberg voices Jonathan, a human who crashes this monster mash — the hotel was created to give monsters sanctuary from people — and falls for Drac’s daughter (Selena Gomez). Rated PG. 95 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. Screens in 2-D only at Storyteller, Taos. (Not reviewed) THE INTOUCHABLES This low-key, feel-good French movie — in which a wealthy man (François continued on Page 50

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continued from Page 49

Cluzet) loses his wife and the use of his arms and legs in an accident and bonds with the Senegalese ex-con (Omar Cy) who is assigned to be his caretaker — is one of the surprise hits of the year. Its global box-office take more than $350 million, and it keeps chugging on in Santa Fe. Rated R. 112 minutes.

In French with subtitles. Regal DeVargas, Santa Fe. (Not reviewed) THE MASTER After World War II, emotionally troubled Navy vet Freddie Quell (Joaquin Phoenix) is taken under the wing of Lancaster Dodd (Philip Seymour Hoffman), the charismatic leader of a nascent spiritual group known as The Cause. This longawaited film from the masterful Paul Thomas Anderson poses heady questions about belief, religion, mental health, and whether humans really can — or want to — change. It’s intense, ambitious, majestic, and visually luminous. Phoenix and Hoffman deliver two of the finest screen performances this year. Still, the film lacks a cohesive plot, and you may leave the theater wondering what, exactly, Anderson was trying to say. Rated R. 137 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) PARANORMAL ACTIVITY 4 Paranormal Activity has officially replaced Saw as the franchise that may be counted on for an annual horror film with production values as cheap as its mythology is convoluted. This one has the usual trappings of the series — videocameras, ghosts, people being violently dragged out of rooms. The biggest difference may simply be the “4” in the title. Rated R. 95 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española; Storyteller, Taos. (Not reviewed) THE PERKS OF BEING A WALLFLOWER Stephen Chbosky’s beloved 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, Hermione in the Harry Potter films)

spicy bland

medium

mild

heartburn

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

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and her half-brother, Patrick (Ezra Miller).

Rated PG-13. 103 minutes. Regal DeVargas, Santa Fe. (Not reviewed) 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 the heck 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. It’s a fascinating planet. 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 Sixto Diaz Rodriguez is a portrait of a humble man, a rock documentary, and a detective story all in one.

The film follows the triumphs and frustrations of a journalist and 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) SEVEN PSYCHOPATHS Writer and 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 cast seems to be having a good time (especially Rockwell) and there are many 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 cohesive novel. Rated R. 109 minutes. Regal DeVargas, Santa Fe. (Robert Ker) SILENT HILL: REVELATION Did you ever notice how the sequels that promise revelations and answers — from The Matrix to Saw — are usually the most confusing films out there? This movie continues building on the already-nonsensical mythos of the

horror video-game series. Rated R. 94 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. Screens in 3-D only at Storyteller, Taos. (Not reviewed) SINISTER In this scare flick, Ethan Hawke plays a writer who buys a new home, discovers some snuff films in the attic, and realizes the abode haunted by some kind of demon that’s coming after his kids. Talk about a housing crisis! Rated R. 110 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) TAKEN 2 Liam Neeson’s second career as a bankable action star got a boost with 2008’s Taken, in which he played a man who kills everyone who comes between him and his kidnapped daughter. But if this guy is so tough, why does his family keep getting taken? This time, it’s his wife (and him). Rated PG-13. 91 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) TO ROME WITH LOVE Nobody can make love to a city like Woody Allen.

When he was young, his heart belonged to New York. Then it was London, and then Barcelona. After the heady triumph of Midnight in Paris, To Rome With Love is a grab bag of mini plots and wisecracks, a Fontana di Trevi of humor spewing cool, refreshing gags. This is Allen in his comic wheelhouse, spinning the kind of yarns he started his career with. There are several different stories, the gags come thick and fast, and Rome never looked better. Rated R. 112 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards)

other screenings Cinemacafé 1616 St. Michael’s Drive 6 and 8:30 p.m. Friday, Nov. 2: Superheroes of Stoke.

Proceeds benefit Adaptive Ski Program.

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

Regal DeVargas Pitch Perfect.

Taos Community Auditorium 133 Paseo del Pueblo Norte, Taos, 575-758-2052 Sunday-Tuesday, Nov. 4-6: Chicken With Plums. ◀

WHAT’S SHOWING Call theaters or check websites to confirm screening times.

CCA CINEMATHEQUE AND SCREENING ROOM

1050 Old Pecos Trail, 982-1338, www.ccasantafe.org All Together (NR) Fri. 7 p.m. Sat. 4 p.m., 6 p.m.

Sun. 1:30 p.m., 7 p.m. Wed. and Thurs. 3:30 p.m., 5:45 p.m.

Lunafest Film Festival (NR) Sat. 3:30 p.m.

Samsara (PG-13) Fri. 3:30 p.m., 5:45 p.m., 8 p.m.

Sat. 1:45 p.m., 8 p.m. Sun. 3:30 p.m., 5:45 p.m., 8 p.m. Wed. and Thurs. 8 p.m.

Searching for Sugar Man (PG-13) Fri. 3 p.m., 5 p.m.

Sat. 12:30 p.m., 7:30 p.m. Sun. 1 p.m., 3 p.m., 5 p.m.

Wed. and Thurs. 3 p.m., 5 p.m., 7 p.m.

REGAL DEVARGAS

562 N. Guadalupe St., 988-2775, www.fandango.com The Intouchables (R) Fri. and Sat. 3:50 p.m., 6:50 p.m. Sun. 4:50 p.m., 7:50 p.m. Mon. to Thurs.

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

The Master (R) Fri. and Sat. 1:05 p.m., 4 p.m., 7 p.m., 9:55 p.m. Sun. 2:05 p.m., 5 p.m., 8 p.m.

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

The Paperboy (R) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:45 p.m. Sun. 2:20 p.m., 5:10 p.m., 8:10 p.m. Mon. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m.

The Perks of Being a Wallflower (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:40 p.m., 10:05 p.m. Sun. 2:30 p.m., 5:30 p.m., 8:40 p.m.

Mon. to Thurs. 1:30 p.m., 4:30 p.m., 7:40 p.m.

Pitch Perfect (PG-13) Fri. and Sat. 1 p.m., 4:20 p.m., 7:20 p.m., 10 p.m. Sun. 2 p.m., 5:20 p.m., 8:20 p.m.

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

Seven Psychopaths (R) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:30 p.m., 10:05 p.m. Sun. 2:40 p.m., 5:40 p.m., 8:30 p.m. Mon. to Thurs. 1:40 p.m., 4:40 p.m., 7:30 p.m.

To Rome With Love (R) Fri. and Sat. 1:10 p.m., 9:50 p.m. Sun. 2:10 p.m. Mon. to Thurs. 1:10 p.m.

REGAL STADIUM 14

3474 Zafarano Drive, 424-6296, www.fandango.com Argo (R) Fri. and Sat., Mon. to Thurs. 12:45 p.m., 4:15 p.m., 7:15 p.m., 10:05 p.m. Sun. 1:45 p.m., 5:15 p.m., 8:15 p.m., 11:05 p.m.

Bless Me, Ultima (PG-13) Fri. and Sat. , Mon. to Thurs. 12 p.m., 2:35 p.m., 5:10 p.m., 7:45 p.m., 10:20 p.m. Sun. 1 p.m., 3:35 p.m., 6:10 p.m., 8:45 p.m., 11:20 p.m.

Chasing Mavericks (PG) Fri. and Sat., Mon. to Thurs. 4:10 p.m., 9:35 p.m. Sun. 5:10 p.m., 10:35 p.m.

Cloud Atlas (R) Fri. and Sat. , Mon. to Thurs.

12:25 p.m., 4:10 p.m., 8 p.m. Sun. 1:25 p.m., 5:10 p.m., 9 p.m.

Flight (R) Fri. and Sat., Mon. to Thurs. 12:05 p.m., 12:35 p.m., 3:30 p.m., 4 p.m., 7 p.m., 7:20 p.m., 10:10 p.m., 10:30 p.m. Sun. 1:05 p.m., 1:35 p.m., 4:30 p.m., 5 p.m., 8 p.m., 8:20 p.m., 11:10 p.m., 11:30 p.m.

Frankenweenie (PG) Fri. and Sat. , Mon. to Thurs.

12:10 p.m., 2:25 p.m., 4:45 p.m., 7:05 p.m.

Sun. 1:10 p.m., 3:25 p.m., 5:45 p.m., 8:05 p.m.

Fun Size (PG-13) Fri. and Sat. , Mon. to Thurs.

12:50 p.m., 7:10 p.m. Sun. 1:50 p.m., 8:10 p.m.

Here Comes the Boom (PG) Fri. and Sat., Mon. to Thurs. 12 p.m., 2:30 p.m., 5 p.m., 7:35 p.m.

Sun. 1 p.m., 3:30 p.m., 6 p.m., 8:35 p.m.

HotelTransylvania (PG) Fri. and Sat., Mon. to Thurs. 12:10 p.m., 2:35 p.m., 5 p.m., 7:25 p.m.

Sun. 1:10 p.m., 3:35 p.m., 6 p.m., 8:25 p.m.

HotelTransylvania 3D (PG) Fri. and Sat., Mon. to Thurs. 9:50 p.m. Sun. 10:50 p.m.

The Man with the Iron Fists (R) Fri. and Sat., Mon. to Thurs. 12:15 p.m., 2:45 p.m., 5:15 p.m., 7:45 p.m., 10:15 p.m. Sun. 1:15 p.m., 3:45 p.m., 6:15 p.m., 8:45 p.m.

Paranormal Activity 4 (R) Fri. and Sat., Mon. to Thurs. 10:15 p.m. Sun. 11:15 p.m.

Silent Hill: Revelation (R) Fri. and Sat., Mon. to Thurs. 12:20 p.m., 5:20 p.m. Sun. 1:20 p.m., 6:20 p.m.

Silent Hill: Revelation 3D (R) Fri. and Sat., Mon. to Thurs. 2:50 p.m., 7:50 p.m., 10:20 p.m.

Sun. 3:50 p.m., 8:50 p.m., 11:20 p.m.

Sinister (R) Fri. and Sat., Mon. to Thurs. 9:30 p.m., Sun. 10:30 p.m.

Skyfall (PG-13) Thurs. midnight Taken 2 (PG-13) Fri. and Sat., Mon. to Thurs.

12:35 p.m., 3 p.m., 5:25 p.m., 7:55 p.m., 10:20 p.m.

Sun. 1:35 p.m., 4 p.m., 6:25 p.m., 8:55 p.m., 11:20 p.m.

Wreck-It Ralph (PG) Fri. and Sat., Mon. to Thurs.

1 p.m., 4:30 p.m., 7:30 p.m., 10:15 p.m. Sun. 2 p.m., 5:30 p.m., 8:30 p.m., 11:15 p.m.

Wreck-It Ralph 3D (PG) Fri. and Sat., Mon. to Thurs. 12:30 p.m., 4 p.m., 7 p.m., 9:45 p.m. Sun. 1:30 p.m., 5 p.m., 8 p.m., 10:45 p.m.

THE SCREEN

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com

L’Italiana in Algeri: from theTeatro Communale di Bologna (NR) Sun. 11 a.m.

Sister (NR) Fri. and Sat. 5:20 p.m., 7:15 p.m., 9 p.m.

Pix of the Week Museum Art You Can Own

143 Lincoln @ Marcy 820.1234

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Miguel Martinez “Woman With Taos Landscape” Acrylic on Canvas 46” x 62”

Sun. 2 p.m., 4:15 p.m., 6:15 p.m. Mon. to Thurs.

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Sun. 1:15 p.m., 4:05 p.m., 6:55 p.m. Mon. to Thurs.

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Bless Me, Ultima (PG-13) Fri. 4 p.m., 7 p.m., 9:30 p.m. Sat. 1 p.m., 4 p.m., 7 p.m., 9:30 p.m. Sun. 1 p.m., 4 p.m., 7 p.m. Mon. to Thurs. 4 p.m., 7 p.m.

Fun Size (PG-13) Fri. 4:20 p.m., 7:20 p.m., 9:25 p.m.

Sat. 1:20 p.m., 4:20 p.m., 7:20 p.m., 9:25 p.m. Sun. 1:20 p.m., 4:20 p.m., 7:20 p.m. Mon. to Thurs.

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

HotelTransylvania (PG) Fri. to Thurs. 4:10 p.m.

HotelTransylvania 3D (PG) Fri. 6:50 p.m., 9 p.m.

Sat. 1:15 p.m., 6:50 p.m., 9 p.m. Sun. 1:15 p.m., 6:50 p.m. Mon. to Thurs. 6:50 p.m.

Paranormal Activity 4 (R) Fri. 3:45 p.m., 6:45 p.m., 9:10 p.m. Sat. 1:25 p.m., 3:45 p.m., 6:45 p.m., 9:10 p.m. Sun. 1:25 p.m., 3:45 p.m., 6:45 p.m.

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

Silent Hill: Revelation (R) Fri. 4:30 p.m. Sat. to Thurs. 4:30 p.m.

Silent Hill: Revelation 3D (R) Fri. 7:15 p.m., 9:45 p.m. Sat. 12:55 p.m., 7:15 p.m., 9:45 p.m.

Sun. 12:55 p.m., 7:15 p.m. Mon. to Thurs. 7:15 p.m.

Sinister (R) Fri. 4:25 p.m., 7:05 p.m., 9:20 p.m.

Sat. 1:35 p.m., 4:25 p.m., 7:05 p.m., 9:20 p.m. Sun. 1:35 p.m., 4:25 p.m., 7:05 p.m. Mon. to Thurs.

4:25 p.m., 7:05 p.m.

Taken 2 (PG-13) Fri. 4:15 p.m., 7:10 p.m., 9:35 p.m.

Sat. 1:05 p.m., 4:15 p.m., 7:10 p.m., 9:35 p.m. Sun. 1:05 p.m., 4:15 p.m., 7:10 p.m. Mon. to Thurs.

4:15 p.m., 7:10 p.m.

Wreck-It Ralph (PG) Fri. 3:50 p.m., 6:40 p.m., 9:15 p.m. Sat. 12:50 p.m., 3:50 p.m., 6:40 p.m., 9:15 p.m. Sun. 12:50 p.m., 3:50 p.m., 6:40 p.m.

Mon. to Thurs. 3:50 p.m., 6:40 p.m.

Wreck-It Ralph 3D (PG) Fri. 4:35 p.m., 7:25 p.m., 9:50 p.m. Sat. 1:30 p.m., 4:35 p.m., 7:25 p.m., 9:50 p.m. Sun. 1:30 p.m., 4:35 p.m., 7:25 p.m.

Mon. to Thurs. 4:35 p.m., 7:25 p.m.

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Bless Me, Ultima (PG-13) Fri. 4:40 p.m., 7:10 p.m., 9:40 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:40 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m.

Mon. to Thurs. 4:40 p.m., 7:10 p.m.

Fun Size (PG-13) Fri. and Sat. 2:05 p.m., 4:35 p.m.

Sun. to Thurs. 2:05 p.m.

HotelTransylvania (PG) Fri. 4:50 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:20 p.m.

Mon. to Thurs. 4:50 p.m., 7:20 p.m.

Paranormal Activity 4 (R) Fri. and Sat. 7:05 p.m., 9:35 p.m. Sun. to Thurs. 7:05 p.m.

Silent Hill: Revelation 3D (R) Fri. 4:55 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:25 p.m. Mon. to Thurs. 4:55 p.m., 7:25 p.m.

Wreck-It Ralph (PG) Fri. 4:45 p.m., 7:15 p.m., 9:45 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:45 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:15 p.m.

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

Wreck-It Ralph 3D (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m.

Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs.

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51

MOVING IMAGES film reviews

Different slopes Jennifer Levin I For The New Mexican Sister, drama, not rated, in French and English with subtitles The Screen, 4 chiles Simon, age 12, is a thief. He steals skis and ski apparel from wealthy patrons of the resort up the mountain from his downscale apartment building.

He lives with Louise, whom he calls sister. Their parents are nowhere to be seen. He sells the stolen goods cheaply to other children in the Swiss town, or for far more cash to employees of the resort, all in an effort to put food on the table. Louise works intermittently at menial jobs and often leaves Simon alone overnight while she spends time with a man. After viewing their story in Sister, which was directed by Ursula Meier (who co-wrote the screenplay with Antoine Jaccoud and Gilles Taurand), I was reminded of and then haunted by lines from the Erica Funkhouser poem “Valentine”: In the dark corridors of the soul,/who’s to guarantee a little light falls/on love, or that love is anything/small or large enough to land on?

Sister asks what the difference is between love and obligation. What does it mean to be wanted? And when we know, absolutely, that we are not wanted,

Léa Seydoux and Kacey Mottet Klein

52

November 2-8, 2012

But please, Lady Dedlock: Kacey Mottet Klein and Gillian Anderson

what does that knowledge turn us into? Simon (played by Kacey Mottet Klein) is a charming little con man. He steals right out from under people and will talk to just about anyone, even with hot goods in his hands. He is a self-styled ski-gear expert and salesman, and he’ll talk to anyone who crosses his path. He meets a woman at the ski resort by offering her advice on the fit of her children’s boots, and then tells her that he shares a name, Julien, with her son. He takes an obvious shine to the woman, Kristin, who is played with nuance and, ultimately, cruelty by an out-of-context Gillian Anderson of The X-Files. Their short but pivotal relationship highlights just how desperate Simon is for affection. As Louise, Léa Seydoux is a study in ambivalence. Is she a loving sibling overwhelmed too young with the responsibility of parenthood, or a narcissist with a drinking problem? She relies on Simon’s take from his crimes and asks him outright for spending money. There is a rumor in town that she is a prostitute, and though it’s unlikely that she has sex with men for money, as certain secrets are revealed, there is more truth to this rumor than one would hope. In fact, the form her prostitution takes is one of the most upsetting scenes between blood relatives I have ever seen on film. It is equaled in its searing power only by a scene later in the movie, when Simon and Louise physically and symbolically fight for their survival as psychologically intact people.

Class and economic issues are important to the story, symbolized by the two-tiered gondola ride up the mountain to the ski resort, and the blank ugliness of the town where the valley residents actually live. Some of them are so poor they cannot afford a new pair of gloves. School isn’t mentioned at all, and though the movie takes place around the Christmas holidays, it seemed a curious and

pointed absence. How Simon and Louise can afford their apartment on what they bring in is a mystery to this American viewer; I thought perhaps they lived in subsidized housing, which would refute the prevailing American belief that everyone in Switzerland is wealthy. The working class dominates the film, from the maids who clean the chalets to the kitchen staff of the resort.

The wealthy are presented as fickle and naive, one moment trusting enough to leave Simon alone with their belongings, the next moment capable of berating or even beating up a child who they think has stolen from them, even before there is proof.

Fortunately, the movie doesn’t turn into a police or legal procedural, and there is no moralizing or attempt to make Simon see the error of his ways or pay for his crimes with a socially sanctioned method of punishment. The humiliation of being caught, once it happens, is enough.

Meier received the Silver Bear Special Award for Sister at the Berlin International Film Festival, and the film has been selected as the official Swiss entry in consideration for the 85th Academy Awards. This marvelous, utterly original story is not about a little boy trying to pull himself up by his bootstraps, nor is it about shaming a young woman whose heart is as closed as a fist. If you have ever been made to feel like a burden to those you love or you care about children who must brave the world as tiny adults, this movie will flay you. With an impish grin and a self-deprecating shrug, Kacey Mottet Klein, who also appeared in Meier’s previous film, Home, with Isabelle Huppert, captures the bravado of a boy determined not to reveal how lonely he is, even to himself, and whose determination is continually betrayed by his inability to ignore his most basic need: to be loved by his mother. ◀

Santa Fe’s only not-forprofit, community-supported independent theatre, showing the best in world and independent cinema.

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BROADCAST I N H D

Timon of Athens

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by William Shakespeare

“MAGNIFICENT. NOBLE. UPLIFTING.”

November 8 Shakespeare’s strange fable of consumption, debt and ruin stars Simon Russell Beale, hailed by Britain’s The Independent as “the greatest stage actor of his generation.”

-ROGER EBERT,

7 pm $22/$15 students

Girls Inc. presents LUNAFEST® Saturday, November 3 at 4:00p Featuring a panel discussion with prominent women in the film & entertainment industry & short films made for women, by women ï $25/$15 students ï Go to girlsincofsantafe.org/get≠ involved/lunafest to buy tickets.

S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E

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

Fri Nov 2 photo: joh an perss on

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

3:00p - Sugar Man 3:30p - Samsara* 5:00p - Sugar Man 5:45p - Samsara* 7:00p - French Film Salon: All Together 8:00p - Samsara* * indicates shows will be in The Studio at CCA, our new screening room for $7.50.

Sat Nov 3 12:30p - Sugar Man 1:45p - Samsara* 4:00p - Girls Inc. - LUNAFEST panel discussion & screening 4:00p - All Together* 6:00p - All Together* 7:30p - Sugar Man 8:00p - Samsara*

Sun Nov 4 1:00p - Sugar Man 1:30p - All Together* 3:00p - Sugar Man 3:30p - Samsara* 5:00p - Sugar Man 5:45p - Samsara* 7:00p - All Together 8:00p - Samsara*

Mon-Tues Nov 5-6 Cinema Closed: Go Vote!!

Wed-Thurs Nov 7-8 3:00p - Sugar Man 3:30p - All Together* 5:00p - Sugar Man 5:45p - All Together* 7:00p - Sugar Man 8:00p - Samsara*

Concessions Provided by WHOLE FOODS MARKET PASATIEMPO

53

RESTAURANT REVIEW Bill Kohlhaase I For The New Mexican

Breadbasket bingo

Luminaria Restaurant and Patio 211 Old Santa Fe Trail (at Inn & Spa at Loretto); 984-7915 Breakfast 7 a.m.-11 a.m daily; lunch 11:30 a.m.-2 p.m., Mondays-Saturdays; brunch 11 a.m.-2 p.m. Sundays; dinner 5 p.m.-9 p.m. daily Vegetarian options Noise level: mellow Handicapped-accessible Full bar Credit cards, no checks

!

The Short Order Luminaria Restaurant and Patio is an oasis of calm and comfort. Executive chef Brett Sparman dresses up familiar favorites such as roasted chicken, beef tenderloin, and blackened salmon with unexpected preparation twists and intriguing accompanying dishes.

High-quality locally sourced ingredients are favored, and the chef is conscious of texture, be it in creamy grits or in heirloom tomatoes matched with goat cheese, crisp shaved onion, and raw chile. Only an occasional miss — mushrooms in red chile — mars excellent taste and technique. And Luminaria may have the best breadbasket in town. There are specialty mixed drinks — Pearfection martini and the Ristra with muddled red pepper and cilantro — and an extensive selection of red and white wines categorized by “body.”

Desserts? Whimsical and seriously seductive.

Recommended: green chile corn bisque, boneless beef short ribs, seafood paella, roast chicken, and Nutterfinger chocolate cake.

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.

54

November 2-8, 2012

You can enter Luminaria Restaurant and Patio by walking down the long, shop-lined corridor from the attached Inn and Spa at Loretto and do some window browsing along the way. But the better path is up the three stone steps at the corner of Old Santa Fe Trail and Water Street to the walk that curls past street vendors and a stand of modern metal whirligig sculptures next to the stately Loretto Chapel. This short stroll can be transporting. On our first visit, the whirligigs were turning lazily in the changing wind. A mariachi band stood in a semicircle in front of the chapel entrance, waiting for a wedding party to emerge. Rain, too, was imminent, and it was hard to tell which would arrive first. We passed the restaurant’s covered patio, protective curtains tied back, revealing a table surrounded by elegant diners. There’s a wide entrance into the restaurant, and once inside we felt again what we’d felt outside: the sense of being once-removed from the nearby streets, of landing in something of a romantic oasis. Gray walls and gray banquettes hosting stylish salmon-colored throw pillows contrast with rattan seats and a whitewashed ceiling. Divided windows give a view to the patio, and wall insets hold spot-lit art. A kiva fireplace warms the room from the far corner.

Executive chef Brett Sparman’s menu suits this stylecrossed ambiance well. The dishes rely on traditional favorites paired with unexpected flavors. Sparman, who took over the kitchen this past summer, offers such stalwarts as grilled tenderloin; a nicely roasted chicken with its crackling, aromatic skin; and the classic seafood paella. He infuses subtle, flavorful touches to these dishes and then surrounds them with contrasting and innovative accompaniment; a roasted-red-pepper ranchero sauce and grilled onions and poblanos with the tenderloin; and a sweet corn ragout and a “gastric” sauce made with agave instead of sugar with the chicken. Blackened salmon, now a cliché, came with a hint of seared reserve — not so black that the seasoning lost its bite — especially balanced against a lemony green-onion risotto and thin, snappy threads of deep-fried leeks.

Boneless beef short ribs were dusky-flavored and terribly tender despite their leanness. And those cheese grits, again with poblano, made me realize that heaven must be suitably texture-conscious to qualify as paradise. The paella was a sum of its parts; chewy tiger prawns, flakey halibut, firm, flavorful scallops, smoked chicken scenting the broth, and dense, tangy chorizo giving the dish character. All ingredients were first class. Heirloom tomatoes were ripe and only slightly acidic despite their pale color, wellmatched with sharp shaved onion and Anaheim chile; a mild, creamy chèvre served as backdrop to the raw flavors.

Green-chile corn bisque with bits of peanut and a seared scallop plopped in the middle was again a wonderful blend of flavor and texture.

The innovative spark was missing from a forced marriage of sautéed mushrooms and red-chile sauce, a dish I tried to like but couldn’t. The grilled romaine salad didn’t come together either, the limp leaf left behind by its blue-corn croutons, salty Cotija cheese, and lemon Caesar. Polenta fries were bland, even with the delicious tomato compote.

But that breadbasket! Blue-corn muffins, pumpkin biscotti,

spongy sourdough — this is the kind of baking that calls for a second round.

Lunch at Luminaria is a breezy experience under the trees or beneath the covered patio. I enjoyed watching a hummingbird work some stunning trumpet flowers that twined up a post before the arrival of an exhilarating guacamole, thick with just a hint of heat and cilantro, but served with a basket of broken chips. Thank goodness that breadbasket made an appearance The tortilla soup, its thick broth actually tasting of tortilla, was chunky with chicken, beans, and avocado and dotted with springy, not soggy, corn. Slices of grilled flatiron steak, slightly smoky, on a bed of greens took on the heady flavor of chipotle vinaigrette. Pulled pork tacos were fine but not exemplary.

Likewise a black bean, cheese, and green-chile quesadilla — savory but nothing special.

Pastry chef Andrea Clover’s desserts are standout, serious sweets with a bit of whimsy. Nutterfinger chocolate cake, enlivened with a mix of peanut-butter mousse and peanutbutter cream, brings sophistication to a candy-cup combination of chocolate and peanuts. There’s a hint of lavender swimming in the sweet lemon headiness of the panna-cotta brulé. A banana tartlet was perfect. The service here is prompt, mostly professionally reserved but not always well informed. On one of our three visits we waited to order while a server shared her life with an adjacent table. It made for some great eavesdropping. But we were hungry! Want a few bargains? If you sign up for the Legacy Club you will get a 20-percent discount on your meals, and sign-up is free. There is also a three-course $29 cena pronto menu served every night before 6:30 p.m. And that includes the Nutterfinger. ◀

Dinner for two at Luminaria Restaurant and Patio: Green-chile corn bisque ............................................. $ 12.00 Heirloom tomato dish .............................................. $ 12.00 Boneless beef short ribs .............................................. $ 33.00 Seafood paella ............................................................. $ 38.00 Mushrooms in red-chile sauce .................................... $ 7.00 Banana tartlet .............................................................. $ 9.00 Tonic water ................................................................. $ 2.50 Two decaf coffees ........................................................ $ 5.00 TOTAL ........................................................................ $118.50 (before tax and tip) Lunch for three, another visit: Tortilla soup ................................................................ $ 9.00 Grilled flatiron steak ................................................... $ 14.00 Pork tacos ................................................................... $ 16.00 Grilled vegetarian quesadilla ...................................... $ 10.00 Iced tea ....................................................................... $ 3.00 Coffee ......................................................................... $ 3.00 TOTAL ........................................................................ $ 55.00 (before tax and tip)

LÉA SEYDOUX KACEY MOTTET KLEIN

SISTER

A TOAST TO GEORGIA! Two Memorable Events, Held in Conjunction With Georgia O’Keeffe’s 125TH Birthday Celebration B I R T H D A Y

A FILM BY URSULA MEIER

L E C T U R E

Georgia O’Keeffe: Reading the Work as the Life An Engaging Lecture by O’Keeffe Biographer, Art Historian, & Novelist Roxana Robinson

SilverInternationale Bear

62

This illustrated talk explores O’Keeffe’s rich and complex body of work, paying particular attention to the ways in which it illuminates the artist’s life.

Filmfestspiele Berlin

Special Award

When: Thursday, November 15, 6 PM Where: St. Francis Auditorium New Mexico Museum of Art 107 W. Palace Avenue Cost: $5; Members and Business Partners, Free Reservations suggested: 505.946.1039 or online at okmuseum.org

B I R T H D A Y

C O N C E R T

Jazz Concert Celebrating Georgia O’Keeffe Featuring Karrin Allyson, Grammy Award Nominee Jazz it up with singer/pianist, Karrin Allyson. A four-time Grammy Award nominee, Allyson was also nominated as 2012 female Jazz Singer of the Year by the Jazz Journal Association. Produced in collaboration with Friends of Santa Fe Jazz. All proceeds benefit the Georgia O’Keeffe Museum.

- Time Magazine

- Mahnola Dargis, New York Times

When: Saturday, November 17, 7 PM Where: La Posada Resort Hotel and Spa Ballroom Cost: $35 per person $75 Supporters & Friends Includes: birthday cake, bubbly toast, free valet parking; all seats general admission: ticketssantafe.org; 505.988.1234 SEE ALL BIRTHDAY CELEBRATION EVENTS ONLINE AT OKMUSEUM.ORG 217 JOHNSON STREET, SANTA FE, NM ï 5O5.946.1OOO ï OKMUSEUM.ORG OPEN DAILY 1O AM – 5 PM ï OPEN LATE, UNTIL 7 PM, FRIDAY EVENINGS LAST WEDNESDAY OF EACH MONTH OPEN NOON—5 PM, UNTIL MAY 1, 2O13

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showcasing the best DOLBY in World Cinema. ®

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SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com

YOU CAN NOW PURCHASE TICKETS ONLINE go to thescreensf.com PASATIEMPO

55

pasa week 2 Friday

EVENTS Adaptive Ski Program Fundraiser Raffles and two screenings of the ski film Superheroes of Stoke benefit the program, which offers safe and supportive alpine ski instruction for adults and children with disabilities, 6 and 8:30 p.m., CinemaCafé, 1616 St. Michael’s Dr., $10 at the door.

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.

Recycle Santa Fe Art Festival Friday events include the Trash Fashion & Costume Contest and a bottletop mandalaconstruction project by Santa Fe School for the Arts and Sciences middle school students; 5-9 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., $5, $15-$20 includes the fashion show, 988-1234, ticketssantafe.org; visit recyclesantafe.org for details; festival continues Saturday-Sunday, Nov. 3-4.

GALLERY/MUSEUM OPENINGS A Gallery Santa Fe 154 W. Marcy St., Suite 104, 603-7744. Journeys West, watercolor landscapes by Heinz Emil Salloch (1908-1985), reception 5-7 p.m., through Jan.1.

Back Pew Gallery 208 Grant Ave., 982-8544.

Group show of works by First Presbyterian Church members, reception 6-7 p.m., through November.

Counter Culture Café 906 Baca St., 995-1105.

Mixed-media paintings by Amy Sayers, reception 5-7 p.m., through Nov. 29.

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

Paint Forward, work by John Barker, reception 5-9 p.m., through Dec. 28.

Little Bird at Loretto Gallery 211 Old Santa Fe Trail, 820-7413.

New paintings by Amado Peña, ongoing.

Manitou Galleries 123 W. Palace Ave., 986-0440. Winter Group Show, reception 5-7:30 p.m, through Nov. 22.

Michelle’s Closet 711 Don Diego Ct., 577-1922. Día de los Muertos Mostrar, work by Tommy Vigil, reception 7-9 p.m., through November.

Pop Gallery 142 Lincoln Ave., Suite 102, 820-0788. Local photographer Robert Everett offers live photo shoots in celebration of Día de los Muertos, 5-7 p.m. today only, photos may be purchased.

Red Dot Gallery 826 Canyon Rd., 820-7338. Born Under What Star?, 1960s-present retrospective of mixed-media works by Linda Vi Vona, reception 5-8 p.m., talk by the artist 6 p.m., through Nov. 11.

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; reception 5-7 p.m., through Dec. 8 (see story, Page 28).

Santa Fe Public Library, Main Branch 145 Washington Ave., 955-6780. Of Paper and Clay, works by Mary Gray McGee and Lois Stouffer, reception 3-5:45 p.m., through November.

Transcendence Design Contemporary 1521-F Upper Canyon Rd., first two-story building down the driveway, 984-0108. In the Space Between, works by Charlotte Cain and Michael Peter Cain, reception 5-7 p.m., through January.

Vivo Contemporary 725 Canyon Rd., 982-1320. 14 Exceptions to the Rule, group show of work by gallery artists, reception 5-7 p.m., through Jan. 1.

William & Joseph Gallery 727 Canyon Rd., 982-9404. Vote, group show, through November (see story, Page 32).

Pasa’s Little Black Book......... 57 Exhibitionism...................... 58 At the Galleries.................... 59 Libraries.............................. 59 Museums & Art Spaces........ 59 In the Wings....................... 60

56

November 2-8, 2012

compiled by Pamela Beach, pambeach@sfnewmexican.com

NIGHTLIFE

Photographs by Sharon Core at Radius Books, 227 E. Palace Ave.

CLASSICAL MUSIC

THEATER/DANCE

Santa Fe Pro Musica Per Tengstrand, solo piano recital, music of Schubert and Liszt, 7:30 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$65, 988-1234, ticketssantafe.org.

TGIF recital Santa Fe Concert Association’s EPIK artists (students ages 8-17), 5:30 p.m., First Presbyterian Church, 208 Grant Ave., 982-8544, Ext. 16, donations appreciated.

‘Ciconia Ciconia’ New Mexico School for the Arts’ student (9th-12th grades) stage adaptation of Elizabeth Wiseman’s opera, 7 p.m., Warehouse 21, 1614 Paseo de Peralta, $10, discounts available, 988-1234, ticketssantafe.org, continues Saturday, Nov. 3.

IN CONCERT High Mayhem Fall Concert Series Electroacoustic night kicks off the annual experimental-music series with performances by Black Iron Trio, GoGoSnapRadio, Pray For Brain, and The Proxemics, 7 p.m., 2811 Siler Ln., $10 suggested donation, 470-5291. Series continues Saturday, Nov. 10 and 17; visit highmayhem.org for a complete schedule and lineup.

Sonia The pop-folk singer/songwriter (aka Sonia Rutstein) with Indigie Femme, 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $18 in advance, solofsantafe.com, $23 at the door.

Elsewhere............................ 62 People Who Need People..... 63 Under 21............................. 63 Short People........................ 63 Sound Waves...................... 63

BOOKS/TALKS Dance and American Art: A Long Embrace Lecture by art historian and curator Sharyn Udall, 5:30 p.m., book signing follows, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., 476-5068, no charge (see story, Page 44).

Linda Vi Vona The artist discusses her work in the exhibit Born Under What Star?, 6 p.m., Red Dot Gallery, 826 Canyon Rd., 820-7338.

What is Truth? William Blake and the Metaphysics of Poetic Genius David Carl speaks, 7:30 p.m., part of St. John’s College’s Worrell Lecture series, Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, 984-6070, no charge,

(See Page 57 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, Happy Hour with Aural Elixir, jazz-folk-rock fusion, 5-7:30 p.m., no cover; Jason Heath and the Greedy Souls, rock, country, and folk, 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 Funktasm featuring Little Leroy, 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 The C.S. Rockshow, classic rock, 8-11 p.m., no cover.

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

Le Chantilly Café at Garrett’s Desert Inn Equinox, Lou Levin on keyboard and Gayle Kenny on acoustic bass, 6:30-9 p.m., no cover.

The Mine Shaft Tavern Open mic, 8 p.m.-midnight, no cover.

Pranzo Italian Grill Pianist David Geist, show tunes, 6-9 p.m., $2 cover.

Second Street Brewery Robby Overfield Trio, Colorado blues and soul, 6-9 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.

Second Street Brewery at the Railyard The Squash Blossom Boys, Albuquerque bluegrass, 6-9 p.m., no cover.

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

Tiny’s George Adelo and Wite Buffalo, soul and blues, 5:30-8 p.m., no cover; The Jakes, classic rock, 8:30 p.m., no cover.

Vanessie Doug Montgomery, piano, showtunes and standards, 6-8 p.m., no cover; John Rangel Trio, jazz, 8 p.m., call for cover.

3 Saturday GALLERY/MUSEUM OPENINGS Radius Books 227 E. Palace Ave., Suite W, 983-4068.

Sharon Core: Early American, exhibit of photographs; book signing and talk by Core 4-6 p.m.; through mid-December.

CLASSICAL MUSIC Santa Fe Pro Musica SFPM Orchestra featuring pianist Per Tengstrand, music of Grieg, Schubert, and others, 6 p.m., 5 p.m. talk no charge to ticketholders, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$65, 988-1234, ticketssantafe.org, encore Sunday, Nov. 4,

IN CONCERT Eryn Bent Singer/songwriter, 7 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $5 at the door, 983-5022.

Guy Forsyth Americana singer/songwriter, 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $17, 988-1234, ticketssantafe.org.

Songwriters Picking on Each Other Volume 2 David Berkeley, Jaime Michaels, and Jono Manson, 7:30 p.m., Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com.

Día de los Muertos, Muchachas !

THEATER/DANCE All at Once Outdoor dance performance by students of the New Mexico School for the Arts, 4 p.m., Cross of the Martyrs Memorial, 395 Kearney Ave., no charge, 988-4262, encore Sunday, Nov. 4.

‘Ciconia Ciconia’ New Mexico School for the Arts’ student 9th-12th grades) stage adaptation of Elizabeth Wiseman’s opera, 7 p.m., Warehouse 21, 1614 Paseo de Peralta, $10, discounts available, 988-1234, ticketssantafe.org.

‘Himself’ in … ‘Black and ___’: An Altered State of Comedy One-man show by Mark Feigenbutz, a Santa Fe University of Art & Design student production, 7 p.m., Santa Fe Playhouse, 142 E. De Vargas St., 988-4262, $5 minimum donation at the door.

BOOKS/TALKS TEDxAcequiaMadre The popular talk series makes its Santa Fe debut, 10 a.m.-5 p.m., The Screen, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., space is limited, $50 includes lunch and reception, visit tedxacequiamadre.com for ticket availability and more information. (See story, Page 26).

Detail of Do You Know What Time It Is?,

by Robert Everett

Thomas E. Chávez The historian discusses and signs copies of A Moment in Time: The Odyssey of the Segesser Hides, 2 p.m., New Mexico History Museum auditorium, 113 Lincoln Ave., by museum admission, 476-5200.

EVENTS Lunafest: Short Films by, for, About Women 11th annual national touring film festival, panel discussion 4 p.m., screening 4:45 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $15 and $25, 982-2042 or girlsincofsantafe.org, proceeds benefit the Breast Cancer Fund and Girls Inc. of Santa Fe.

Santa Fe photographer Robert Everett has no skeletons in his closet, but he does have one named Mors that travels with him for live photo shooots.

Meet Mors and get in on the fun from 5 to 7 p.m. Friday, Nov. 2, at Pop Gallery, 142 Lincoln Ave., Suite 102, when Everett makes an appearance for one of his live photo shoots. Fans can choose to purchase a photo, and multiple options are available.

Attendees will be entered in a drawing to win a giveaway portrait. Costumes are encouraged. Call 820-0788 to RSVP and get details. View the exhibit online at popsantafe.com.

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.

Recycle Santa Fe Art Festival The annual event includes juried adult and kids’ art exhibits, kids’ make-and-take recycledart activities, and an art market, 9 a.m.-5 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., recyclesantafe.org, no charge.

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

NIGHTLIFE

PASA’S LITTLE BLACK BOOK nt & Bar Anasazi Restaura Anasazi, the of Inn Rosewood e., 988-3030 113 Washington Av nch Resort & Spa Ra e Bishop’s Lodg ., 983-6377 Rd 1297 Bishops Lodge ón es ¡Chispa! at El M e., 983-6756 213 Washington Av uthside Cleopatra Café So 4-5644 47 ., Dr o 3482 Zafaran Cowgirl BBQ , 982-2565 319 S. Guadalupe St. lton Hi e th El Cañon at 8-2811 98 , St. al ov nd Sa 0 10 El Farol 3-9912 808 Canyon Rd., 98 ill El Paseo Bar & Gr 848 2-2 208 Galisteo St., 99 Evangelo’s o St., 982-9014 200 W. San Francisc Santa Fe Hotel Chimayó de 988-4900 e., Av ton ing ash W 5 12 Hotel Santa Fe ta, 982-1200 1501 Paseo de Peral La Boca 2-3433 72 W. Marcy St., 98 ina nt Ca na Se La Casa 988-9232 125 E. Palace Ave.,

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 Le Chantilly Café at Garrett’s Desert Inn 311 Old Santa Fe Trail, 984-8500 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 Osteria d’Assisi 58 Federal Pl., 986-5858 The Palace Restaurant & Saloon 142 W. Palace Ave, 428-0690 Pizzeria da Lino 204 N. Guadalupe St., 982-8474 Pranzo Italian Grill 540 Montezuma Ave., 984-2645

Rouge Cat 101 W. Marcy St., 983-6603 Santa Fe Brewing Company

35 Fire Pl., 424-333

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 The Underground at Evangelo’s 200 W. San Francisco St., 577-5893 Vanessie 434 W. San Francisco St., 982-9966 Zia Diner 326 S. Guadalupe St., 988-7008

(See addresses at left) La Boca Nacha Mendez Duo, pan-Latin rhythms, 7 p.m., no cover. ¡Chispa! at El Mesón Flamenco Conpaz dinner show, 7-10 p.m., $10 cover, reservations required.

Cowgirl BBQ Gary Reynold & the Southwest Wind Band, folk and country, 2-5 p.m., no cover; The Sean Healen Band, Western rock, 8:30 p.m., $5 cover.

Evangelo’s Stephanie Hatfield and Hot Mess, country-tinged rock, 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 C.S. Rockshow, classic rock, 8-11 p.m., no cover.

The Palace Restaurant & Saloon Vanilla Pop, campy ’80s lounge, 9:30 p.m., $7 cover.

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

Pranzo Italian Grill Pianist David Geist, show tunes, 6 p.m., $2 cover.

pasa week

continued on Page 61

PASATIEMPO

57

EXHIBITIONISM

A peek at what’s showing around town John Barker: Santa Fe Girl, 2012, acrylic on canvas.

Paint Forward is an exhibition of new work by John Barker at Eggman & Walrus (130 W. Palace Ave., second floor). Barker calls his abstract imagery “distractionism,” and he paints using a variety of tools including brushes, Q-tips, sticks, and combs. There is an opening reception on Friday, Nov. 2, at 5 p.m. Call 660-0048.

Eric Zener: Intertwined, 2009, oil on canvas. Turner Carroll Gallery (725 Canyon Road, 986-9800) presents Contemporary Terrain, an exhibition of work by Eric Zener, Deborah Oropallo, Hung Liu, and Shawn Smith. Zener paints detailed imagery of dense groupings of branches; Oropallo’s paintings combine portraits of historic figures with contemporary lingerie models; Liu superimposes portraits over traditional Chinese landscapes; and Smith’s balsa-wood sculptures resemble pixilated digital images. The show opens Monday, Nov. 5. There is no reception.

Amy Sayers: The Time Has Come, 2011, Venetian plaster and collage.

Amy Sayers’ mixed-media art combines abstract and figurative imagery. A show of her work opens at Counter Culture Café (930 Baca St.) on Friday, Nov. 2, with a reception at 5 p.m. Call 995-1105.

58

November 2-8, 2012

Joy Campbell: Censored,, 2012, book art with rods. Works by several gallery artists — including Rosemary Barile, Paul Biagi, and Ilse Bolle — are featured in Vivo Contemporary’s exhibit 14 Exceptions to the Rule,, a show which deliberately avoids holiday themes. There is a 5 p.m. reception on Friday, Nov. 2.

The gallery is at 725 Canyon Road.

Call 982-1320.

Charlotte Cain: Plant Teacher, Jungle Vine #2, 2011, gouache and graphite on paper laminated on Baltic birch.

Transcendence Design (the first two-story building down the driveway at 1521 Upper Canyon Road) presents In Between the Spaces, a show of sculptures by Michael Peter Cain and paintings

by Charlotte Cain. Michael Peter Cain’s minimalist pieces are collaborations with Indian and Nepalese metal workers.

Charlotte Cain’s work references Islamic miniature painting, South Asian folk art, and other traditions. The show opens with a reception at 5 p.m. on Friday, Nov. 2. Call 984-0108.

AT THE GALLERIES Alexandria Stevens Gallery 820 Canyon Rd., 988-1311. Colorfully Noted, work by E. Melinda Morrison, through Nov. 15.

David Richard Gallery 544 S. Guadalupe St., 983-9555. It Hit the Fan, work by Billy Al Benston; Light Lens, work by Fred Eversley; Molded, Poured, and Cast, work by Doug Edge; through Saturday, Nov. 3.

Delgado Street Contemporary 238 Delgado St., 982-6487. Sculpture by Tor Archer, through Nov. 17.

Elysee Fine Art 223 Canyon Rd. 820-9229. Balance + Motion + Microscopic, works by Katey Berry Furgason and Scot Furgason, through Monday, Nov. 5.

Lannan Gallery 309 Read St., 954-5149. The Faces of Lannan, photographs by Don Usner, through Nov. 11.

Monroe Gallery of Photography 112 Don Gaspar Ave., 992-0800. ‘Life’ in the 1960s, work by Bob Gomel, through Nov. 18.

New Concept Gallery 610 Canyon Rd., 795-7570. Botanica, paintings

by Ann Hosfeld, through Monday, Nov. 5.

NoiseCat on Canyon 618 Canyon Rd., 412-1797. It’s Fair Time!, new works by Ryan Singer, jewelry by Sam LaFountain, through Thursday, Nov. 8.

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

Santa Fe Community College, School of Arts and Design Visual Arts Gallery 6401 Richards Ave., 428-1501. Familia, Hogar, Fe: Día de los Santos + Día de los Muertos, works by members of Sangre Fuerte, through Friday, Nov. 2.

Santa Fe University of Art & Design — Marion Center for Photographic Arts 1600 St. Michael’s Dr., 473-6341. Atrium Gallery: Origins, group show of pinhole and alternativeprocesses photographs; Alumni Gallery: Michael Webb, photographs; through Dec. 7.

Scheinbaum & Russek 812 Camino Acoma, 988-5116. Gila, photographs

by Michael Berman, through Nov. 17.

Wiford Gallery 403 Canyon Rd., 982-2403. Paintings by Barry Thomas, through Wednesday, Nov. 7.

William Siegal Gallery 540 S. Guadalupe St., 820-3300. New Directions/ New Compositions, mixed-media paintings by Carlos Estrada-Vega; works on paper by Signe Stuart; through Friday, Nov. 2.

Zaplin Lampert Gallery 651 Canyon Rd., 982-6100. Thomas Moran/ Peter Moran: West by Southwest, paintings, prints, and works on paper by the late artists, reception and presentation by David G. Wright, author of Domestic and Wild: Peter Moran’s Images of America, through Nov. 10.

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. Stitch Thought, installation of felt livingroom furnishings by Tamara Wilson, Spector Ripps Project Space, through Dec. 9 ï Dust in the Machine, group show, through Nov. 25. 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, 2013. Open 10 a.m.-5 p.m. SaturdayThursday, 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.

Georgia O’Keeffe Museum Education Annex 123 Grant Ave., 946-1039. Bone Wind Fire, paintings by Jill Sharpe, through Nov. 15.

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.

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 Feb. 28 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.

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 19thcentury 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. TuesdaySunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays.

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

Native American Portraits: Points of Inquiry, through Sunday, Nov. 4 ï Altared Spaces: The Shrines of New Mexico, photographs by Siegfried Halus, Jack Parsons, and Donald Woodman, through Feb. 10 ï 47 Stars, tongue-in-cheek installation and items from the collection in celebration of New Mexico’s Centennial, through Nov. 25 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.

Tuesday-Sunday. No charge on Fridays 5-8 p.m.; Open 5-8 p.m. Fridays. NM residents

Juanita, Wife of Manuelito, Navajo, circa 1874,

by Charles M. Bell, in the exhibit Native American Portraits: Points of Inquiry, closing Sunday, Nov. 4, New Mexico History Museum, 113 Lincoln Ave. Neg. 59435, courtesy Palace of the Governors Photo Archives (NMHM/ DCA), Neg. 59435

$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. TuesdaySaturday; 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 Chatter 20-21 The chamber-music ensemble presents the premiere of Roberto Sierra’s Caprichos, 6 p.m.

Friday, Nov. 9, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $25, discounts available, tickets available in advance at chatterchamber.org, and at the door.

The Met Live in HD Adès’ The Tempest, Saturday, Nov. 10; Verdi’s Un Ballo in Maschera, Saturday, Dec. 8; two 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.

Ottmar Liebert & Luna Negra Fundraising concert with the guitarist and his band, 6:30 p.m. Sunday, Nov. 11, Lensic Performing Arts Center, 211 W. San Francisco St., $25-$75, 988-1234, ticketssantafe.org, proceeds benefit the Waldorf School.

Lúnasa Acoustic Irish quartet, 7:30 p.m.

Thursday, Nov. 15, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$65, discounts available, 988-1234, ticketssantafe.org.

Serenata of Santa Fe Chamber music ensemble in Classic Drama, featuring pianist Norman Krieger, music of Bach, Mozart, and Beethoven, 6 p.m. Friday, Nov. 16, Scottish Rite Center, 463 Paseo de Peralta, $20, serenataofsantafe.org.

Reverend Peyton’s Big Damn Band Americana and blues, 8 p.m. Friday, Nov. 16, Santa Fe Sol Stage & Grill, 37 Fire Pl., $14, 988-1234, ticketssantafe.org.

Karrin Allyson The jazz singer/pianist performs in a benefit for the Georgia O’Keeffe Museum, 7 p.m. Saturday, Nov. 17, La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., $35 and $75, 988-1234, ticketssantafe.org.

Wovenhand Alt.-country/neo-folk band, 8 p.m. Tuesday, Nov. 27, Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, 988-1234, ticketssantafe.org.

World Party Alt.-rock band, 7:30 p.m. Tuesday, Dec. 4, Santa Fe Sol Stage & Grill, 37 Fire Pl., $21, 988-1234, ticketssantafe.org.

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.

The Mountain Goats Folk-rock band, Matthew E. White opens, 7:30 p.m. Friday, Dec. 7, Santa Fe Sol Stage & Grill, 37 Fire Place, $18, ticketssantafe.org, 988-1234.

Horse Feathers Acoustic folk band, 7:30 p.m. Saturday, Dec. 8, Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, 988-1234, ticketssantafe.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.

‘Spark’ DNAWorks and Teatro Paraguas present a scriptin-hand reading of a play by Caridad Svitch set in the aftermath of a recent war, 7 p.m. Wednesday, Nov. 14, Teatro Paraguas Studio, 3205 Calle Marie, no charge, 917-653-6888, dnaworks.org.

‘Count Dracula’ Greer Gason Theatre presents an adaptation of Bram Stoker’s tale of horror, 7 p.m. Friday and Saturday, 2 p.m. Sunday, Nov. 30-Dec. 9, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $12 and $15, discounts available, 988-1234, ticketssantafe.org.

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.

Golden Dragon Acrobats Chinese troupe in the premiere Cirque Ziva, 7 p.m. Thursday and Friday, 1 and 7 p.m. Saturday, Dec. 20-22, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$35, discounts available, 988-1234, ticketssantafe.org.

HAPPENINGS Wordharvest: 2012 Tony Hillerman Writers Conference Annual event, ThursdaySaturday, Nov. 8-10, faculty members include Santa Fe historian Thomas E. Chávez, Western Writers of America award-winner John D. Boggs, New Mexico author Steve Brewer, film/TV director Chris Eyre, Hotel Santa Fe, 1501 Paseo de Peralta, visit wordharvest.com.

Lannan Foundation Literary Events Wednesday, Nov. 14, poet Kevin Young and author Colson Whitehead discuss their works; Hamid Dabashi discusses Iran with Alternative

UPCOMING EVENTS Radio host David Barsamian, Lensic Performing Arts Center, 211 W. San Francisco St., $3 and $6, 988-1234, ticketssantafe.org.

24th annual AID & Comfort Gala Celebrity-chef dinner 7 p.m. Saturday, Nov. 17, performances by Frenchie Davis, Donna Sachet, Burlesque Noir, and DJ Austin Head, 8 p.m., Hilton Santa Fe Golf Resort & Spa at Buffalo Thunder, Pojoaque Pueblo, off U.S. 84/285, $50-$300, tickets available online at southwestcare.ejoinme.org, proceeds benefit Southwest CARE Center’s AID & Comfort fund.

Tribute to Susan Berk: A Community Legacy Hosted by the New Mexico Committee of the National Museum of Women in the Arts; 5-8 p.m. Saturday, Dec. 1, La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., $25 and $100, 988-1234, ticketssantafe.org.

HOLIDAY FAIRE Holiday Pie Mania 2012 Santa Fe Harvest Festival presents a pie auction and raffle in support of The Food Depot’s Building Hope Project, 2-5 p.m.

Saturday, Nov. 10, Builders Source Appliance Gallery, 1608 Pacheco St., no charge.

Canticum Novum Chamber Orchestra & Chorus The Chamber ensemble opens its ninth season with music of Geminiani, Mozart, and Mendelssohn, 5 p.m. Saturday, Nov. 10, 3 p.m. Sunday, Nov. 11, pre-concert lectures by Oliver Prezant precede both concerts, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20 and $30, discounts available, ticketssantafe.org, 988-1234.

Concordia Santa Fe The wind ensemble’s Chamber Music Series continues with L’Histoire du Soldat, 2 p.m.

Sunday, Nov. 18, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations welcome, 913-7211.

Santa Fe Symphony Orchestra & Chorus Handel’s Messiah, 4 p.m. Sunday, Nov. 18; the 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.

‘Cinderella!’

Pandemonium Productions presents a musical version of the tale, 7 p.m. Friday, 2 p.m. Saturdays and Sundays, Nov. 9-18, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $10, discounts available, 982-3327.

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Ken Burns

THEATER/DANCE

A scene from Act 1 of Adès’ The Tempest at The Metropolitan Opera, broadcast live in HD Saturday, Nov. 10, at the Lensic

Circus Luminous Circus-arts troupe Wise Fool New Mexico’s 10th annual Thanksgiving tradition, 7 p.m.

Friday, 2 and 7 p.m. Saturday, 4 p.m. Sunday, Nov. 23-25, Lensic Performing Arts Center, 211 W. San Francisco St., $10-$30, discounts available, 988-1234, ticketssantafe.org.

New Mexico Bach Chorale Winter Solstice Celebration, Bach’s Christmas Oratorio, chorales, and German carols, 5:30 p.m.

Sunday, Nov. 25, 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.

The Nutcracker Aspen Santa Fe Ballet’s annual holiday-season performance, 2 and 7:30 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 6 p.m. Saturday, Dec. 1, caroling party and silent auction, 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.

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.

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

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 8 p.m. Dec. 14, 18, 20, 21, and 22; Carols and Lullabies, Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place, $15-$65; 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, 1613 Paseo de Peralta, $80; 988-1234, ticketssantafe.org.

Santa Fe Pro Musica Baroque Orchestra A Baroque Christmas, music of Purcell, Vivaldi, and Corelli, Loretto Chapel, Dec. 20-24, 207 Old Santa Fe Trail, $20-$65, 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.

Sutton Foster Broadway performer, 7:30 p.m. Thursday, Dec. 27, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$75, 988-1234, ticketssantafe.org.

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.

pasa week

continued from Page 57

Second Street Brewery Terry Diers and friends, R&B, 6-9 p.m., no cover.

Second Street Brewery at the Railyard Jim Almand & the Attitudes, blues and rock, 6-9 p.m., no cover.

Tiny’s Showcase karaoke with Nanci and Cyndy, 7-11 p.m., no cover.

Vanessie Pianist Doug Montgomery plays showtunes and standards from the Great American Songbook, 6-8 p.m., no cover; Andy Kingston Trio, jazz, 8:30 p.m., call for cover.

4 Sunday OPERA IN HD Performance at the Screen The HD series continues with Rossini’s L’Italiana in Algeri at Teatro Comunale di Bologna in Italy, 11 a.m., Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $20, discounts available, 473-6494.

CLASSICAL MUSIC Santa Fe Pro Musica SFPM Orchestra featuring pianist Per Tengstrand, music of Grieg, Schubert, and others, 3 p.m., 2 p.m. talk no charge for ticketholders, Lensic Performing Arts Center, 211 W. San Francisco St., $20-$65, 988-1234, ticketssantafe.org.

IN CONCERT Henry Mancini tribute Bobby Shew, trumpet, John Proulx, vocals and keyboard, Michael Glynn, bass, and Cal Haines, drums, 4 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $25 in advance at brownpapertickets.com and at the door, call 989-1088 for details.

THEATER/DANCE All at Once Outdoor dance performance by students from the New Mexico School for the Arts, 3 p.m., Cross of the Martyrs Memorial, 395 Kearney Ave., no charge, 982-6124.

BOOKS/TALKS David Gardner, Kay Miller, and Dirk Wales The illustrator and the authors sign copies of their children’s books, 3 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

Gallery talk Chief registrar Michelle Roberts discusses two paintings on exhibit by Peter Hurd, each titled Portrait of Gerald Marr, 2-3:30 p.m., New Wing Gallery, New Mexico Museum of Art, 107 W. Palace Ave., by museum admission, 476-5072.

Lydia Millet The Pulitzer Prize nominee and 2003 PEN-USA award winner for fiction reads from and signs copies her new novel, Magnificence, 2 p.m., Op.Cit. Books, 930-C Baca St., 428-0321.

Lisa Gill The poet reads from Red as a Lotus: Letters to the Dead Trappist, 2 p.m., part of series of events in conjunction with the New Mexico History Museum exhibits Illuminating the Word: The St. John’s Bible and Contemplative Landscape, auditorium, 113 Lincoln Ave., by museum admission, 476-1141.

Rick Lass in conversation with Faren Dancer JourneySantaFe presents the former Green Party candidate and the Unicopia Green Radio show host, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

EVENTS Friends of Archaeology Holiday Party Learn about archaeological digs in New Mexico, enjoy a Southwestern buffet, and find a holiday

gift at the silent auction, 3-6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $20, call 982-6366, Ext. 100, for more information.

International folk dances 6:30-8 p.m. weekly followed by Israeli dances 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5, 501-5081, 466-2920, or 983-3168, beginners welcome.

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 8 a.m.-1 p.m. weekly. Live music, food, and more than 30 participating artists, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 670-6544.

Recycle Santa Fe Art Festival The annual event includes juried adult and kids’ art exhibits, kids’ make-and-take recycled-art activities, and an art market, 10 a.m.-5 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., recyclesantafe.org, no charge.

Wings for Hope 27th Annual Toys 4 Tots Run Bikes and riders meet on the Plaza at 10 a.m., ride to the Fraternal Order of Eagles, 833 Early St., at 12:30 p.m., party and live music at the F.O.E. begins at 1 p.m., adults only, $7, bring at least one new, unwrapped toy and two containers of nonperishable food, wingsforhope.com.

NIGHTLIFE (See Page 57 for addresses) Cowgirl BBQ A tribute to Neil Young featuring Drastic Andrew, noon-3 p.m., no cover; Zenobia, R&B and soul, 8 p.m., no cover..

El Farol Nacha Mendez, pan-Latin chanteuse, 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, 6-9 p.m., no cover.

Vanessie Pianist Doug Montgomery plays show tunes and standards from the Great American Songbook, 7 p.m., no cover.

5 Monday GALLERY/MUSEUM OPENINGS Turner Carroll Gallery 725 Canyon Rd., 986-9800. Contemporary Terrain, group show of landscapes, through Jan. 20.

CLASSICAL MUSIC Notes on Music: The Life and Music of Debussy Presentation by Santa Fe Concert Association artistic director Joseph Illick and soprano Gina Browning, 7:30 p.m., United Church of Santa Fe, 1804 Arroyo Chamiso Rd., $20, discounts available, ticketssantafe.org, 988-1234.

IN CONCERT Nick Waterhouse R & B singer/guitarist, 8 p.m., Sol Stage & Grill, 37 Fire Pl., $10, 988-1234, ticketssantafe.org.

BOOKS/TALKS Gabriel Gomez The local poet reads from and signs copies of his new collection, The Seed Bank, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

A scene from Shakespeare’s Timon of Athens simulcast in HD from the National Theatre of London, Thursday, Nov. 8, at the Lensic

Native Americans & Forests: Indigenous Management of Trees in Northern New Mexico A Southwest Seminars Lecture by Richard I. Ford, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775.

Whatever Happened to Cabeza de Vaca?

Author Baker H. Morrow discusses his book The South American Expeditions, 1540-1545, 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 57 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.

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

Vanessie Pianist Doug Montgomery plays show tunes and standards from the Great American Songbook, 7 p.m., no cover.

6 Tuesday IN CONCERT Star ****er Indie electronica from Portland, Oregon, Onuinu opens, 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $13 in advance, Tickets Santa Fe, 988-1234, ticketssantafe.org, $15 at the door.

EVENTS Contemplative Collage Workshop Tuesday evenings through Nov. 27, led by Dante Jericho, 5:30-7 p.m., Lucky Bean Café, $12 one-time drop-in fee, $40 for full workshop series, 467-99779.

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.

Railyard Artisans Market 8 a.m.-1 p.m. weekly. Live music, food, and more than 30 participating artists. Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, 670-6544.

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

NIGHTLIFE (See Page 57 for addresses) Cowgirl BBQ Matt Woods, outlaw country, 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.

Rouge Cat Ultra-Fabulous Dance Competition, individual and team categories, all styles of dance, $250 weekly grand prize, 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.

Stats Sports Bar & Nightlife Reggae Dancehall Tuesdays with Brotherhood Sound and DJ Breakaway, 10 p.m., $5 cover.

Tiny’s Open-mic night with John and Synde, 7-10 p.m., no cover.

Vanessie Pianist Doug Montgomery plays show tunes and standards from the Great American Songbook, 7 p.m., no cover.

7 Wednesday BOOKS/TALKS David Chickey and Gordon Stettinius The founder of Radius Books and the founder of Candela Books + Gallery present a talk on photo-book publishing using examples from their catalogs, 6:30-8:30 p.m., Photo-eye Bookstore, 376 Garcia St., 988-5152, no charge.

Lannan Foundation Literary Event Scientist David Suzuki speaks on climate change with indigenous-rights activist Clayton ThomasMüller, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $3 and $6, 988-1234, ticketssantafe.org (see story, Page 16). ▶▶▶▶▶▶▶▶ PASATIEMPO

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School for Advanced Research lecture Advances and Questions on the Evolution of Childhood by Courtney L. Meehan, department of anthropology, Washington State University, and Alyssa N. Crittenden, department of cellular and molecular medicine, University of California at San Diego; noon-1 p.m., 660 Garcia St., no charge, 954-7203.

NIGHTLIFE (See Page 57 for addresses) ¡Chispa! at El Mesón Jim Almand, Americana, 7-9 p.m., no cover.

Cowgirl BBQ Kenneth Brian, blues, country, and Southern rock, 8 p.m., no cover.

El Farol Salsa Caliente, 9 p.m., no cover.

La Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover.

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

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

The Palace Restaurant & Saloon Bluegrass band Free Range Ramblers, 7:30-10:30 p.m., no cover.

Vanessie Robin Holloway and Friends, pop, cabaret, and jazz, 6:30 p.m., call for cover.

Zia Diner Eryn Bent, indie-folk singer-songwriter, 6-9 p.m., no cover.

8 Thursday IN CONCERT G-Eazy Rapper, 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $12, 988-1234, ticketssantafe.org.

Parkington Sisters Acoustic experimental-folk band, 7:30 p.m., Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe. com (see story, Page 24).

THEATER/DANCE National Theatre of London live in HD The season continues with a contemporary adaptation of Shakespeare’s tale of consumption, debt, and ruin, Timon of Athens, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $22, discounts available, ticketssantafe.org, 988-1234.

BOOKS/TALKS Adventures With Tony Hillerman Illustrated talk and book signing by author Anne Hillerman and photographer Don Strel, 7 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, 471-1565, no charge.

Mark Dunn The author of the thriller Under the Harrow in conversation with author James McGrath Morris, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226.

Nickel Stories Prose Readings Sign-up 6 p.m., readings 6:30 p.m., Lucky Bean Café, 500 Montezuma Ave., Sanbusco Center, 438-8999, no charge.

Renesan Institute for Lifelong Learning lecture Carol Merrill discusses working for Georgia O’Keeffe in the ’70s, 1-3 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, 982-9274.

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November 2-8, 2012

Events/Performances

DIXON

Studio Tour The 31st Dixon Studio Tour kicks off with a group exhibit titled Collected Works featuring work by participating artists at the Toolshed, located at #68 NM 75. There’s a reception at the Toolshed with artists present at 5:30 p.m. Friday, Nov. 2. The show remains up through November. The free self-guided tour of more than 30 artist studios runs 9 a.m.-5 p.m. Saturday-Sunday, Nov. 3-4. The Dixon Studio Tour is one of the oldest continuously run studio tours in New Mexico, and this year organizers and participating artists offer numerous workshops, such as beginnning instruction in blacksmithing, painting from photographs, and ceramics. Artist and workshop information, driving directions, and downloadable tour maps are avalable online at dixonarts.org.

Shivering Timbers by Jeff Spicer

EVENTS Comet Hunters and Asteroid Seekers A public program of the Santa Fe Community College, 7-8 p.m., SFCC Planetarium, 1401 Richards Ave., $5, discounts available, 428-1744.

Wordharvest: 2012 Tony Hillerman Writers Conference Faculty members include Santa Fe historian Thomas E. Chávez, Western Writers of America award-winner John D. Boggs, New Mexico author Steve Brewer, film/TV director Chris Eyre, Hotel Santa Fe, 1501 Paseo de Peralta, visit wordharvest.com for registration and full schedule through Nov. 10.

NIGHTLIFE (See Page 57 for addresses) ¡Chispa! at El Mesón Pianist Chris Ishee with guests, 7-9 p.m., no cover.

Cleopatra Café Southside The Saltanah Dancers, belly dancing, 6:30-8:30 p.m., no cover.

Cowgirl BBQ Pray for Brain, Global grooves and surf-circus polka, 8 p.m., no cover.

La Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 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, 7-10 p.m., no cover.

The Palace Restaurant & Saloon Dance band Controlled Burn, 6:30-9:30 p.m., no cover.

Second Street Brewery Joe West and Friends, Americana and twisted country, 6-9 p.m., no cover.

Taberna La Boca Nacha Mendez, pan-Latin Chanteuse, 7-9 p.m., no cover.

Vanessie Bert Dalton Duo, swingin’ jazz, 6:30 p.m., no cover.

▶ Elsewhere ABIQUIÚ Rising Moon Gallery and Art Center 2 County Road 187, 505-685-4271. One Million Bones installation ceremony, a fundraiser for the

One Million Bones Project, reception 5-7 p.m.

Friday, Nov. 2; $5 per person, call the gallery for details.

ALBUQUERQUE Museums/Art Spaces 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. 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. Día de los Muertos Altares, contemporary and traditional altar installations, Domenici Education Center & Disney Center for the Performing Arts, through Nov. 9 ï Via Crucis of the Camino Real, photography essay documenting roadside memorials from Abiquiú to Juan Mata Ortiz in Chihuahua, Mexico, through Nov. 14 ï Nuestros Maestros: The Legacy of Abad E. Lucero (19092009), paintings, sculpture, and furniture, through January 2013 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 December.

Open 9 a.m.-5 p.m. daily; adults $7, seniors $6, under 12 $4; NM seniors 60 and over no charge on Wednesdays.

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

Dancing in the Dark, Joan Snyder Prints 19632010, exhibit of prints spanning 47 years of moments in Snyder’s life, through Dec. 15 ï The Transformative Surface, film and digital works by faculty; through Dec.15. Open 10 a.m.4 p.m. Tuesday-Saturday; $5 suggested donation.

An Evening With Sonia and Indigie Femme The singer-songwriter and the worldmusic duo in performance, 7:30 p.m. Saturday, Nov. 3, Outpost Performance Space, 210 Yale Blvd. S.E., $10 and $15, 505-268-0044.

Henry Mancini Tribute With trumpeter Bobby Shew and singer/keyboardist John Proulx, 7 p.m. Saturday, Nov. 3, at Nahalat Shalom, 3606 Río Grande Blvd. N.W $25, brownpapertickets.com, 989-1088.

‘The Jewel in the Manuscript’ A new play by Santa Fean Rosemary Zibart based on the life of Fyodor Dostoevsky, 8 p.m.

Friday and Saturday, 2 p.m. Sunday, through Nov. 11, Adobe Theater, 9813 Fourth St. NW, $15, discounts available, 505-898-9222, adobetheater.org.

Todd Tijerina The blues man and winner of the 2012 New Mexico Southwest ACLU chapter’s voter-rights songwriting competition in concert, 6 p.m., Indian Pueblo Cultural Center, 2401 12th St. N.W., 866-855-7902.

JQ Whitcomb & Five Below The Santa Fe native and trumpeter performs with his ensemble, original modern jazz and hard bop, 7:30 p.m. Thursday, Nov. 8, Outpost Performance Space, 210 Yale Blvd. S.E., $10 and $15, 505-268-0044.

DIXON 31st Dixon Studio Tour Free self-guided tour of more than 30 artist studios; group exhibit 5:30-7:30 p.m. Friday, Nov. 2, the Toolshed, #68 NM 75, through Nov. 4; art workshops available; tour 9 a.m.5 p.m. Saturday-Sunday, Nov. 3-4; visit dixonarts.org for tour map and more details.

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 Museums/Art Spaces 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.

Los Alamos Historical Museum 1050 Bathtub Row, 662-4493. Permanent exhibits on the geology of the Jémez volcano, the Manhattan Project, area anthropology, and the Ranch School for Boys. Open 9:30 a.m.4 p.m. Monday-Friday, 11 a.m.-4 p.m. Saturday, 1-4 p.m. Sunday; no charge.

Mesa Public Library Gallery 2400 Central Ave., 662-8247. UNMUTE: Text and Image in American Art, 1970-2000, prints and artists’ books from the New Mexico State University Art Gallery, through Nov. 28.

Events/Performances Chamber Music Concert The Los Alamos Concert Association presents cellist David Finkel, pianist Wu Han, and violinist Philip Setzer, 7 p.m. Saturday, Nov. 3, Duane Smith Auditorium, Los Alamos High School, 1300 Diamond Drive, $30, ticketssantafe.org, 988-1234.

‘The Woman in Black’ Los Alamos Little Theatre presents the spooky 1987 play adapted by Stephen Mallatratt from Susan Hill’s 1983 book of the same name; 7:30 p.m. Friday-Saturday, Nov. 2-3, 9-10, and 16-17; 2 p.m. Sunday, Nov. 11; 1670 Nectar St., 505-662-5493; $12, students and seniors $10, tickets available at C.B. Fox, 1735 Central Ave., 505-662-2864, and at the door.

MADRID Johnsons of Madrid 2843 NM 14, 471-1054.

Group show of gallery artists; paintings by Mel Johnson; reception 1-5 p.m. Saturday, Nov. 3, through Nov. 28.

TAOS Museums/Art Spaces E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish Colonial antiques. Open 10 a.m.5 p.m. Monday-Saturday, noon-5 p.m. Sunday.

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

Harwood Museum of Art Maye Torres: Unbound, drawings, sculpture, and ceramics. 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. 238 Ledoux St., 575-758-9826. 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-5 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 Artist Collective 106 Paseo del Pueblo Norte, 575-751-7122. Good Things Come in Small Packages, group show of miniature works by 15 collective members, reception 4-7 p.m.

Saturday, Nov. 3, through November.

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.

▶ People who need people Artists/Craftspeople 62nd Annual Traditional Spanish Market Hispanic artists may submit work for jurying on Feb. 2, 2013; guidelines available upon request; applications due by Jan. 25, 2013; 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.

Santa Fe Children’s Museum Gift Sale Local artists and craftpersons needed to participate in a fundraiser for the museum.

The event runs 11 a.m.-3 p.m. Saturday, Nov. 24 and Dec. 22, and noon-3 p.m. Sunday, Dec. 16.

Call 989-8359 for details.

Santa Fe Society of Artists Fall Juried Show Paintings, photography, and sculpture sought from Santa Fe County resident artists; visit santafesocietyofartists.com for details and applications; 424-9414.

Actors/Filmmakers/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.

Santa Fe Bandstand 2013 Visit santafebandstand.org if interested in performing in the seven-week series on the Plaza; deadline Friday, Nov. 30.

Taos Shortz Film Fest call for entries Held March 7-10 at the Taos Center for the Arts; regular deadline, Nov. 15, $25 entry fee; late deadline Dec. 15, $33; Taos residents special deadline Nov. 15, $11; student deadline Nov. 15, $15; entry forms and submission guidelines available online at taosshortz.com.

▶ Under 21 Self-Defense Class A free six-week program to help you learn simple and effective principles and techniques to defend yourself and escape during a violent attack; ages 15 and older with parental consent. Classes are ongoing, 4:30 and 6:30 p.m. Wednesdays, Warehouse 21, 1614 Paseo de Peralta, 989-4423. Call J. Hernandez at 795-9049 to sign up and for more information.

▶ Short People Opera Makes Sense family program For ages 3-5 and their parents, this program focuses on learning and communicating by using the five senses, 9:30-11:30 a.m. Saturday, Nov. 3, Georgia O’keeffe Museum courtyard, 217 Johnson St., no charge, reservations recommended, 946-1007.

Santa Fe Public Library’s Main Branch arts & crafts workshop series For ages 5-12, held in the Children’s Room Fridays through December; materials provided, 145 Washington Ave., 955-6783 for details.

Santa Fe Science Café for Young Thinkers Recreating the Past in a Computer: The Artificial Anasazi, discussion for students ages 13-19 led by George Gumerman, 6-7:30 p.m.

Wednesday, Nov. 7, Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., 982-0121, no charge. ◀

Can I get a Mayhem?

Jim Gale

As I write this on Halloween day, plumbers are crawling in a tiny space beneath my home, replacing rotten pipes that have caused a bring-outyour-dead-day stench to linger in the halls of my southside abode for the past few months.

Just beyond the front stoop, a deep, gaping hole exists where the sidewalk once met the porch. The bad news is, trick-or-treaters might be screwed out Pray for Brain of their candy chez Waves this year, because it’s kind of a liability to have what amounts to an open grave leading to your front door. The good news is, I now have a place to bury door-knocking political campaigners who choose to ignore the “I Already Voted” signs. Oh, don’t get your sugar skulls in a bunch, people. I promise: I’ll bury them alive.

Speaking of sugar skulls, if you still have any of them lying around on Friday, Nov. 2, gnaw on one for a while and then head over to High Mayhem Emerging Arts (2811 Siler Lane, www.highmayhem.org) around 7 p.m. for the first installment of the annual High Mayhem Fall Concert Series.

Friday is electroacoustic night, bringing together Black Iron Trio, GoGoSnapRadio, Pray for Brain, and The Proxemics for some soulful All Souls’ Day live performances.

Black Iron Trio is the newest project, a wildly improvisational, out-of-the-box approach to instrumentation founded by New Orleans percussionist and experimental musician Milton Villarrubia III (from local outfit iNK oN paper). Joining Villarrubia III, who rigs his drum kit with effects for this ensemble, are J.A. “Dino” Deane on lapsteel dulcimer and electronic effects and Carlos Santistevan on acoustic upright bass. Somewhere in there, a ukulele lurks as well, although it, too, is masked by some serious electronic manipulation.

Prey for Brain is multi-instrumentalist Mustafa Stefan Dill and drummer Jefferson Voorhees (the two of whom were formerly known as Sama Duo) and Christine Nelson on upright bass, who deliver an eclectic combination of world-folk groove, surf-guitar breakdowns, circus music, polka lines, and 7/4 jazz. The band broke out of its practice cocoon in April to perform its inaugural show at Outpost Performance Space in Albuquerque, and much of it can be seen online by visiting www.norumba.com/index. php/pray-for-brain. Dill, who many know in local performance circles as an oudist and fretless-guitar hero, brings years of improvisation to the mix, as do his band mates.

GoGoSnap Radio, aka multi-instrumentalist Jeremy Bleich and vocalist Sarah-Jane Moody (she also bangs on bells ’n’ stuff), released its debut album, The Spaces in Between, earlier in 2012 on Grasshopper Music. The duo has penchant for strange time signatures and what I like to call electro-funhouse avantpop. It’s experimental and creepy yet familiar, in a way.

Think Laurie Anderson meets the Oompa Loompas on a raging river of liquid psilocybin.

Rounding out the bill is The Proxemics — Alex Neville (guitar, bass, samples, mandolin, vocals) and rotating players Michael Smith (percussion), Yozo Suzuki (guitar), Roland Ostheim (bass), and Michael Smith (drums).

Founded in 2009, The band sometimes changes its lineup, but its bare-bones approach to guitar, synth, and vocals is always met with a heft of crunch, drone, screech, and fuzz from bass and electric guitar. The Proxemics close out this show because the group’s energy level is incredibly high during live performance; and the sturdy musicianship it delivers every time, without fail, begs for an encore. Tickets for the all-ages concert are by $10 donation at the door.

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

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

PASATIEMPO

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