The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
April 11, 2014
PAYNE’S
SPRING WORKSHOPS
Payne’s South 715 St. Michael’s 988-9626
Informative, fun and interesting talks absolutely FREE! All participants receive a 20% discount card to use the day of the workshop. All the workshops will be at our SOUTH store on St. Michael’s Drive and start at 11:00 AM.
NURSERIES
Payne’s North 304 Camino Alire 988-8011 Spring Hours
Mon - Sat 9 - 5:30 Sun 10 - 4
Payne’s Organic Soil Yard 6037 Agua Fria 424-0336 Mon - Fri 8 - 4 Sat 8 - Noon
Lynn Payne
April 12 TJ Jones: Growing Vegetables in Containers
You love Your Craft. . .
April 19 Happy Easter! No Workshop Easter Weekend Closed Easter Sunday April 26 Lynn Payne: America’s Favorite Flower, The Rose
TJ Jones
We have the prettiest, longestlasting, most fragrant Easter Lilies. Get yours today while they last!
Payne’s Discount Coupon
20% OFF
Decorative Mulch Pecan Shell Mulch 2 cu. ft. bags
Cedar Mulch & Cypress Mulch 3 cu. ft. bags
www.paynes.com
Good at either St. Michael’s Dr. or Camino Alire location while supplies last. Coupon must be presented at time of purchase. Limit one coupon per customer, please. Cannot be combined with any other coupon or offer. Good through 4/18/14.
and So do We! ProudlY Pouring neW MexiCo’S BeSt Craft Beer
double WHite • Wheat ale spiced with coriander and orange peel from Marble brewery lazy sunday • light dry pale ale from la Cumbre brewing Company CHoCo stout • thick rich chocolate stout from Chama river brewing Company.
Hours: Monday - sunday, 12:00 pM - Close 60 east san FranCisCo st. | (505) 983-6443 | draFt-station.CoM
Presents
The Hoopes Family Vineyard Wine Dinner
Featuring Mr. John Healy from Hoopes Winery, Napa Valley, CA Wednesday, April 16, 2014 – open seating from 5:30 $75.00 per person w / Wine Pairings Amuse Bouche Crispy Spring Roll 1st Course Santacafé “Very Green Salad” Iceberg Lettuce Wedge, Asparagus, Avocado, Applewood Smoked Bacon & Green Goddess Dressing Hoopla Chardonnay 2nd Course Green Lipped Mussels, Lobster & Halibut w/ Housemade Papardelle in Saffron – “Hoopla” Red Wine Broth Hoopla “The Mutt: Cabernet-Merlot-Petite Syrah Blend Intermezzo Hibiscus Sorbet Entrée Pork “Osso Buco”: Braised Pork Shank, Country Mashed Potatoes, Grilled Leeks & Meyer Lemon – Piñón Gremolata “Hoopes Estate” Cabernet Sauvignon
Santa Fe Pro Musica Baroque Ensemble Kathryn Mueller, soprano Thursday, April 17 at 7:30pm Friday, April 18 at 7:30pm Saturday, April 19 at 6pm Loretto Chapel PURCELL Sonata No. 9 in F Major “Golden Sonata” PERGOLESI Salve Regina CORELLI Sonata da Chiesa in F Major, Op. 1, No. 1 BACH Solo pour la flûte traversière HANDEL Gloria in excelsis Deo $20, $35, $45, $65 Santa Fe Pro Musica Box Office:505.988.4640 Tickets Santa Fe at the Lensic: 505.988.1234 www.santafepromusica.com
Dessert Chocolate Mousse w/ Blood Orange – Pineapple Glaze, Grand Marnier Whipped Cream & Red Chili Candied Pecans “Liparita” Oakville Cabernet Executive Chef: Fernando Ruiz Join us for Lunch (from 9.50) & Dinner (from 19.00) Every Day 231 washington ave., santa fe, nm 505 • 984 • 1788
2
PASATIEMPO I April 11 - 17, 2014
The 2013-2014 Season is partially funded by New Mexico Arts (a Division of the Department of Cultural Affairs) and the National Endowment for the Arts.
Kathryn Mueller’s appearance is sponsored by the Mill Foundation Emerging Artist Grant.
Major Lodging Sponsor:
ON THE PLAZA
15% Locals Discount Open daily 11:30am till close Heated Balcony Happy Hour twice daily
505-490-6550 • ThunderbirdSantaFe.com • Facebook.com/ThunderbirdBarGrill 50 Lincoln Ave, on the Santa Fe Plaza
&
b o t w i n
e y e s
e y e
g r o u p
o p t i c s s a n t a
f e
We are a unique enterprise melding medical eye care and fashion. We defy the norm in eyeglass boutiques and optometrist offices by combining the best of both; state-of-the-art eye care and the coolest, hippest eyewear. same day urgent eyecare comprehensive medical eye exams contact lens services treatment of eye disease and infection dry eye/allergy eye treatment
The premier source for Native American Jewelry 101 W. SAN FRANCISCO ST. SANTA Fe
505-988-1866 OPeN 7 DAYS
mon-Fri 8:00-6:00, sat 8:30-12:00 444 st michaels dr | 505.954.4442 | botwineyegroup.com PASATIEMPOMAGAZINE.COM
3
$5 MILLION BACK TO YOU CHECKING AUTO LOAN
10%-15%
Affordable Sun Solutions! *Best discount applies to multiple item purchase. Our superior awning products are an affordable & attractive addition to your home or office.
Underwritten by:
Sponsored in part by:
* Patio Wind & Sun Screens * Patio Covers/Retractable * Window Awnings/Solar Screens * Shade Sails 30% off Spettmann motorization on the Santa Fe Patio Wind and Solar Screens. Also available for upgrade on existing manually operated units. While supplies last.
4
PASATIEMPO I April 11 - 17, 2014
Life is Messy... WIN YOUR SHARE OF MORE THAN
30,000
$
Now through May 11 • Earn entries today! Sundays at 2 pm, 4 pm, 6 pm & 8 pm Visit Club Rock for details. Must be 21+ to play. Management reserves all rights.
TS BATTER UP HOT SEA I thru May 2 Every MON, WED, FR m–10pm 10a m fro r hou f hal Every
Complimentary car washes for life.
llo sR
WIN
Ce rri
500
$
d.
but it doesn’t have to be.
10 Minutes North of downtown Santa Fe
I-25
Exit 175 on Hwy 84/285
6824 Cerrillos Rd. | Santa Fe, NM 87507
camelrockcasino.com
www.lexusofsantafe.com
1-800-GO-CAMEL
505.216.3800
Easter Dinner First Course
Choice of~ Spring salad with ham, peas, tarragon vinaigrette, and a poached egg on top OR Baked brie in phyllo dough, sweet roasted baby spring veggies, almond sauce OR Carrot soup garnish of chipotle cream
Second Course
Choice of~ Seared salmon, green rice, spinach, yellow mole OR Braised lamb shank sauced with gremolata on a bed of bean salsa and green beans OR Beef short rib roulade off the bone, amazing potato au gratin, baby vegetables, onion sauce
April 20th 5pm-10pm $30 per person
Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room
•
Bedroom
•
Entertainment
•
•
Accessories
Featuring Attractive Handcrafted Furniture
Third Course
Choice of~ Carrot cake and cream cheese frosting OR Berry shortcake with garnish of lavender OR Chocolate crème brulee
Lighting
Southwestern Style Great one-of-a-kind Pieces New Shipment of Rustic Credenzas Nice Selection of Styles, Sizes & Finishes
Sandia Credenza w/ Saguaro Ribs shown above in Natural Available with Dark Red, Turquoise and Black accent 60”L x 18”D x 36”h $996 Las Cruces Four Door Credenza shown in Dark Red Also available in Black and Turquoise 74”L x 18”D x 42”h $1096
SANTA FE COUNTRY FURNITURE Inn on the Alameda 303 East Alameda Street | Santa Fe | 505.984.2121
525 Airport Road • 660-4003 • Corner of Airport Rd. & Center Dr. Monday - Saturday • 9 - 5 • Closed Sundays www.santafecountry.com
PASATIEMPOMAGAZINE.COM
5
THE SANTA FE NEW MEXICAN
April 11 - 17, 2014
www.pasatiempomagazine.com
ON THE COVER 32 Rendezvous with the unknown After more than five decades in the creative trenches, Sam Scott knows how to paint a riot of color as he translates the dramas and glories of nature onto canvas and paper. Santa Fe’s Rotary Foundation for the Arts recognizes his long dedication to abstract paintings and sometimes realistic watercolors in naming him Distinguished Artist of the Year. His work is included in The Armory Show, opening on Friday, April 11, at the Center for Contemporary Arts. On the cover is April Clouds, a piece in ink, pencil, and watercolor that Scott painted this year.
MOVING IMAGES
BOOKS 14
44 46 48 50
16
In Other Words On Paper and Famous Writers I Have Known Beautiful creatures Butterfly People
18 20 22 24 31 40 42`
Pasa Tempos CD reviews Terrell’s Tune-Up Boris McCutcheon Singer with a past Lori Carsillo Pasa Reviews Vadym Kholodenko Onstage Decker Into the night Steven Smith on Mahler’s 7th Another kind of flower Rickie Lee Jones
MUSIC AND PERFORMANCE
CALENDAR 57
Pasa Week
AND 11 13 54
ART AND ARCHAELOGY 26 36
Le Week-End The Unknown Known Mistaken for Strangers Pasa Pics
Mineral magic Turquoise, Water, Sky Inner dimensions Jane Lackey
Mixed Media Star Codes Restaurant Review: San Francisco Street Bar & Grill
LANNAN EVENT 38
Along the borders Benjamin Alire Sáenz
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. E-mail: pasa@sfnewmexican.com PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com
Enclosures 2 (detail) by Jane Lackey
■
Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com
■
Assistant Editor — Madeleine Nicklin 505-986-3096, mnicklin@sfnewmexican.com
■
Chief Copy Editor/Website Editor — Jeff Acker 505-986-3014, jcacker@sfnewmexican.com
■
Associate Art Director — Lori Johnson 505-986-3046, ljohnson@sfnewmexican.com
■
Calendar Editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com
■
STAFF WRITERS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 505-986-3039, billk@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com
■
CONTRIBUTORS Loren Bienvenu, Taura Costidis, Laurel Gladden, Peg Goldstein, Robert Ker, Jennifer Levin, James McGrath Morris, Robert Nott, Jonathan Richards, Heather Roan Robbins, Casey Sanchez, Michael Wade Simpson, Steve Terrell, Khristaan D. Villela
■
PRODUCTION Dan Gomez Pre-Press Manager
The Santa Fe New Mexican
© 2014 The Santa Fe New Mexican
■
Robin Martin Owner
www.pasatiempomagazine.com
■
Ginny Sohn Publisher
■
■
ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007
■
MARKETING DIRECTOR Monica Taylor 505-995-3824
■
GRAPHIC DESIGNERS Rick Artiaga, Jeana Francis, Elspeth Hilbert, Joan Scholl
■
ADVERTISING SALES - PASATIEMPO Art Trujillo 505-995-3852 Matthew Ellis 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830
Ray Rivera Editor
Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet
Open 12 - 5 Sunday
Open 10 - 6 Mon - Sat
983-3900
983-4498
Bodhi Bazaar • Cost Plus World Market • Dell Fox Jewelry
Pandora’s • Pranzo Italian Grill/Alto • Raaga Restaurant
Eidos Contemporary Jewelry • El Tesoro Café • Get It Together
Ristra Restaurant • Rock Paper Scissor SalonSpa
Kioti • Mercedes Isabel Velarde Fine Jewelry And Art • On Your
Santa Fe Pens • Teca Tu – A Paws-Worthy Pet Emporium
982-0003
Feet • On Your Little Feet • Op. cit. Bookstore
The Reel Life • Wink Salon
F R E E PAR K I N G
500 Montezuma Avenue • www.sanbusco.com
Because they are specially priced: Love programs and Stock Options Plus are not included.
PASATIEMPOMAGAZINE.COM
7
THURSDAYS COUNTRY LADIES NIGHT
NO COVER FOR WOMEN $
3 WELL DRINKS FRIDAYS
Shidoni’s Second Saturdays Art Review April 12th 9:30-11:30 am Danville Chadbourne “Works in Wood and Stone”
DJ 12 Tribe
Mention you heard about the event in the Pasatiempo and get into the bronze pour for free.
SATURDAYS DJ Flo Fader
wi n!
1508 Bishops Lodge Rd | Santa Fe, NM 87506 (505) 988-8001 ext 120 | www.Shidoni.com
APRIL 12, 19 & 26
2014 DODGE CHARGER
a p r i l 2 014
at four seasons resort rancho encantado Hop on over and celebrate Easter at Four Seasons Resort Rancho Encantado. Enjoy our extraordinary pre fixe Easter Sunday Brunch, dinner specials, egg hunts and a special guest appearance from the one and only Easter Bunny. Call to make your reservations today.
EASTER BRUNCH 11:00 a.m. - 3:00 p.m.
. 4/4/2 014 AT 8 PM N O S K O O R B IX K
OW! NMonDaYs! O N S A L Eon EntriEs KETS T IC10x X OFFICE AT THE CASINO BO
E a rn
TS.COM OR AVAIL ABLE AT TICKE
S. SERVES ALL RIGHT MANAGEMENT RE R. DE OL OR E AG OF MUST BE 21 YEARS RESORT.COM BUFFALOTHUNDER
$72 $36
FOR ADULTS FOR CHILDREN AGES 6-12
Dinner 6:00 p.m. - 9:30 p.m. Brunch seatings: 11:00 a.m., 1:00 p.m. and 3:00 p.m.
TREAT YOURSELF at Four Seasons Resort Rancho Encantado
Player receives one entry for every 30 points earned on their Lightning Rewards card, April 1 through April 26, 2014. Drawings will be simulcast at Cities of Gold. Management reserves all rights.
8
PASATIEMPO I April 11 - 17, 2014
For reservations or information, please call (505) 946-5700 or visit fourseasons.com/santafe
s.com geTao Splur
60
$
half day trip for only
30
$
The new Brazilia Collection is perfectly suited for daytime adventures as well as evening soirees. Earthy greens and rich browns evoke the lush rainforest of Brazil.
RAFTS.COM 1-800-RIVER-GO
BOLD TEXTURE, BRILLIANT STYLE
Exclusively available at SplurgeTaos.com T o r e c e ive this o ff er , vi si t S plu rgeTa os .com bef or e mid n ight W edn e s da y , A pri l 1 6 an d p u rchas e t he S p lur g e cer tificate, wh ich can be red eem ed fo r th e a bo v e of fe r. T h i s ad vert is e ment is no t a Splurge ce rt i fi ca te .
110 DON GASPAR, SANTA FE 505.989.3435 • SHOPBABETTE.COM
Educational Gathering with Jeannette M. Kelly DVM, Diplomate ACVIM, Oncology
Pets and Cancer: What Every Pet Parent Needs to Know Saturday, April 12th • 1:00 PM The Performance Space, La Tienda at Eldorado - 7 Caliente Road • Dr. Kelly established Veterinary Cancer Care (VCC) in Santa Fe in 2004 when there were no veterinary oncology specialists in New Mexico focusing on kind and gentle treatment - ensuring an excellent quality of life for all pets. • Pets do not experience negative side effects from cancer treatments. • Dr. Kelly administers state-of-the-art care and clients report that their pet actually feels better once they begin treatment. • Cancer is one of the most manageable and treatable illnesses in pets with advanced age. Don’t miss this free Educational Program with our own Santa Fe Veterinary Oncologist.
RSVP Today! info@vetcancercare.com • 505.982.4492 Veterinary Cancer Care is one of 47 Veterinary Oncology Specialty Centers in the USA. Dr. Kelly graduated from Colorado State University in 1994 and completed her residency in oncology at University of Pennsylvania and Veterinary Oncology Services and Research Center, Westchester, PA, in 2001. PASATIEMPOMAGAZINE.COM
9
Santa Fe Community Orchestra
Oliver Prezant, Music Director
2013-2014 Concert Season
Spring Concert Palm Sunday Worship Services: 8:30 and 11:00 am Combined Adult Choirs and Children’s Choir
Maundy Thursday Communion Service: 7:30 pm
Saturday, April 12th, 7:30pm
Cathedral Basilica of St. Francis of Assisi
Elijah
Youth-led “Tenebrae” Passion Reading
Good Friday
Selections from the Oratorio by
Service Project: 8:30–11:30 am Good Friday Worship: 12:00 Noon (childcare) Music by Steinway Artist Jacquelyn Helin
EaSTEr!
6:00 am Sunrise Outdoor Service 8:30 and ll:00 am Easter Celebrations for all ages
with Santa Fe Brass and “Hallelujah Chorus.” Childcare all morning. Children’s Easter Egg Hunt after worship.
THE UNITED CHUrCH OF SaNTa FE “Love God, Love Neighbor, Love Creation”
Rev. Talitha Arnold and Rev. Brandon Johnson, Ministers Jacquelyn Helin, Music Director; Karen Marrolli, Choral Director Andrea Hamilton, Children’s Director
1804 Arroyo Chamiso (at St. Michael’s Drive) 988-3295 unitedchurchofsantafe.org Facebook
EVERYTHING’S COMING UP MOSES!
Felix Mendelssohn
Christina Martos, soprano Jacqueline Zander-Wall, mezzo soprano Andre Garcia-Nuthmann, tenor Carlos Archuleta, baritone Community Chorus, over 60 members Free admission - Donations appreciated This concert is sponsored in part by
Thornburg Investment Management
For more information visit our website: www.sfco.org or call 466-4879
SFCO projects are made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, The National Endowment for the Arts, the Santa Fe Arts Commission, and the 1% Lodger’s Tax.
DualSculpting! Freeze twice the Fat in Half the Time
MENTION THIS AD TO RECEIVE 15% OFF*
HaMakom
NO SURGERY NO DOWNTIME *Cannot be combined with any other offers or discounts.
The Place for Passionate and Progressive Judaism
SECOND NIGHT PASSOVER SEDER Bishop’s Lodge Resort Tuesday, April 15 at 5:30 PM Reserva�ons Required 505.992.1905 $65 Member /$75 Non Member /$16 Children www.hamakomtheplace.org 10
PASATIEMPO I April 11 - 17, 2014
Join Us! Open House
405 Kiva Court, Santa Fe, NM 87505
(505) 988-3772
April 22 5:00pm–6:00pm For details visit
FreezeTheFatNM.com
MIXED MEDIA
Left, Stripes VS Plaid, photo by Nina Mastrangelo; detail of Home wall installation by Cheri Ibes Below, detail of Tartan Masks installation by Dara Doolittle
Babies are on the way... Support their moms by volunteering with us 983-5984
www.manymothers.org
Mad about plaid
There’s something plaid-ish going on at Counter Culture Café (930 Baca St., 505-995-1105). When you order your food or coffee, you’re standing on a new, painted installation that is basically an abstraction on the plaid theme. Look around and you’ll see paintings, photographs, and other works by more than 40 artists, all fitting the theme Plaid All Over, which is the name of the exhibit/happening organized by Nina Mastrangelo and Cheri Ibes. The show hangs through April. At least a touch of plaid is the dress code for the opening party and reception at 5 p.m. on Saturday, April 12, at the coffee shop. If you’re woefully plaidless, you can get some at the neighboring shops Boho Clothing & Furnishings and Hyperclash Clothing or at the “plaid shop” at the café during the event. The focus on plaid was Ibes’ idea, and once the women started looking for it with their eyes and camera, it was everywhere. “Cheri created a wall of photographs that we’ve been taking over the last seven months of ordinary people out and about wearing plaid,” Mastrangelo said. “I found a man in a kilt in Trader Joe’s, and the lifeguards at Santa Fe Community College pool all wear plaid kilt-printed towels.” Participating artists, from Mastrangelo’s and Ibes’ contacts in several states as well as via a Facebook request, include both professionals and people who have worked in arts fields but have never exhibited before. “It’s all coming together, but having more than 40 artists and not being a real gallery, it’s been a little like herding kittens, so I’m sure there will be some surprises.” Entertainment for the April 12 event will be provided by bagpiper Peter Hraber, ukulele whiz Grannia Griffith, and poet Christopher J. Johnson as well as Grove of Ba’al (offering “atmospheric folk rock”) and TUFA (“multitextural ambient soundscapes”). Admission is free. For people who can’t make it, there will be a closing party at Counter Culture at 5 p.m. on April 26 with a puppet show and music by Cloacas and Mushi. — Paul Weideman
T H E W O O D CA R E S P E C I A L I S T A n t i q u e s F i n e F u r n i t u re K i t ch e n s B u i l t - i n C a b i n e t r y !
!
Touch-up
!
Repair
Polishing
CALL BARRY METZGER
505-670-9019
OR VISIT OUR NEW LOCATION
1273-B Calle De Comercio, Santa Fe, NM 87507
www.thewoodcarespecialist.com
PASATIEMPOMAGAZINE.COM
11
Reserve your table for our famous Easter Brunch today!
Easter Brunch #loveluminaria | 505.984.7915 | luminariarestaurant.com
Spring Free Seminars and Workshops Sponsored By:
Upcoming Seminars:
(at the Santa Fe Incubator, 3900 Paseo del Sol)
Growing a Sustainable Non-Profit
Successful Crowdfunding
Thursday, April 17 • 9am – 12 Noon
Tuesday, April 29 • 6 – 8pm
Financing Programs for Business Success
Effectively Marketing Your Business
Business Plans and Money Management
Equity Financing-A Mini NM Angels Boot Camp
Tuesday, April 22 • 6 – 8pm
Thursday, April 24 • 6 – 8pm
Thursday, May 1 • 6 – 8pm
Thursday, May 8 • 6 – 8pm
For more information and directions: SANTAFE.SCORE.ORG
All events are sponsored by the Economic Development Dept., City of Santa Fe. Score is a non-profit resource partner of the U.S. Small Business Administration.
To register, call: 12
PASATIEMPO I April 11 - 17, 2014
424-1140 Option 1 or scoreseminars@hotmail.com
STAR CODES
Implant Dentistry of the Southwest If you are missing one
If you are missing one more teeth, or or more teeth, whywhy not not be a consider a Dental Implant? part of a study or clinical research? They maythem be your bestmoney. solution. Replace and save
Heather Roan Robbins
Dr.Burt BurtMelton Melton Dr.
We are in the strangest of times. For the rest of this month and
on and off over the next year, we have an unusual amount of astrological voltage going through the system. Events precipitate quickly once they are begun. If we’re well-wired and with purpose, this extra voltage gives us a boost in the right direction. Because of this voltage, we may feel a certain urgency. Anxiousness can make some people rude or nudge them to act out strangely. We have to cut one another a lot of slack. This excitement and tension comes as Jupiter, Pluto, Uranus, and Mars form four exact corners of a grand square that perfects over the next two weeks. Mars in Libra calls us to make life fairer. Jupiter in Cancer nudges us to take care of our home base, family, motherland, and planet. Uranus in Aries magnifies impulsiveness and brings a revolutionary flair. Pluto in Capricorn calls for a deep investigation of justice, business, structure, authority, and security. As these four planets square off around us, they pull us in opposing directions. Mercury and a full moon join the party just in time for the tax deadline. This can take us on a roller coaster but can also help us get to the real work at hand. Let’s be calm and become a leavening influence on our community. Engage in healthy adventure. Explore options while the gates are open. Be there for one another. Friday, April 11: Unsettled, edgy feelings nudge us along. We see what needs cleaning and clearing as the Virgo moon opposes Venus and Neptune. Keep discussions constructive and idealistic, even if it’s tempting to mine the past for problems. Tonight, as Venus conjuncts inspiring Neptune, be honest and vulnerable.
2 Locations Albuquerque 7520 Montgomery Blvd. Suite D-3 Mon - Thurs 505-883-7744
Santa Fe 141 Paseo de Peralta, Suite C Mon Wed -- Fri Fri 505-983-2909
Don’t Say What You Mean, Mean What You Say: A Poetry Workshop for Teens and Adults
Saturday, April 12 Main Library Community Room 12:30 - 4:30 pm Free Admission -- Reserve Your Space at the Friends Bookstores or call 955-2839 or email Friends@ santafelibraryfriends.org. Jon Davis Santa Fe Poet Laureate
Friends of the Santa Fe Public Library
MOTHER’S DAY, MAY 11
Saturday, April 12: Catch up and organize as the Virgo moon sextiles Saturn. We know what we need to do, but we may not agree on an action plan — we’re industrious but not cooperative. Don’t spread yourself too thin. Enjoy profound debate. Sunday, April 13: As the moon enters sociable, egalitarian Libra, make contacts and become part of the team. Peace and equanimity are rare this spring, so help create a moment now. Tension builds tonight; don’t let it take over. Monday, April 14: Our worries rattle around as the moon opposes Mercury. Wild cards are dealt. If an urgent decision is demanded, make sure we mean it and aren’t just responding to someone else’s anxiety. Think before speaking. Work toward long-range goals. Tuesday, April 15: An early full Libra moon wants us to balance our needs with the world’s demands. Our minds may be strategic and haunted as Mercury squares Pluto and the moon enters Scorpio midday. Let’s stay in the center of our path and support one another.
VOTE SANTA FE GOLDWORKS
for “Best Local Jewelry Store” in the Santa Fe Reporter’s Best of 2014
SantaFeGoldworks.com 60 East San Francisco Street Phone: 505.983.4562
Wednesday, April 16: Healthy debate, deep research, and concentration help us direct the intense Scorpio moon energy. Although stands need to be taken, don’t blurt out regrettable and irrevocable statements. Avoid situations that try patience, and don’t believe an internal cranky monologue. Thursday, April 17: The situation stabilizes though extra emotions continue to pour through as the moon conjuncts serious Saturn this morning. The mood refocuses as the moon enters upbeat Sagittarius later. Feel camaraderie return and adventure fill our sails as Venus trines optimistic Jupiter. History is on the move. ◀ www.roanrobbins.com
PASATIEMPOMAGAZINE.COM
13
IN OTHER WORDS book reviews On Paper: The Everything of Its Two-Thousand Year History by Nicholas A. Basbanes, Alfred A. Knopf/ Random House, 430 pages As a rule, subtitles affixed to nonfiction books overpromise. A favorite of publishers is one that includes “and how America was forever changed,” or words to that effect. To his credit, and that of his publisher, Nicholas A. Basbanes put an honest subtitle to his newest work, On Paper. It is indeed “The Everything of Its Two-Thousand-Year History.” A prodigious and endlessly fascinating tome, On Paper, which has been shortlisted for the American Library Association’s Andrew Carnegie Medal for Excellence in Nonfiction, can be read either as a single work or nibbled on over time like a Whitman’s Sampler. Even if Basbanes were not the accomplished writer of books on books that he is, this new work could sustain itself on the endless parade of conversation-starter tidbits. Here’s a sampling. ▼ The $1 bill is designed to be folded back and forth a minimum of 8,000 times before tearing in its 41st month of life in our wallets, hands, and cash-register drawers. ▼ After World War I, nurses got to wondering why the surgical dressings they had used on soldiers could not be adapted for their personal use. A KimberlyClarke marketing specialist got the message, and the sanitary napkin entered the marketplace. ▼ The average American consumer uses 57 sheets of toilet paper a day according to Procter & Gamble, the makers of Charmin. That’s part of the reason the domestic toilet-paper industry produces more than seven billion rolls of the stuff annually. ▼ Paper, when used to encase gunpowder, made possible one of the most important and enduring technological breakthroughs in the human habit of killing each other. ▼ When you hold a pizza box or an egg carton, you might just be clasping a product that was made from pulp of paper that once held the NSA’s deepest secrets in a former life. Facts, however, don’t make a story, and fact-laden prose can easily sink under its own weight. But in Basbanes’ capable hands, the assembled elements become amusing, fascinating, and at times profound. He is the bibliophile’s Bill Bryson and takes the reader on a journey of discovery about an object we take for granted but cannot do without. We boil tea using it. We smoke tobacco wrapped in it. We clean ourselves with it. We pay each other with it. We paint and draw on it. We record our lives,
14
PASATIEMPO I April 11-17, 2014
our histories, and our stories with it. We first took to the air in balloons and early planes built with it. In short, the list of its uses is endless. So, apparently, were the author’s efforts to tell its story. Over the course of writing the book, Basbanes traveled around the globe. He went from rural China to the paper mills in Connecticut that make Kleenex and from the highly secure mill of a Massachusetts firm that rolls out the paper used in our currency to the inner recesses of the National Security Agency in Fort Meade, Maryland (it took seven months to get permission), and the Folger Shakespeare Library in Washington, D.C., where surviving copies of Shakespeare’s early works are locked away. In his travels and research he pursued not an account of paper’s 2,000-year history, although he certainly provides one. “My driving interest,” explains Basbanes, “points more to the idea of paper, one that certainly takes in the twin notions of medium and message but that also examines its indispensability as a tool of flexibility and function.” This is the genius of the book. It is a meditation on the essence of paper that pushes readers to consider paper in ways that most of us never have. The chapter called “Hard Copy” exemplifies the rewards of the approach. In it, Basbanes looks at how the concept of proving something happened means finding the paperwork. “The aptness of the verb document, as another way of saying ‘authenticate,’ and its obvious provenance from a synonym for ‘paper,’ seems self-evident.” As a storyteller, he follows his observation with riveting documentary tales relating to Nazi Germany, the Soviet Union, the Vietnam War, and Watergate. The latter prompts the question, according to Basbanes, whether the pursuit of paper in the break-ins of Daniel Ellsberg’s psychiatrist and the attempted burglary of the Democratic offices brought down a president of the United States. “An oversimplification, perhaps, but like every other drama in which this medium has played a role, it is there, just off center stage, in a supporting role — but a forceful presence all the same.” As one approaches the end of On Paper, having learned of its history, its varied and seemingly endless uses, and its cultural, intellectual, and economic importance, among other considerations, Basbanes produces a masterful bit of reporting reflective of his years as an investigative journalist. Retaining his focus on paper, Basbanes provides a fresh view of perhaps the most reported story of this century, Sept. 11. To say more would spoil the end of the book. — James McGrath Morris
SUBTEXTS
Spring has sprung in Santa Fe — at least for the moment — and it’s time to grab a good book and read in the sunshine. Here are the top-selling novels, short-story collections, historical accounts, birding guides, comic books, and kids books from local merchants.
Bee Hive Kids Books 328 Montezuma Ave., 505-780-8051 1. Zen Shorts by Jon J. Muth 2. Because of Winn-Dixie by Kate DiCamillo 3. Ten Little Rabbits by Virginia Grossman (writer) and Sylvia Long (artist) 4. Trucks Go by Steve Light 5. Goodnight, Goodnight Construction Site by Sherri Duskey Rinker (writer) and Tom Lichtenheld (artist) Big Adventure Comics 801-B Cerrillos Road, 505-992-8783 1. Saga, Vol. 1 by Brian K.Vaughn (writer) and Fiona Staples (artist) 2. Amulet, Vol. 1: The Stonekeeper by Kazu Kibuishi 3. The Hound of the Baskervilles by Martin Powell (writer) and Jamie Chase (artist) 4. Saga, Vol. 2 by Brian K. Vaughn (writer) and Fiona Staples (artist) 5. Richard Stark’s Parker: Slayground by Darwyn Cooke Collected Works Bookstore 202 Galisteo St., 505-988-4226 1. The Son by Philipp Meyer 2. Blood and Thunder: The Epic Story of Kit Carson and the Conquest of the American West by Hampton Sides 3. The Goldfinch by Donna Tartt 4. The Flamethrowers by Rachel Kushner 5. The Sixth Extinction: An Unnatural History by Elizabeth Kolbert Garcia Street Books 376 Garcia St., 505-986-0151 1. The Sibley Guide to Birds, second edition, by David Allen Sibley 2. Bark: Stories by Lorrie Moore 3. The Wives of Los Alamos by Tarashea Nesbit 4. The Sixth Extinction: An Unnatural History by Elizabeth Kolbert 5. Dancing Fish and Ammonites: A Memoir by Penelope Lively Affordable books are always available at the Friends of the Library bookstores, located at the Main (145 Washington Ave.) and Southside (6599 Jaguar Drive) branches. The big spring sale at the Main Library is on April 26 and 27. — Jennifer Levin
Distinctly Memorable Eye It! Care Expect More and Get
Dr. Mark Bradley Ophthalmologist
Famous Writers I Have Known by James Magnuson, W.W. Norton & Company, 336 pages Is fiction writing a sort of con job, the work of men or women who gain readers’ trust by putting on the hustle? And are those big university writing programs, taught by famous authors, scams as well? James Magnuson’s Famous Writers I Have Known suggests just that. In this clever and entertaining novel, Magnuson’s ninth, an actual con man with no literary background assumes the person of a famous but reclusive writer who bails out at the last minute from his residency at the Texas Institute of Fiction. Frankie Abandonato, a small-time New York City grifter, scams the wrong people. After his partner is murdered, he grabs the first flight out of town. In the line departing for Austin, he sees a man to whom he bears a remarkable resemblance suddenly flee when a woman approaches him with a book. Upon landing, he’s highjacked by three young students who believe him to be author V.S. Mohle, a writer whose Salingerlike novel, Eat Your Wheaties, inspired a generation of readers to be themselves. Frankie, practiced at presenting himself as someone he isn’t, takes on both Mohle’s identity and his assignment at the institute when he realizes there’s a sizable paycheck involved as well as a ready-made identity swap that can keep him safe from the mob. He’s facilitated by the erasing of the real Mohle’s last-minute cancellation message. In short order, he gains the confidence of the students, the institute’s director, and an old rival as well. Magnuson, the director at the James A. Michener Center for Writers at the University of Texas in Austin, calls up the memory of his old boss, James Michener, in the character of Rex Schoeninger, a writer who, like Michener, has enjoyed tremendous sales and popularity but little literary recognition after winning the Pulitzer Prize for Fiction early in his career. The purpose of Mohle’s visit is more than just teaching. He and Schoeninger are to be reunited decades after a very public feud that culminated in a near brawl on The Dick Cavett Show, some even nastier magazine essays, and a multimilliondollar lawsuit for slander. Though Schoeninger has never won another prize, he went on to dominate the bestseller lists and amass a fortune, some of which was used to create the Fiction Institute. Mohle disappears to an island off Maine and never publishes another word. The joke here is that Abandonato, posing as Mohle, turns out to be an effective instructor whose guidance of his young acolytes results in publishing contracts. And Frankie, as he tells the story, turns out to be something of a writer himself. The tale, as he writes in the prologue, is being written as he serves time at MacArthur Federal Prison, a fact that gives away the ending. “No doubt some of you will pick up this book for its gossip value, to see me take cheap shots at a couple of the biggest names in the literary world. You won’t be disappointed, but I can assure you, my friends, I’m after bigger game than that.” That bigger game includes issues of rivalry and friendship, regret and self-doubt, redemption and forgiveness. Before it’s all over, we’ve willingly fallen for Frankie’s hustle. And we’ve been taken in by Magnuson as well. — Bill Kohlhaase
Board Certified Ethical & Caring Professional Serving Santa Fe since 2002
Now accepting former patients and inviting new patients. Call 466-2575
Hours by Appointment • 1925 Aspen Drive, Ste. 500-B Accepting Most Insurance
“Holding your “Holding your hand through the hand through the entire process” entire process”
• Over 20 Years Experience Expert Personalized | Service & Instruction • Over• No 20“Geek YearsSpeak” Experience Expert Personalized | Service & Instruction Home or Office | Onsite Repairs Same Day Service • • No “Geek Speak” PC ororMac | iPhones & Repairs iPads Home Office | Onsite
• Same Day Service
PC or Mac | iPhones & iPads
CONNIE YOUNG 505-470-3826 youngconnieyoung@yahoo.com
Many Moons
Collections
Fashion • art • GiFts Fashions by steel Pony, Earth Creations, sacred threads and Luby B Lingerie presented by au Boudoir accessories and Gifts by Gobal Crafts & novica.
Handmade Jewelry Organic Clothing Art and Gifts
Bohemian
Chic
Everything a woman needs to look her best at an affordable price. 130 n. Guadalupe • santa Fe (in the Little Adobe) Open: Monday - Saturday 10 - 6 • Sunday 12 - 5
(505) 820-9920 PASATIEMPOMAGAZINE.COM
15
Beautiful creatures Bill Kohlhaase I The New Mexican
Butterfly collectors and the objects of their fascination
illiam Leach, professor of history at Columbia University, was 9 when he began collecting butterflies in a graveyard and along a railroad line that ran near a streambed in his hometown. “It was a very powerful experience,” he told Pasatiempo. “I can’t remember anything else in my childhood that was as dramatic or intense or as dirty, full of ticks, sweat and bee stings — the kinds of things you disregard as a kid when you want something. You overcome obstacles that you wouldn’t overcome in the interest of getting something beautiful, something glorious. It’s my feeling that all childhood experience, good and bad, resonates forever. I stopped collecting at some point, but I never forgot what collecting meant to me. It’s always been a continuous thread that tied me to the times when I was most alive.” Leach’s youthful obsession gave him insight into a fascination that seemed to grip the entire country during the 19th century, and it resulted in his latest book, Butterfly People: An American Encounter With the Beauty of the World (Vintage/Random House). His earlier works Country of Exiles: The Destruction of Place in American Life and Land of Desire: Merchants, Power, and the Rise of New American Culture explored economic and cultural influences that have shaped the American experience. His first book was True Love and Perfect Union: The Feminist Reform of Sex and Society. “Those other books are all personal to me,” Leach said. “Some
16
PASATIEMPO I April 11-17, 2014
part of my biography generated all of them. Each is somehow rooted in my childhood.” Butterfly People seems to be something else again. While there’s much to be learned about lepidoptera, the order of insects that includes butterflies and moths, there’s also much to be learned about the U.S. during the 19th century. Leach captures a time when, as he claims in the introduction, “The reign of butterflies, and of all similar natural life, held sway in the imaginations of many American men and women.” The themes of his previous books — Americans’ willingness to move across the landscape in pursuit of “freedom and individual liberation” as well as the commercialization of just about everything — surface in this book as well. What started out as a study of butterflies and collecting them soon became something more. “When I started out researching the butterfly book, I didn’t know where I had to go,” Leach explained, “but knew I had to go somewhere.” The first expert he went to, Nicholas Shoumatoff, was “a very gracious and tolerant man. He allowed me to be the fool without humiliating me. And he disabused me of certain notions that I had, that all American collectors were from the upper crust, that they had leisure time, those kinds of foolish things. It seemed American butterfly collectors came from all backgrounds.” As Leach delved further into his research, he learned that the collectors of the 1800s made up something of a community. From this community came a handful of individuals who made the study of lepidoptera their life’s work. William Henry Edwards was a coal mine manager; Herman Strecker was a stonecutter who specialized in children’s gravestones; Samuel Scudder was the son of a hardware merchant; Augustus Grote a musician. All became devoted, even obsessed, over the study of these beautiful creatures, to the point that bitter rivalries developed over who would classify and name the creatures and who had the most extensive collections. They debated the emerging notion of evolution and influenced other naturalists to consider it as well. And, as Leach writes, “They considered beauty as part of what mattered in nature — ever present, intrinsic, and inescapable.” In other words, they were as motivated by beauty as much as by science. At some point, Leach’s proposed book about butterflies became a book about the people who devoted their lives to their study. Their varied economic backgrounds, their religious upbringings, and their temperaments all come into play. “These men were so loyal, so enthusiastic about what they did,” Leach explained. “I think it has to do with this connection to childhood, which never really broke down for them. They became wonderful naturalists, men who remained children, but wonderful children, living in a fantasy world. They cared about being famous and discovering something for the first time as all naturalists and scientists do, but not in the interest of making money. They were happy to be poor as long as they were acclaimed.” Pursuit of that acclaim led to bitter disagreements and even theft among the most prominent collectors. “What is there about our science that makes one type of men so inflammable and another rascals and thieves?” Edwards wondered. Grote called his
one-time friend and later enemy Strecker a “liar, a light-fingered amateur, and a ‘forger.’ ” Strecker, it was said, wore a stovepipe hat lined with cork, where he pinned specimens that he snatched from other collectors. “There’s no question that there were rivalries between the men,” Leach said. “It begins with collections. I can put together whatever family of butterflies you can. I can beat you. It’s just like kids collecting baseball cards. It became ugly.”
It’s my feeling that all childhood experience, good and bad, resonates forever. I stopped collecting at some point, but I never forgot what collecting meant to me. — author William Leach On the other hand, Leach marvels at the work the men did. “They were very intelligent and wrote beautifully. Reading them is almost always rewarding and enriching.” This ability to write well was a large part in engaging what was then the world’s most literate population. “One of the things that struck me in my studies was the literacy of the American people, both men and women equally literate for the first time in history. And the study of nature was the focus of their intellectual and spiritual lives. This is a time when all the institutions of the natural world, the clubs, the organizations, and museums, came into being. Also the range of periodicals that were published and the countless books about the natural world, including books about butterflies, all bearing phenomenal insight into the natural world.” Leach pointed out that the general population’s interest in the natural world during the 1800s was a product of the times. “America was not yet an industrialized landscape but was mostly a hybrid landscape of farms and natural areas where all kinds of things were growing and intermingling. There was no clear dividing line between the natural and the artificial landscape. Almost everyone had access to this hybrid landscape. Most American were still living on farms in those days, and they were constantly exposed to the living world and butterflies.” Sometime after 1875, the practice of butterfly collecting, once done purely in the interests of natural science, beauty, and the joy of being outdoors — not for profit — took on commercial motivations. This came mainly from an expanding market into exotic butterflies from Asia and other parts of the world. The old collectors, not wealthy men by any measure, bought into the practice, sometimes using unscrupulous means to obtain specimens. Others continued to concentrate on domestic butterflies. As this change was going on, Grote claimed, “The world is full of beautiful butterflies, but those that fly at home are best.” Leach sees both good and bad resulting from this development. “When the commercial element began to kick in, it began to degrade the collection of
butterflies just for the joy of collecting them. Suddenly there were a lot of collectors devoted to making money. The outcome, despite the degradation, was a tremendous exposure of Americans to the beauty of the world. It’s hard to measure the impact that had, but it was significant.” Leach feels something is being lost in modern times now that our interest in the natural world comes mostly secondhand, through technology. “How do you make people respond to the natural world when the artificial world, when technology, makes up the world we live in? People aren’t interested in nature; they don’t collect insects. This is partly because of condemnation from environmentalists; capturing insects is cruel. But the real killers are land developers, not the children who go out and collect insects. I’m pro-environment, but not when the cause is something mindless. Our interest in the natural world begins when we are children. We have to let them go outside and explore, we have to let that curiosity run its course, or we won’t have any naturalists or scientists. And the appreciation of beauty is also threatened by the hyper-technical world we live in. It tends to privilege the artificial world. Children need to see natural beauty, the beauty of butterflies.” ◀ “Butterfly People: An American Encounter With the Beauty of the World” by William Leach is published by Vintage/ Random House.
PASATIEMPOMAGAZINE.COM
17
PASA TEMPOS
album reviews
LEIF OVE Smoke Fairies ANDSNES The Beethoven (Full Time Hobby) Jour ney: Piano Concer tos “Are you crazy?” Smoke Fairies Nos. 2 & 4 (Sony Classical) The current asks at the conclusion of the duo’s new catalog already offers CDs by 80 soloists of self-titled album. It’s a question that may Beethoven’s Second Piano Concerto and 105 of have been directed at Jessica Davies by his Fourth, including readings of both works bandmate Katherine Blamire, or the other by such living legends as Aimard, Brendel, way around. Performing equal parts rock, Goode, Kissin, Lupu, Perahia, Pletnev, folk, and blues, the pair have been workPollini, Schiff, Uchida, and Zimerman. This new entry by ing together since the late 1990s but considered splitting the Norwegian pianist Leif Ove Andsnes (who also conducts up after the release of their album Blood Speaks in 2012. The the Mahler Chamber Orchestra here) nonetheless conveys engagsong “Are You Crazy?” is a contemplative and ethereal ballad ing performances that combine clarity and insight with impeccable featuring acoustic piano and lightly layered vocal harmonies pianism. Andsnes infuses the Second Concerto with a sense of grace undermining the urgency of the question. Earlier tracks provide traditionally considered Mozartian — not inappropriately, since Beethoven all the variety and contour one would expect from the musical vetbegan sketching this piece when Mozart was still dominating the pianoerans, whose career highlights include tours with Rasputina, Laura concerto business and one often senses the earlier master’s presence in Marling, and Bryan Ferry as well as being the first UK act to release a this work. But the selling point for this CD is really the Fourth Concerto, single on Third Man Records ( Jack White’s label). The opening track, which receives a luminous, carefully plotted interpretation. The Mahler “We’ve Seen Birds,” mixes upbeat pep with a retro drumbeat from Chamber Orchestra is an adept but not quite top-drawer ensemble, accomplished session drummer Andy Newmark. “Shadow and Andsnes is an avocational conductor; the combination Inversions,” coming a few songs later, is much darker; it invites numerous oversights in the details. In the Fourth counterbalances the angst typical of ’90s alt-rock with airy Concerto, for example, the second movement accords in vocals in doubled octaves. “Misty Versions,” on the other spirit with the score’s indication that the orchestra recede hand, is full of bluesy huskiness, reflecting the time the into the background as the music unrolls, and yet the actual two spent in New Orleans studying American traditional With The Bad Plus you get dynamics often don’t quite correspond to Beethoven’s music. Despite the weariness or crisis of confidence markings; and although the composer indicated that the that may have almost precipitated the end, Smoke the sense of crazy dancing, third movement should begin at precisely the same volume Fairies proves to be just as inventive and as resilient as the second ends, it is louder here. — James M. Keller as ever with this latest offering. — Loren Bienvenu
a dazzling confusion
FUTURE ISLANDS Singles (4AD) It takes a lot to get THE BAD PLUS The Rite of Spring (Sony) The band that of glistening legs. David Letterman excited about his musical guests; he set jazz on its head in some new ways starting with 2001’s typically regards them with bemusement or indifference. In The Bad Plus, billing itself as “the loudest piano trio ever,” early March, Future Islands performed “Seasons (Waiting on takes on Igor Stravinsky’s powerful and cacophonic 1913 You)” on his stage, with singer Samuel T. Herring — resplenballet. In terms of mining the classical canon, it may be a dent in a black T-shirt, and with a receding hairline and a visible perfect choice for a group that specializes in the unexpected. paunch — swerving and strutting through oddball dance moves with “First Part: Adoration of the Earth” has pianist Ethan Iverson laysuch conviction that Letterman bounded on stage, cheerfully shouting, “I’ll ing out the knotty, beautifully dissonant theme and creating coloration take all of that you’ve got!” If you have internet access, it’s possible you already by morphing complexity, tone, and tempo. The repetitive, frantic, fractured know about this — the performance was shared across social media and goings-on of “Ritual of Abduction” is wonderfully undertaken by Iverson and created high demand for the Baltimore indie veterans’ new album. Here the his mates, bassist Reid Anderson and drummer Dave King. “Spring Rounds” album is, and sure enough, the first song is “Seasons (Waiting on You).” It opens with a pensive, sprightly moment, the spare, plucked-bass notes sets the tone for a collection of songs that are all of similar quality. There against high piano trill, then after a cymbal crescendo comes the momenisn’t much variance, with the exception of “Fall From Grace” — a tous, plodding melodic figure. In the midst of what is for the most part ballad that flips between torch song and scream-metal — and that’s a literal reading of the score, this band manages some unique flavors. OK. The album is sequenced so one peppy, guitar-free pop song The orchestral version of the “Glorification of the Chosen One” with half-clichéd sentiment (“She feeds me daily soul”) slips into section is a swirling, magnificent discord. With The Bad Plus you the next with ease. The best of these songs get the sense of crazy dancing, a dazzling comes halfway in, as the panoramic new-wave confusion of glistening legs. “Ritual Action number “Back in the Tall Grass” feels like a of the Ancestors” is utterly suspenseful sequel to Talking Heads’ “Road to Nowhere” and then crashing, but at points the trio with a touch of Wilson Pickett. You’ll no approaches the realm of the comedic with a doubt find your own favorite; as the title jaunty piano treatment and military drum suggests, it’s a collection of singles, and rolls. Overall, the music is ambiwe’ll take all of that they’ve got. tious, fascinating, and brilliant. — Robert Ker — Paul Weideman
18
PASATIEMPO I April 11-17, 2014
cLaSSic SanTa FE n ew li sti ng
n ew l ist in g
La TieRRa nUeVa esTaTe $1,600,000 Extraordinary opportunity to create an estate on 33 acres close to Santa Fe. The existing 4,554 sq ft home is an adobe masterpiece in design and quality. Space galore. #20140276
ChishoLM TRaiL $1,250,000 Expertly crafted, John midyetter designed home on 18 acres. Hand-carved, antique portuguese double doors from the 1800’s. Details abound in this 3BR, 4Ba property. #201401275
new P r i c e
5 ReMedios Road noW $699,000 casual elegance defines this 3BR, 3Ba home with beautiful finishes and a great floor plan. Large windows showcase mountain vistas. in East Ranch on 3+ view acres. #201302076
sold
From our initial meeting to the final moments of closing, we felt incredibly well-advised in every step of the process by her expertise, experience, and utmost care. – Beth Clayton & Patricia Racette
230 CaMino de La sieRRa $569,000 Fabulous mountain and city lights views from this close-in valle Del Sol townhouse with 3BR, 2Ba, and an attached 2-car garage. utterly charming and private. #201304909
new li sti ng
Thank you so much for the wonderful, professional help you’ve given us over the past years. We’d be happy to endorse you to anyone! – Glenn & Marilyn Bentley
new listing – under contract
10 ConChas Loop $639,200 Romantic 4BR home on 2+/- private acres overlooks Eldorado green space, trails and mountains. Beautifully maintained with sunny cook’s kitchen and large family room. #201400921
ExpERiEncE, EnERGy anD inTEGRiTy WoRkinG FoR you.
1949 GovERnoR DEmpSEy $500,000 mid 60’s, 3BR, 1,819 sq. ft. home plus studio casita sits on 1+ acres in Governor’s mansion neighborhood, brick and wood floors, 3 fireplaces and a private walled patio. #201401134
Katherine Blagden
pEnELopE vaSquEZ 505.690.3751 penelope.vasquez@sothebyshomes.com
new P r i c e
423 WEST San FRanciSco STREET, #2 $450,000 Dating from the 1880’s, double adobe with high ceilings, vigas, nichos, kiva fireplaces, this 2BR, 2Ba condo is currently a rental, but also is zoned for commercial use. #201303286 new listing
ABR, TRC, CNE 505.490.2400 kbsantafe.com
katherine.blagden@sothebyshomes.com
Perceptive
Proactive
Persistent
Casas con Corazón One of the Top 3 Santa Fe donors to Conservation International Sotheby’s International Realty partnership 2013, and donor to Dollars4Schools with every closing.
805 apodaCa hiLL $389,000 This 1,510 sq ft, 2BR adobe home has hiking out the back door. Lots of character with vigas, beams, river rock fireplace, brick floors, and nichos. Loft/studio with views. #201304214
sanTa Fe | sothebyshomes.com/santafe 231 Washington avenue | Santa Fe, nm 87501 | 505.988.8088 326 Grant avenue | Santa Fe, nm 87501 | 505.988.2533
2501 WEST Zia RoaD, #10-207 $102,500 Great little one bedroom condo with west face balcony to enjoy sunset skies. Beautifully maintained, this condo has a new stainless fridge and laminate wood floors in the kitchen. #201400987
Visit onlywithus.com to discover the benefits available through us alone.
Sotheby’s international Realty and the Sotheby’s international Realty logo are registered (or unregistered) service marks used with permission. operated by Sotheby’s international Realty, inc.
PASATIEMPOMAGAZINE.COM
19
TERRELL’S TUNE-UP Steve Terrell
A homegrown quartet
Here’s a look at some albums by local, or pretty-closeto-local musicians I’ve been enjoying in recent weeks (and some I’ve gotten my hands on only in recent days). ▼ Might Crash! by Boris McCutcheon & The Salt Licks. I’ll get right to the point: this is the best Boris album in years. Maybe even his best yet, though I still have a real fondness for Cactusman Versus The Blue Demon from 2005. McCutcheon is a decent singer and an even better songwriter, and some of the tunes on Might Crash! immediately knocked me in the head. I’m talking about “Booze Farm,” a drunken, bluegrassy fantasy featuring Salt Lick Brett Davis on banjo. “Come on girl, let’s start a booze farm,” he sings. McCutcheon’s bio says he has made a living as a farmer, but it doesn’t say whether or not he’s been a booze farmer. The title song flirts with rockabilly as well as Roger Miller. “How do you know when you might crash? Do you get that look in your eye? Do you start getting ugly with your kids? Do you start hatin’ your life?” “This Town Is Dead,” co-written with McCutcheon’s Frogville Records crony Bill Palmer (who co-produced Might Crash!), is a slow, pretty country lament about stagnation. “Dirty needles floatin’ down the ditch/I’m stuck in limbo with a traveling itch,” McCutcheon moans. “This casino sucks, I want my money back.” But the real showstopper on this record is a nearfive-minute foreboding dirge called “Off the Grid.” It’s a portrait of some Northern New Mexico residents who live “up the mountains, over the cliff and off the grid” among “shattered panels and some old golf-cart
20
PASATIEMPO I April 11-17, 2014
batteries from the ’70s.” McCutcheon sings as if he’s stumbled upon some post-apocalyptic world: “They’re all hiding up here, they’re all hoping the world will end.” The singer doesn’t exactly condemn what he sees, but he doesn’t romanticize it, either. McCutcheon is on the grid at www.borismccutcheon.com. ▼ Live Frogville Sessions by Country Blues Revue. Like the title says, this album, the second by this group led by singer/guitarist Marc Malin and harp tooter “Harmonica” Mike Handler, was recorded before a studio audience at Frogville Studios in Santa Fe. I was planning on attending one of the two nights it was recorded last December, but something came up and I didn’t. Listening to the CD makes me regret missing this party even more than I already did. The album is full of foot-stomping, good-time American music, predominantly blues but with lots of New Orleansstyle R & B, some Dixieland, and, yes, a little country mixed in. Though it normally operates as a quartet, for the Frogville session the CBR grew into a small army, with a horn section, Brant Leeper on piano, David Barclay Gomez (of Felix y Los Gatos) on accordion, and Dave Devlin on steel guitar. On a few tunes there are some out-of-town guests: Roberta Donnay and Daria, The Lickettes in the most recent incarnation of Dan Hicks & The Hot Licks. They’re at their Lickettiest on the songs “I Can’t Give Up on You” and “The Writing Is on the Wall.” My favorite tune is “Sleight of Hand,” a primitive blues that features a guitar hook similar to Howlin’ Wolf’s “Smokestack Lightning” and a slightly muffled sound that suggests it’s coming from an old AM car radio on some dark and lonesome backwoods road. Get to know the CBR better at www. reverbnation.com/countrybluesrevue. ▼ Angels From the Other Side by Jono Manson. For the last 20-plus years he’s been in Santa Fe, Jono Manson’s basic music attack has not changed much, and that’s definitely not a bad thing. With a Jono album, you can always count on listenable, frequently catchy tunes — some of which stick in your brain for hours at a time — sturdy blues rockers, sweet, soulful ballads, and maybe a little country. This album is no exception. Listening to Angels in my car on a long drive recently,
it occurred to me that, unlike so much of the other music I like, there is little if any darkness on this album. And while it’s certainly not devoid of humor, there is not much at all in the way of underlying irony or sarcasm. The lyrics are pretty much all straightforward and sincere. And most of it is outright happy. It was pretty refreshing, actually. That being said, one of my favorite songs here is the saddest one on the album. “The Frame” is about some kind of family tragedy, the details of which are left to the listener’s imagination. It starts out with the narrator looking at an old photo of a happy young couple with a little girl. “No one was to blame, but everything was changin’/I guess you wouldn’t know, because the picture doesn’t show what’s just outside the frame.” “Angelica” is a strange ode to a singer’s guardian angel/muse, “a tired angel behind these eyes,” while “Honky Tonk in My Mind,” despite its title, isn’t really a country song. It’s an upbeat bar-band rocker on which Manson laments, “I can’t forget you, but I bet you never would have left me if only you had met me in the honky-tonk in my mind.” But if it’s “country” you want, there’s “Together Again” — no, not the Buck Owens hit. It’s a song about a family reunion with some tasty mandolin by former Santa Fe resident John Egenes. And unlike so many songs of this ilk, this family isn’t dysfunctional. Jono’s website is www. jonomanson.com. ▼ Blue Horizon by Sid Hausman & Washtub Jerry. I’ve been a fan of Sid Hausman’s music for more decades than either of us would want me to say. Hausman is a poet and a picker (who in recent years has become a strong partisan for the tenor ukulele as well as the guitar and banjo) with a fondness for Western swing and songs from singing-cowboy cinema. Indeed, if Hollywood still made such movies, Hausman could be a singing-cowboy star. He’s got the look, and the music comes natural to him. In fact, some of the best songs on this new album have cowboy-movie roots. “Ridin’ Down the Canyon” was written in 1934 by Smiley Burnette (“Gene Autry’s sidekick,” the liner notes explain), while “Grand Canyon Trail” and “Night Time in Nevada” are from Roy Rogers movies. My favorite song here, however, is a Hausman original called “Only in Texas.” Hausman sings, “Now only in Texas, rattlesnakes have highway exits.” Ace fiddler Ollie O’Shea, who plays on several songs on the album, really shines on this one. One slight quibble: “The New Ragtime Cowboy Joe” is basically the same as the old “Ragtime Cowboy Joe,” except that the “son of a gun from Arizona” has been transformed into a “buckaroo from New Mexico.” Come on, Sid, you’re messing with sacred scripture here! See more on ragtime cowboy Sid at www.sidhausman.com. ◀
SFCA
ThE SANTA FE CONCErT ASSOCIATION Presents
BalletNext
Stars of American Ballet Theatre and other companies
“. . . a force whose talent
embraces and illuminates
JOin US FOr EaStEr BrUnch
even the confines of a grand theater like the Met.” —Ballet World
Sunday, april 20, 2014 from 10:00am – 3:00pm
April 25 & 26, 2014 7:30 pm
$27 Per Person. For A Complete Brunch Menu Visit LaCasaSena.com
TICKETS:
$20-$75 ticketssantafe.org (505) 988-1234 or Santa Fe Concert Association (505) 984-8759
LOCATION:
The Lensic Performing Arts Center
For Reservations Please Call 505-988-9232
Open Daily 11:00am until 10:00pm | 125 East Palace, Santa Fe (505) 988-9232 | www.lacasasena.com
Santa Fe Concert Association, 324 Paseo de Peralta, Santa Fe, NM 87501 (505) 984-8759
PASATIEMPOMAGAZINE.COM
21
LORI CARSILLO
Dilip Lama
J 22
Paul Weideman I The New Mexican azz vocalist Lori Carsillo sounds like she’s smiling when she sings. She has a gorgeous voice, like velvet, with a shivery vibrato. On her new album, Sugar & Smoke, she covers songs that were done four or five decades ago by the likes of Julie London, Tony Bennett, Abbey Lincoln, and Mel Tormé. “They all sort of fall in that sort of 1960s feel. That’s kind of where my head was at. I mean, I love that era, the cocktail ’60s era of jazz. It was such a great
PASATIEMPO I April 11-17, 2014
time, at least from a music standpoint — and for the clothing, of course.” The Santa Fe Music Collective presents Carsillo in concert on Friday, April 11, at the Museum Hill Café. Joining her are Bert Dalton on piano, Jon Gagan on bass, John Trentacosta on drums, and Arlen Asher on reeds. As a youngster, Carsillo studied classical music and opera, learned to love jazz standards, and had some exposure to musical theater. “Old Devil Moon,” one of the songs on the new album, is a tribute to her mother,
who once sang it in a production of Finian’s Rainbow, according to the liner notes by jazz commentator and author Scott Yanow. Carsillo, a Bay Area native, began singing with the Menlo-Atherton High School Jazz Band, which performed at the Reno Jazz Festival and even did a European tour, playing the renowned North Sea Jazz Festival in the Netherlands and the Umbria Jazz Festival. She went on to study with singers Kitty Margolis, Madeline Eastman, and Kurt Elling. Her debut album
was a standards collection called Bittersweet (2002). That was followed by Cole Porter... Old Love, New Love, True Love (2004) and the children-oriented Lullabies for Little Dreamers (2008). Since the early 2000s, Carsillo has worked her repertoire of jazz standards and lessknown songs at Café Claude in San Francisco. She also plays the lounge at Yoshi’s. For more than a decade, she has been involved in a side project, performing as Lola Bombay in a retrolounge act called Project: Pimento that has a theremin as lead instrument. The band recorded Magical Moods of the Theremin in 2003 and Space Age Love Songs in 2007. Lola Bombay is “in hiding,” Carsillo joked during a recent interview with Pasatiempo. “No, really, that band is kind of fun; we still play, including for corporate events.” Lola has a special appearance as well as a special appeal. “Yeah, I try to go heavy on the ’60s hair, although I have toned it down a bit in the last few years. I don’t do the long gloves or feather boas anymore. I want to relate to people. I don’t want to be disingenuous and have it be like a real shticky thing, but we still do a lot of fun music, like Mancini and the Star Trek theme and other ’60s TV themes.” None of the tunes on Sugar & Smoke have appeared on her other discs. What is her process of mining
vibe that listeners would enjoy,” she says in the liner notes. Included on the album besides “Cinnamon & Clove,” best-known in a version by Sérgio Mendes, and “Grass Is Greener,” a Carsillo fave sung by Blossom Dearie, are “In the Wee Small Hours of the Morning,” which recalls Frank Sinatra, and “Nice Girls Don’t Stay for Breakfast” by Julie London. In terms of songwriting, Carsillo co-penned the Lullabies for Little Dreamers song “Sleep Little Child” with Stapleton. “I also wrote lyrics to the chords of ‘Boogie Woogie Bossa Nova’ [from reedman Eddie Harris’ 1969 album Free Speech], and I almost included it with this new release. But I had some weird interaction with a lawyer for Eddie Harris’ estate, and I was advised by a lawyer friend to just drop it.” She has the desire to record a live album, but an initial experiment, at Café Claude, was too noisy. “It’s awfully intimidating, but there’s some really cool stuff that comes out and it’s gone forever, pretty much.” Recording in a studio is a whole different ballgame. “It’s more internal, and you work off the vibe of the musicians. It is hard, because even your placement is different, because you can’t hold the microphone. I guess I just try to go inward. I’ve played many concerts where you may have an audience, but
I really do feel like the songs choose me. There are just certain songs that just stick in my head, and they’re circling around in there. Some of them are lesser-known, such as ‘Cinnamon & Clove’ and ‘Grass Is Greener’ from the new album. I love doing songs that not everyone has heard. — Lori Carsillo
songs? How to choose from the thousands? “I know this has been said before by other people, but I really do feel like the songs choose me. There are just certain songs that just stick in my head, and they’re circling around in there. Some of them are lesser-known, such as ‘Cinnamon & Clove’ and ‘Grass Is Greener’ from the new album. I love doing songs that not everyone has heard.” The new album will officially be released in late May on Tru Blu Lu. “That’s my independent label. I do it all here. I use a recording studio in San Francisco, but the mastermind work,” she said with a laugh, “happens in my home office.” Several of the songs boast fine piano solos by Adam Shulman. Filling out the rhythm section are Mike Bordelon, bass, and James Gallagher, drums, and there are occasional contributions by vibraphonist Smith Dobson, altoist Riley Bandy, and guitarist Jay Stapleton. “While my choice of tunes, all of which I love, veered in the direction of the 1960s, my goal was to create modern versions of those songs with a mellow
they’re not focused on you, so you just do it. You don’t have to have the feedback.” Her appearance on April 11 is her third in Santa Fe. It will be “sort of a CD-preview concert” for Sugar & Smoke, although she will sing songs not on the new album as well. It’s easy to expect that a vocalist will channel classic singers onstage, just as an instrumentalist can easily think of Miles Davis, Bill Evans, or John Coltrane. “Occasionally I hear Nancy Wilson, a singer who was one of my early influences. I also have a little Peggy Lee and Julie London in there. I definitely try to do my own thing, but you can’t help it. You hear and you absorb.” ◀
Santa Fe Music Collective
The Lori Carsillo concert is presented by a fairly new nonprofit organization, the Santa Fe Music Collective. Its founders are Linda Highhill, formerly general manager at KSFR-FM 101.1 for nine years, and jazz drummer and music presenter John Trentacosta. For almost a year and a half, since 2012, Trentacosta had organized a concert series to benefit the radio station. “When the big shakeup at KSFR came down last June, one result was a total lack of appreciation for the music series,” said Trentacosta, who has been with the station for eight years and is currently co-hosting its Monday-morning show The Jazz Experience. “After Linda’s resignation from the station, she had the idea to start a nonprofit organization.” It started up in August 2013. The first performer presented by the collective was fluegelhornist Dmitri Matheny at the Museum Hill Café. The organization, which has 45 members as of April 1, also sponsored a workshop in conjunction with the drummer’s jazz-history class at Santa Fe Community College. If a suitable venue is found,the collective will initiate a jazz-documentary video series, which would include discussions before and after the showings. The next concert, after Carsillo, is Jenny Bird on May 16. The Taos folksinger has a new focus: jazz standards. Coming up later in the year are Matheny, Joshua Breakstone, and Ali Ryerson. For more information, visit www.santafemusiccollective.org or call 505-983-6820.
details ▼ Lori Carsillo, presented by the Santa Fe Music Collective ▼ 7 p.m. Friday, April 11 ▼ Museum Hill Café, 710 Camino Lejo ▼ $25; call 505-983-6820 for reservations
PASATIEMPOMAGAZINE.COM
23
Light
ir A as
PASA REVIEWS
Vadym Kholodenko St. Francis Auditorium, New Mexico Museum of Art, April 1
Darkest after the Dawn
328 S. Guadalupe St. • Santa Fe • 505.986.1260 • lbvbags.com
V
Santa Fe
EXCHANGE
Old Time Trading Post • Old Time Prices
Buying Gold & Silver Since 1982 JEWELRY ~ VINTAGE ~ ESTATE ~ MEXICAN OLD INDIAN PAWN ~ ANTIQUES ~ ART
525 West Cordova Rd • 983-2043 Tue-Fri 10:30-5:30 • Saturday 12-5
OFR IFL 15% ROUGH AP TH
WHEN YOU MENTION THIS AD. EXCLUDING CONSIGNMENTS.
ALAN ROGERS, M.D., P.C.
Comprehensive .Compassionate .Patient Centered Health Care
Family Physician | Board Certified ABFM In Santa Fe since 1987
983-6911 530-A Harkle Road
www.alanrogersmd.familydoctors.net
$50 Credit On Initial Visit With This Ad No longer accepting insurance, but reasonable fees.
143 Lincoln @ Marcy 820.1234
Museum Art You Can Own Congratulations Sam Scott Artist of the Year 2014 Just in!
24
Sam Scott
Acrylic on Canvas
PASATIEMPO I April 11-17, 2014
68” x 72”
www.windsorbetts.com
adym Kholodenko is the kind of pianist who gives Brahms a bad name. In his recital on April 1 at St. Francis Auditorium in the New Mexico Museum of Art, he played into the composer’s worst instincts, allowing the master to ramble on with the unmitigated gravity that inspired even the depressive composer Hugo Wolf to assert, “Er kann nicht jubeln” — “He is unable to rejoice.” There is no question that Brahms presents challenges to performers, and his early pieces rarely achieve the balance of darkness and light that infuse the works of his maturity. His Four Ballades, op. 10, may not be inherently ingratiating, but they are not as insistently dour as Kholodenko made them sound. His playing lacked clarity, with inner voices receding into mush and misconceived accents repeatedly steering the ear off course. In the third Ballade, for example, syncopated entrances that Brahms stressed through notated accents received little oomph, and in the fourth, Kholodenko miscalculated in the opposite direction, violating an attractive melodic line by attacking the first notes of the accompanying droplets of descending arpeggios with undue aggression. Merely obeying the score would have helped. He did achieve nice “in-the-groove” momentum at a point in the last Ballade where the hands tick along out of sync, tracing three-against-two rhythms, but on the whole his interpretation was grim. It didn’t help that Brahms was preceded here by Schumann’s five Gesänge der Frühe, op. 133 (Songs From Dawn), that, ironically, were from Schumann’s twilight period, when he was finding it sometimes difficult to string things together cogently. The set nonetheless affords touching glimpses of his lucid moments. It is to be approached with tenderness, and its melodies, when they occasionally take flight, must be shaped and nurtured, not just batted out like miscellaneous agglomerations of notes. I surmise the point Kholodenko hoped to make. Schumann wrote his Gesänge in October 1853, during the two weeks after he met and grew infatuated with young Brahms. Within four months Schumann committed himself to an insane asylum, and about five months after that, Brahms wrote his op. 10. Playing these two works in succession therefore memorialized a passing of the torch from late Schumann to early Brahms, but one could hardly expect the audience to know that, and no program notes were provided to explicate it. In any case, it was not persuasive programming on a musical level, and Kholodenko showed little affection for either offering. Nine Chopin mazurkas fared rather better in the second half, though without revealing any distinctive interpretative profile; Kholodenko did, however, convey suave urbanity in the one in A-flat Major (op. 50, no. 2). More Schumann followed: his midcareer, five-movement piano cycle Faschingsschwank aus Wien. The glorious arpeggios that erupt from within the texture at the outset were obscured by tasteless banging, and even Schumann’s sly quotation of “La Marseillaise,” which pianists have been known to overemphasize, was here pummeled through as if it were just like everything else in the piece. Not until the work’s finale did Kholodenko deliver playing that was by any stretch of the imagination distinguished. Two encores added little: one of Medtner’s Fairy Tales, and Chopin’s familiar Barcarolle. The Santa Fe Concert Association presented Kholodenko in his capacity as winner of the 2013 Van Cliburn International Piano Competition, where he must have played far better than he did in Santa Fe. — James M. Keller
The Lensic & FUSION Theatre Company present
PAJAMA MEN Just the Two of Us Sketch comedy from Shenoah Allen and Mark Chavez, the internationally acclaimed Pajama Men.
April 27 | 7:30 pm | $15–$35
“One of the most dazzling displays of comedy theatre I’ve ever seen. It’s weird. And it’s wonderful.” —The Times, London
D r A f t s & L Au g h s CO m e Dy tO u r – f e At u r I n g t h e s A n tA f e B r e w I n g CO m pA n y
Tradition // Innovation // Excellence
Tickets: 505-988-1234 www.TicketsSantaFe.org
the lensic is a nonprofit, member-supported organization
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
FUSIONTheatre Company
IMS
internal
MEDICINE SPECIALISTS
Taking New Patients and Same Day Appointments!
Brazilian Music & Dance!
FRANK LETO PANdemonium and
and featuring the
Odara Dance Ensemble
Sunday, April 13, 2–4pm In conjunction with the exhibition Brasil & Arte Popular. Free with regular museum admission. Sundays are free for New Mexico residents with I.D. Children under 17 and MNMF members always free. Funded by the International Folk Art Foundation. Amaro Francisco, O Nordeste E O Foclore, woodcut print, 1991. IFAF Collection, MOIFA. Photograph by Blair Clark.
Danny Mays, PA (working with Josh Brown, MD) Over 20 years experience in primary care
APPOINTMENT line: (505) 395-3003 IMS’s independent staff is here to take care of you at our modern, new office and at the hospital. 1650 Hospital Drive, Suite 800
Santa Fe, NM 87505
On Museum Hill in Santa Fe · 505-476-1200 · internationalfolkart.org PASATIEMPOMAGAZINE.COM
25
Mineral spirits
Khristaan Villela I For The New Mexican
A
Turquoise magic at MIAC
Necklace, prior to 1954, Santo Domingo Pueblo, shell and turquoise Left, bracelet, 1925-1935, Zuni, silver and turquoise All images courtesy the Museum of Indian Arts and Culture/Laboratory of Anthropology unless otherwise noted
26
PASATIEMPO I April 11-17, 2014
mong the most intriguing objects in Turquoise, Water, Sky: The Stone and Its Meaning, a new exhibition at the Museum of Indian Arts and Culture, is a small group of artifacts discovered at U-Bar Cave in southwestern New Mexico. The 7 700-year-old 00-year-old wooden pendants are painted, probably with malachite or azurite pigment, to resemble turquoise. Although this kind of simulacrum, ersatz turquoise, is not very common in Southwestern archaeology, other examples are known, including a large number of wooden objects discovered at various Chaco Canyon sites over the past century. How are we supposed to view these objects? Was turquoise so scarce that the ancients had to make their own fakes or costume jewelry? Exhibition curator Maxine McBrinn argues instead that the wooden pendants are not fakes in the modern Western sense of objects created with the intent to deceive; rather, they were painted blue to evoke turquoise. Anthropological and ethnological accounts of Pueblo Indians, including Elsie Clews Parsons’ Pueblo Indian Religion (1939), stress the role of painting in ritually activating objects such as kachina masks. So perhaps the wooden turquoises were magical simulacra rather than evidence of deception. Their blue-green color mattered more than their material. Turquoise is a hydrous copper and aluminum phosphate that forms from the interaction of minerals with water — either meteoric (that is, rain) or hydrothermal — in the fissures of igneous, sedimentary, and metamorphic rocks. The mineral is found in many parts of the world, primarily in arid regions. Its color varies with its chemical composition: more copper yields a bluer stone, while more iron shifts the hue to green. While many varieties of turquoise have a distinctive color — Sleeping Beauty from Arizona is sky blue — color can vary widely, even in the same deposit. Turquoise from Cerrillos varies from blue to green, depending on the mine. The turquoise family of stones also includes the closely related minerals of chalcosiderite, aheylite, fausite, and planerite. These minerals can frequently be found in proximity to true turquoise and are often difficult to distinguish from turquoise without chemical assay. Other blue minerals, such as malachite, azurite, and chrysocolla, might be thought of as cultural or social turquoise, since many peoples have used them historically when they needed a blue or green stone. Before the European invasions of America in the 16th century, most turquoise in the Old World was mined in what is now Iran. The most recognizable and desirable variety of Persian turquoise is light blue with no matrix. The word turquoise derives from a medieval French word meaning Turkish, since the mineral was imported to Europe through the Turkish Ottoman Empire. In the Americas, turquoise can be found both north and south of the equator, with many deposits in the Southwestern and Western U.S. Turquoise
Top, box, 1920s, Navajo, silver and turquoise Herculano Montoya of Cienega at the Tiffany Turquoise Mine near Turquoise Post, Cerrillos, 1937-1939; photo Bill Lippincott; courtesy the Palace of the Governors Photo Archives (NMHM/DCA) Negative No. 005237
has been mined in this region since pre-Columbian times, with the most famous mines located just south of Santa Fe in and around Cerrillos. The largest pre-Columbian mine near Cerrillos is found on the slopes of Mount Chalchihuitl, named after the Nahuatl, or Aztec, word for greenstones such as jadeite. The Nahuatl word for turquoise is xihuitl (fire stone), and chalch is thought to derive from xalli, meaning sandy and referring to jade’s grainy appearance when fractured. Therefore chalchihuitl means sandy turquoise. Before we begin to think that Mount Chalchihuitl should have been named Mount Xihuitl, we should recall that many Native American languages from this region, as well as from Mesoamerica, use the same term for green and blue. For example, dootl’izh is the Navajo term for green and blue, or “grue,” a neologism coined by Brent Berlin and Paul Kay in Basic Color Terms: Their Universality and Evolution (1969). To specify a color in these languages usually requires attaching a material. Staying with the Navajo example, ch’ilgo dootl’izh is “plant green,” while yago dootl’izh is “sky blue.” These usages point to a key feature of many Amerindian languages: while they have terms for colors, they are almost always used in connection with descriptions of real-world objects, materials, or places. In contrast, in the West, we often consider color from the perspective of optics. And we characterize colors using highly abstract language and systems such as color wheels and the Munsell and Pantone catalogs. Turquoise is commonly found in Southwestern archaeological sites, most famously at Chaco Canyon, which was a major consumer of turquoise between about A.D. 900 and 1120. In an article published in American Antiquity in 2001, F.J. Mathien noted that primary contexts where archaeologists have recovered turquoise at Chaco Canyon are in burials located within great
Left, contemporary cuff by Angie Reano Owen (Santo Domingo Pueblo) features Red Mountain turquoise inlaid over a backing made from a single large shell
Above, crown, circa 1970s, Navajo, maker unknown, silver and turquoise Turquoise rough from the Cerrillos district
continued on Page 28
PASATIEMPOMAGAZINE.COM
27
Turquoise, continued from Page 27 houses and in ritual offerings in kivas. In the 1890s, in just one burial in Pueblo Bonito, American Museum of Natural History archaeologist George Pepper found more than 56,000 pieces of turquoise. Archaeologically recovered turquoise is found in the form of pendants, necklaces, and earrings and as inlay material. One well-known object from Chaco Canyon is a frog carved of jet (a dark mineraloid related to coal) with eyes of turquoise. Since Turquoise, Water, Sky is installed in a museum devoted to Native American arts and culture, it should be no surprise that an important exhibition theme addresses the meaning of turquoise in Native American societies of the Southwest. As the exhibition title declares, for many Native peoples of this region, turquoise’s color connects it by complex chains of metaphors to water and rain, the sky, fertility, and health. We read in Pueblo Indian Religion that many Pueblo people associate turquoise with the western direction and with male energy. At Keresan-speaking villages such as Kewa (Santo Domingo), the community is organized into Turquoise and Squash moieties, or kinship groups based upon unilateral descent. McBrinn noted that among modern Navajo, babies are given turquoise jewelry at birth, and the stone is thought to vouchsafe the health of those who wear it. The Navajo also associate turquoise with directions and places in the Southwestern landscape. One tradition relates that when First Man created the Six Mountains of the Upper World, he placed Yó’dootl’izhidzil — Blue Bead or Turquoise Mountain — in the south. He also made what many New Mexicans call Mount Taylor the abode of the holy Turquoise Boy and Turquoise Girl. In both ancient and modern contexts, turquoise is often paired with materials that reinforce its connection to water, especially shells. The flashiest shells often encountered with turquoise are varieties of Spondylus, or spiny oyster, which has been harvested from the warm waters of the Pacific Ocean since pre-Columbian times. An intriguing group of works populates a section of the exhibition that McBrinn calls Real or Fake? Here we find the pre-Columbian wooden pendants painted to resemble turquoise. But most of the works in this section were made over the past century, and they include a wide variety of materials used for different motives. Turquoise, even from the most famous mines, is found in small quantities, often in very thin veins. It is said that the mine owned by Tiffany and Company in Cerrillos produced so little turquoise that it could be shipped periodically to New York in a cigar box. And much turquoise must be treated in one way or other to be usable by jewelers. McBrinn emphasized that pure untreated turquoise of the highest quality is prohibitively costly for both artists and consumers. Treatments like cooking the stones in oil or wax can improve the color of lower-quality turquoise. According to J.D. Lowry and J.P. Lowry in Turquoise: The World Story of a Fascinating Gemstone (2010), stabilization entails impregnating soft chalky
28
PASATIEMPO I April 11-17, 2014
Top, Turquoise mine near Cerrillos, 1880-1882; photo Bennett and Brown; courtesy the Palace of the Governors Photo Archives (NMHM/DCA); Negative No. 014827 Left, Jacla, prior to 1954, Navajo, turquoise, shell, and cotton string Below, turquoise’s power comes from its color. These malachite painted wooden pendants, from around 800 years ago, conveyed the same potency as the stone. Opposite page, large single cabochons and clusters of smaller but precisely cut stone ornament Southwestern bracelets and rings. These pieces date from the 1910s to the present.
details ▼ Turquoise, Water, Sky: The Stone and Its Meaning ▼ Reception with Native dancers, artist demos, and kids activities, 1 p.m. Sunday, April 13 ▼ Museum of Indian Arts and Culture, 710 Camino Lejo, Museum Hill ▼ By museum admission (Sundays no charge for N.M. residents); 505-476-1269
ASPEN SANTA FEBALLET
turquoise with polymers and pigments, improving both hardness and color. Stabilized turquoise is widely used in Southwestern Native jewelry, and no one considers the stones to be fakes. Blue plastic is sometimes also used, underscoring the curatorial premise that in a traditional Native context, color counts for more than chemical composition. Several objects in the show combine colored glass with turquoise. One Navajo ketoh, or bow guard, made around 1912 combines one turquoise stone with two blue glass cabochons. These stones are called Hubbell glass, after the trading post in Ganado, Arizona, that imported them from Europe. The show also has a number of Depression-era necklaces made in Santo Domingo from plastic repurposed from auto batteries, vinyl records, and other consumer goods. They speak not only to turquoise’s rarity in the 1930s but also to the persistence of alternative value systems. Tourists and collectors do not want to believe they are buying anything except pure unaltered turquoise — not glass, plastic, or reconstituted powder. The turquoise authenticity issue is further complicated by questions of real or fake Native arts. We find Nativestyle jewelry made in the Philippines with all kinds of blue stones, including real turquoise as well as copies of published jewelry by well-known Navajo and Pueblo artists. The exhibition is in line with many books on turquoise in exhorting collectors to learn about the mineral and to be aware of the spectrum, from accepted varieties to unacceptable fakes. At the same time, viewers will likely come away from the exhibition with an expanded understanding of turquoise authenticity. As any visitor to Santa Fe’s annual Indian Market can attest, turquoise jewelry is a major variety of contemporary Native artistic practice. The exhibition includes many spectacular examples of contemporary engagement with the blue stone. A bracelet by Angie Reano Owen (Santo Domingo) combines turquoise inlay over a cuff cut from a single shell. The work also includes a miniature Spondylus shell, elaborated with that orange shell as well as with white shell, turquoise, and jet. Many contemporary Native artists use nontraditional materials such as gold to move turquoise jewelry into the 21st century. At the same time, others make contemporary versions of ancient designs, and the exhibition shows that turquoise jewelry is characterized by heterogeneity rather than conservatism. ◀
SEASON PRESENTING SPONSOR
Encore!
April 19 7:30pm
The Lensic, Santa Fe’s Performing Arts Center
Tickets start at $25. Receive up to 40% off regular ticket prices with groups of ten or more. For more information, call 505-983-5591.
Tickets: 505-988-1234 or online at www.aspensantafeballet.com CORPORATE SPONSORS
PREFERRED HOTEL PARTNER
BUSINESS PARTNER
Investment Management SEASON PRESENTING SPONSOR
GOVERNMENT / FOUNDATIONS
Melville Hankins
MEDIA SPONSORS
Family Foundation
Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers Tax, and made possible in part by the New Mexico Arts, a Division of the Department of Cultural Affairs, and the National Endowment for the Arts. PHOTO: SHAREN BRADFORD
PASATIEMPOMAGAZINE.COM
29
ADVERTISING OPPORTUNITY 2014 Bienvenidos Bienvenidos Summer Guide Living la vida local
2013 Summer Guide to Santa Fe and Northern New Mexico
Legendary art markets Farmers and ranchers Day trips from Santa Fe Northern pueblos
Publishing Sunday, May 18
The SanTa Fe new Mexican | www.santafenewmexican.com
The most successful and soughtafter guide to the summer activities in Santa Fe and Northern New Mexico. Visitors and residents alike find it full of the must-have information to what there is to see and do during the summer season. Season-long distribution.
SPACE RESERVATION & AD COPY DEADlINE: 4/18/2014
SPECIFICATIONS: Trim size: 8.5 x 10.75 Full Glossy Magazine, Perfect Binding
The highest quality dentistry at affordable prices
Now Offering:
Gabriel Roybal DDS
505-995-3852
gabrielroybal.com • 444 st. michaels dr. • santa fe, n.m.
santafenewmexican.com/calendar
PASATIEMPO I April 11 - 17, 2014
*In absence of periodontal (gum) disease
To Advertise, Call
LIV san & E M ta fe NI U GH SIC TL IFE 30
$99*
DISTRIBUTION: Sunday Insertion in the Santa Fe New Mexican Bonus Distribution: 30,000
GO
NEW LISTINGS DAILY
New Patient X-rays, Exam and Cleaning
Trusted in Santa Fe for over 27 years 505-989-8749
ON STAGE Portrait of Jenamy: Serenata of Santa Fe Mozart had composed or arranged 12 piano concertos by the time he wrote his Concerto in E-flat Major (K.271) in 1777, just as he celebrated his 21st birthday. It was his breakthrough concerto, brilliantly achieved, surpassing practically everything he had composed to date. A century ago, two French scholars dubbed it the Jeunehomme Concerto, in honor of the pianist they thought he wrote it for but about whom they knew nothing. It turns out she didn’t exist; the beneficiary was really named Jenamy, not Jeunehomme — Louise Victoire Jenamy, daughter of the then-famous ballet-master Jean-Georges Noverre. Guest pianist Yi-heng Yang appears with Serenata of Santa Fe to play the Jenamy Concerto, with scaled-down instrumentation of just a string quartet, at 7 p.m. on Friday, April 11, at the Scottish Rite Center (463 Paseo de Peralta). Also on the program are Mozart’s C-Major Piano Concerto (K.415) and two modern pieces written in tribute to Mozart: Arvo Pärt’s Mozart-Adagio and Alfred Schnittke’s Mo-zart. Tickets ($25) can be had from Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). — J.M.K.
Just plain desert folk: Decker
Finding inspiration from the sands of Sedona, Decker is a self-described “psychedelic desert folk” group. That branding can be heard in the form of twangy guitars, mournful vocals, understated Western-y drums, and a hefty dose of reverb on all the band’s four studio albums. Decker’s most recent release, 2013’s Slider, was named album of the year by Arizona-based online culture magazine YabYum Music and Arts, and Decker is already working on a new release for this summer. The rockers trek their way through the desert and arrive at Cowgirl BBQ (319 S. Guadalupe St., 505-982-2565) on Wednesday, April 16. The 8 p.m. show is free. Visit www.deckermusic.org. — L.B.
THIS WEEK
High and dry: Elijah Talk about timeliness: right at the outset of Mendelssohn’s oratorio Elijah, the Old Testament prophet proclaims, “As God the Lord of Israel liveth, before whom I stand: There shall not be dew nor rain these years, but according to my word.” The people respond: “The deeps afford no water! And the rivers are exhausted!” Drought is the topic, but not until the people prove their allegiance to God (as opposed to the “false god” Baal) is the environmental balance rectified: “Behold, a little cloud ariseth now from the waters … the storm rusheth louder and louder! … He quencheth the thirsty land.” Baritone Carlos Archuleta portrays the title character and soprano Christina Martos and mezzo-soprano Jacqueline Zander-Wall handle the other solo parts when Oliver Prezant conducts the Santa Fe Community Orchestra and Chorus in selections from Mendelssohn’s masterpiece at the Cathedral Basilica of St. Francis of Assisi (131 Cathedral Place) at 7:30 p.m. on Saturday, April 12. Admission is free, though donations are welcome. Visit www.sfco.org. — J.M.K.
What has been will be again: Santa Fe Pro Musica This week the Santa Fe Pro Musica Baroque Ensemble begins a three-performance run of the popular Holy Week concerts it presents annually in the Loretto Chapel (207 Old Santa Fe Trail). Especially notable in this year’s installment is Handel’s Gloria in excelsis Deo, a seven-movement work for soprano, two violins, and basso continuo he apparently wrote in 1707 to spotlight the impressive soprano Margherita Durastanti. They were both in Italy at the time, working for the same noble patron. The piece was unknown to modern listeners until 2001, when a musicologist found it bound into a seemingly unremarkable volume of Handel arias in the Royal Academy of Music in London. Soprano Kathryn Mueller is the featured soloist in this Gloria as well as in a Salve Regina by Pergolesi. The period-instrument players also offer sonatas by Purcell and Corelli, and Carol Redman plays Bach’s A-Minor Solo (a.k.a. Partita) for Unaccompanied Flute. Performances take place at 7:30 p.m. on Thursday and Friday, April 17 and 18, and at 6 p.m. on Saturday, April 19. Tickets ($20 to $65) are available from Pro Musica directly (505-988-4640) and through Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). — J.M.K.
Kathryn Mueller
PASATIEMPOMAGAZINE.COM
31
R E N D E Z V O U S
W I T H
T H E
THE PAINTINGS OF SAM SCOTT
M
y work is really not ashamed to be beautiful, and I’m not ashamed to be a serious painter,” said Sam Scott during a recent visit at his studio in one of Santa Fe’s old westside barrios. Works in process surrounded Scott, who has been named the Santa Fe Rotary Foundation for the Arts’ Distinguished Artist of the Year. “Sam is working on about 30 different paintings right now,” said Rotary’s Brian McPartlon, a longtime friend of the artist’s. “I’ve been here four or five times in the last couple months, and I’m blown away. At this point he’s a maestro, and very few people reach that.” One of the paintings in progress is titled The Open Heart. Measuring 80 x 70 inches, it’s a dynamic abstraction with big seaweedike forms over a white and multicolored background. “The Open Heart is about youth and old age and the rotation of the seasons and about how being broken down is being broken open,” Scott said. “And it’s about painting, I hope — the language of painting.”
Paul Weideman I The New Mexican Scott graduated from high school in Chicago in 1958. In his early years, he taught art at Morgan State College and at the Maryland Institute College of Art, both in Baltimore, while honing his craft under Clyfford Still, David Hare, Grace Hartigan, and other artists. At one point he worked for the U.S. Department of Energy and the State Department on a classified mission to the Amazon jungle. He moved to Santa Fe in 1969. Four years later, he and a few friends built his studio. “It’s adobe. I once made my living as a mason,” he said. In 1974 Scott became the first living artist to have a one-man exhibition at the Museum of Fine Arts (today’s New Mexico Museum of Art). The museum staged a 30-year retrospective of his work in 1997. His honors include a Mayor’s Award for Excellence in the Visual Arts, presented in 1994 by the City of Santa Fe, and the Peace Rose, awarded in 1995 at the United Nations, where he delivered a lecture titled “The Mystic as a Creative Artist in the UN Community.” He is the author of Encounters With Beauty: Excerpts From an Artist’s Journal 1963-2006.
Scott is a featured artist in The Armory Show, opening Friday, April 11, at the Center for Contemporary Arts. For its 35th anniversary, CCA harks back to a series of late-1970s exhibitions staged in Santa Fe’s old armory buildings. The 2014 show offers what’s being billed as “a survey of stylings, creations, and people.” It features works by more than 100 Santa Fe-based artists. A gala event, with dinner and dancing, takes place on Saturday, April 12. It includes silent and live auctions featuring artwork by Scott, Jerry West, Stacey Neff, and others. Scott’s work is exhibited and auctioned compliments of Yares Art Projects, which has represented the painter for three years. The depth of Scott’s artistic engagement is easily measured. Just ask him a question about a painting, perhaps about a particular mark or about his palette. “I’ve been working for 40 years on a language,” he said, responding to a comment about a small area crowded with brush strokes in the midst of a more peaceful tableau of colorful marks. “It’s a constantly evolving continued on Page 34
Sam Scott: from left, Earth Apples I, III, and II, all 2013, ink on paper; opposite page, Earth Apples IV, 2013, watercolor on paper
32
PASATIEMPO I April 11-17, 2014
PASATIEMPOMAGAZINE.COM
33
Sam Scott, continued from Page 33 language that has some sort of deep recognition of the magnificent splendor of nature, but to bring it into essence where rhythm and relationship feel true to us, where we feel some kind of recognition. There’s something deep in me that these energies speak to, because we have to transcend specificity and go to essence. So hopefully everything’s here: the wind and the water and the wood and bark and wild grasses and clouds and a new leaf. “The whole thing about painting is getting out of the way. Get out of the way and let this great energy that surrounds us come through us, but not be an impediment to that by the tyranny of our own expectation. Because if we’re held hostage to expectation of any kind, it’s going to disturb and spoil the rendezvous that the painting has with the unknown, you know?” The various canvases propped up on furniture and on the backs of other stretchers are a cavalcade of shapes and hues. Bright blues and yellows are in abundance. “They’re particular yellows and blues
having to do with this rebirth of life,” he said, gazing out a window, where apricot blossoms were bothered by gusty winds. “These glorious days, this last week and a half, where the [springtime] shift happened and suddenly it’s beautiful.” The sentences don’t always have verbs. The artist is moved and expresses himself poetically. In one sense, the paintings are direct translations of such rhapsodies. One is based on a field of earthy yellow, the overall feeling gentle and fleecy. “It’s a very different place from The Open Heart,” the artist noted. “There’s room for both. They’re different parts of the same energy, and they help balance each other.” There’s definitely a lot going on in The Open Heart, but the dark gesturing isn’t quite angry. Rather, it confronts you with complexity. Has he ever painted anger and darkness? “I have, when I was much younger, because of the war, because of Vietnam. I did a lot of antiwar paintings.” The bright, random joy of nature populates his canvases, as he avows, but does the work also reference his
dreams? “In a deep way. For example, if I’m lucky there’s a recurring dream of a kind of John Muir-like situation and a place where there’s a stream running and woods and plains and buffalo and horses, and I ride, I’m young, and I speak with the animals. All of that is a reoccurring dream that supports me deeply in all the work that I do. It’s a knowledge that’s beyond knowing. It’s deeply real. It’s perhaps that naked reality.” Scott also enjoys making watercolor paintings on paper. He said they allow him to “range far and fast” compared with the oil work, which requires more deliberation. “The watercolors are the string quartets to the symphonies of the oils.” His watercolors depict birds, landscapes, and still lifes, but in working with oil paints, he rarely deals in figures and the figurative. Throughout his portfolio, 1975’s Desert Spirits (Guardian Figure) is pretty unique in such depiction. Yet there was one departure from this norm: a series of paintings he made after the 9/11 attacks. He said they’re about healing, but they are frightening. They contain tall figures that embody the scary unknown: dark, smudgy colors; long, fencelike appurtenances; fiery furnaces burning in their torsos — “like chakras, but they’re also wounds.” These healing specters stand in bright Southwestern landscapes. “It’s the land that I love so much.” Another of his vaults contains large paintings from the 1980s. He pointed out one titled The Dream of the Navigator, which holds memories of the time he worked as a commercial fisherman in Alaska. His mark-making was more spare then. “The rhythmic concern is there. You can see how this would be the origin to the rhythms that are in the work now.” Unchanged is his vibrant palette. “I would say I’m a colorist above all. It’s about the quality of vibration. I think a great painting should tremble, and the color is the agent to make that retinal jump.” Van Gogh comes to mind, and in fact the painter whose skies pulse with energy has long been a powerful inspiration. “When we’re moved by a painting, I think it’s because we feel that the life force is present. Painters are in love with that thing which isn’t there, searching for that thing that isn’t present, and it’s the search that will make you properly lost, correctly lost. Bill de Kooning used to say, ‘In the beginning was da void,’ in that Dutch accent. That’s all a painter needs to hear to understand everything, because your first issue is space, and then you have to find the thing that isn’t there, that’s lost in space.” ◀
details ▼ The Armory Shown ▼ Center for Contemporary Arts, 1050 Old Pecos Trail ▼ Reception 6-8 p.m. Friday, April 11; exhibition through May ▼ Gala honoring artists, presented by CCA and the Santa Fe Rotary Foundation, 6 p.m. Saturday, April 12, $100; call for availability ▼ Exhibition no charge; 505-982-1338
Open Heart, 2014, oil on canvas
34
PASATIEMPO I April 11-17, 2014
Rare Estate
Natural Color Sapphires
Montana 4.36 ct 1.56 ct Diamonds
10.59 ct Canary Yellow 1.20 ct Diamonds
“A long time ago in a galaxy far, far away...”
4.20 ct Natural 1.75 ct Diamonds
De Bella Collectibles For more information contact Joe De Bella, Graduate Gemologist at 505.231.5357 or joseph.debella505@gmail.com
FRIDAY, APRIL 18, AT 1 P.M. AND 6 P.M. YOUR MORNING FIX.
Premiere screening of Star Wars: Episode IV: A New Hope dubbed into Navajo Limited seating, by reservation only at 505-476-1269. Museum of New Mexico Foundation Members free; all others by museum admission.
Daily headlines from santafenewmexican.com and fridays from pasatiempomagazine.com
SANTAFE SANTAFE NEWMEXICAN NEWMEXICAN .COM/ NEWSLETTERS
museum of indian arts and culture Museum Hill | 710 Camino Lejo (off Old Santa Fe Trail) 505-476-1250 | indianartsandculture.org PASATIEMPOMAGAZINE.COM
35
Paul Weideman I The New Mexican
INNER DIMENSI NS
Walking the map with Jane Lackey 36
PASATIEMPO I April 11-17, 2014
No one knows what Jane Lackey’s new installation at the Center for Contemporary Arts might look like — not even the artist. The genesis of the piece is her 12-part Enclosures series, each part mixed-media on paper, 19.5 x 26.5 inches, pale, and possessing a cryptic, maplike character. The installation Enveloping Space: Walk, Trace, Think is designed specifically for the location, CCA’s Spector Ripps Project Space. “My home studio is pretty small,” the artist told Pasatiempo on April 1 (she wasn’t fooling), “and I share it with my husband. He and I have fabricated everything for this exhibition. It’s surrounding me right now; I can hardly move. It’s going to be great to get it out of here and into the space. What’s exciting about it is that this has not been seen before, by me or by anyone. It’s a risk in a sense, and that’s always kind of exciting, to try to do something you haven’t done before but you have a commitment of the space and the time frame.” Lackey earned her bachelor’s degree from the California College of the Arts in Oakland and her master’s from suburban Detroit’s Cranbrook Academy of Art, where she went on to head the fiber department for a time. Her artwork has been shown at the Loranger Architecture Center in Detroit, the Wellcome Trust in London, and the Tang Museum in Saratoga Springs, New York, among other venues. She received the 2011 Creative Artist Exchange Fellowship sponsored by the Japan-U.S. Friendship Commission.
Now an independent artist based in Santa Fe, Lackey works in a hybrid process involving the use of stickers, labels, chart tape, and dots as well as sewing, drawing, and painting on kozo paper. There is also a subtractive element, as she often removes tape and labels after painting. Ideas involving networks, circuits, and the body’s physical systems inform her mark-making, which in the Enclosures pieces strongly resembles architectural site plans. “They look as though you’re viewing a floor plan or into a group of buildings, but it’s made-up architecture; they’re imagined architectural sequences,” she said. Another aspect of these artworks is the reference to circuit boards and logic. “It’s like a branching way of thinking, where one thing leads to the next, leads to the next, and kind of adds up to something. Ultimately it connects and a light bulb comes on. Other things that have inspired me are what scientists are discovering about the body, especially with digital technology and new ways of imaging. We’re just full of circuits, and changing ones. There’s so much variety and yet the systems are relatively simple.” Lackey has a pattern of going back and forth between works on paper and more sculptural, dimensional pieces. At least one other installation, 2010’s Chalk Talk, which she staged at the Art Gym in Portland, Oregon, involved audience participation. Enveloping Space: Walk, Trace, Think will also have interactive facets. “All along I’ve been thinking it would be really great to try to build something that looks like something that came out of one of the drawings. In other words, place the audience in a feeling that they might be in one of those spaces. I want to
give people a sense of walking through the space and kind of laying out a way or several ways that you can move through the space, and in doing that you can participate in certain aspects of what you’re walking through.” She has always thought of drawing as a way of thinking, as a way of thinking things through. “Especially at the pace I work, which is very slow, the parts add up; they accumulate and become something whole. I really like the idea of circuits, of things that connect, and through connecting a circuit ... a thought is formed perhaps. So my idea is that if people are invited to spend more time within a space and experience it a little more slowly, it is also the opportunity for the audience to think in some way or to leave a trace or a mark within the space.” A central intention for her in creating Enveloping Space: Walk, Trace, Think is to offer an environment in which visitors can hang out, experience, and imagine. “It’s hard these days because we’re so fast-paced, so to spend time and let something envelop us or to wash over us and perhaps turn us around a little bit — that’s my intention: to engage the audience so that they might experience something. “I’ve always liked artwork that is very materialbased, letting materials do the talking, and also work that encompasses some kind of spatial dimension, whether it be one of my drawings where you look at it and think of it as a map to a spatial experience, or in this case you can walk through a space that is multifaceted and engaging in some way.” In her artist statement she writes, “Over the past ten years, language, short-term networks of people, conversations and political actions have been conceptual
Jane Lackey: from left, opposite page, Enclosures 7, Enclosures 11 (detail), Enclosures 2 Opposite page, below, Enclosures 12 (detail) All pieces kozo paper with interference paint, gesso, tape, thread, and stickers Images courtesy the artist; photos by Addison Doty
subjects for mapping.” Is that applicable to the CCA installation and the accompanying Enclosures pieces? “I think all of those things come to play in this work,” Lackey said. “It’s sort of the toolbox I work from. The previous installation, Chalk Talk, was a room where people could come in and encounter pieces of chalk hanging on cords, and they could draw or write things on the walls, so they could participate through language and in a way a kind of conversation. That still lingers on in this installation, that way of having people interact, but it’s done differently. I’m still interested in language and a kind of group conversation.” ◀
details ▼ Jane Lackey: Enveloping Space: Walk, Trace, Think ▼ Reception 6 p.m. Friday, April 11; exhibition through June 1 ▼ Spector Ripps Project Space, Center for Contemporary Arts, 1050 Old Pecos Trail ▼ No charge; 505-982-1338, www.ccasantafe.org
PASATIEMPOMAGAZINE.COM
37
Bill Kohlhaase I The New Mexican
There are poems in my head, stories, novels, essays, screenplays where protagonists are as ordinary as the writer. Words clutter and complicate. ... There are things that writing cannot hold.
A
— from Dreaming the End of War by Benjamin Alire Sáenz
uthor Benjamin Alire Sáenz’s recent collection of short stories, Everything Begins & Ends at the Kentucky Club, uses its namesake drinking establishment, a real bar in Juárez, as a touchstone for the book’s various characters. The Kentucky Club becomes a place where they are not only present in their own lives but also in the lives of their parents and those who have passed on. The club surfaces in all the tales, but it’s never the center of the narration. In one story, an American retreats to the Kentucky after the tragic loss of a lover. In another, a young man, first raised by his mother in Juárez and then shunted off to his father in El Paso, is taken to the bar by his dad so that both can reconnect with the mother’s memory. In the story “Chasing the Dragon,” a boy clings to a black-and-white picture of his handsome yet troubled parents taken in a watering hole that may or may not be the Kentucky Club. In the book’s last story, a man claims to have met his lover in a dream, waiting for him at the bar. “That’s where it began for us, babe. At the Kentucky Club.” 38
PASATIEMPO I April 11-17, 2014
Sáenz chairs the department of creative writing at the University of Texas at El Paso. He said that some of the stories from the book, which won the 2013 PEN/Faulkner Award for Fiction, were hatched during time spent in the dark, green-lit bar. But, he explained, the Kentucky isn’t the focus of the book. It’s more a symbol, a place where the different sides of the El Paso-Juárez divide dissolve in liquor and conversation. “It just seemed really right to have the Kentucky Club as a character, and a minor character in the book. It helped to locate the place, to define it, and it helped bring the different characters together as a community, even as set in different time frames. It’s said that bars are churches for people who’ve lost their faith. I think it’s true; I think people sometimes have these incredibly profound experiences there talking to people, talking to their friends.” The stories in the book are also linked by another physical feature: the border between the U.S. and Mexico, often represented by the sand-filled river that divides them. One of Sáenz’s poems begins, “All my life — let me say this so you understand — all my life/I have heard stories of the river and how people were willing/To die to cross it.” Sáenz grew up in New Mexico’s Doña Ana County and said his father regularly took him to Juárez for haircuts, among other reasons. “When I was growing up, I didn’t understand the border. But it’s always been part of my landscape.” The border takes on symbolic meaning in Sáenz’s work. Divides between nationalities, genders, classes, legality and illegality, good and evil, violence and compassion
are crossed and often become meaningless. “I’ve lived on the border so long and know so many stories that I kind of think this way,” he said. While the distinction between countries is fixed, the divides between human qualities are often blurred in the stories. The young man who was handed over from his mother in Juárez to his father in El Paso soon discovers that his father sells drugs and runs with a bad crowd. “The drug-dealer father,” Sáenz said of the character, who appears in his story “The Rule Maker,” “he wasn’t really a bad man, he was not an affectionate man, but he wasn’t a bad father. He took care of business, made sure that his son did something else in life. All the rules he made for his son were designed to push him into the world. In many ways, he wasn’t close to his son. But the money he made selling drugs, saving it for his son’s future, that’s how he loved him. That’s the great thing about being a writer. You don’t moralize; you don’t judge the people you’re writing about. You examine them. And in examining them, you develop a sense of compassion.” Between the publication of his first novel, Carry Me Like Water, in 1995 and The Kentucky Club, Sáenz himself dealt with dissolving borders that ran through his identity. At the time he was writing Carry Me Like Water, which follows the struggles of a deaf-mute living in El Paso, the author was married and beginning his teaching career at UTEP. Since 2004, he’s been openly gay. His themes of love and compassion and his interests in the human condition haven’t changed, he said, but the act of writing has. “I don’t know how
to describe it. But I do know that I’ve changed immensely as a writer. It hurts more to write these days; it’s very painful. I expect more of myself. I’m supposed to be a better writer after all these years. So I’m tough on myself. At the same time, I think there are a lot of people that are in pain, and they deal with it magnificently. That said, there are others who very self-destructive, who need to self-medicate and are addicted.” The amazing empathy Sáenz shows even to the least of his characters extends to those who inhabit his poetry. He’s written five collections. The first, Calendar of Dust, won an American Book Award. But that understanding, that forgiveness, doesn’t necessarily extend to himself. “I am not a historian./I am not a philosopher./I have abandoned/my identity/as a theologian,/and my identity as a writer/is useless,” he declares in one of the poems in Dreaming the End of War. Part of this has to do with the almost brutal frankness with which he examines his life. “My poetry has a lot more of my autobiography in it,” he explained, “not that there isn’t a lot of me in the stories, of course, but that’s a different thing. What [the stories and poems] have in common is that they take a lot of emotional risks. There’s a strain of American letters in which you only imply emotion. I think that a statement of emotion has nothing to do with a kind of literary value. There’s nothing understated in the drug war; there’s nothing understated in killing; there’s nothing understated in the way a lot of people live. I come from a Mexican-American family, and we didn’t express ourselves in understated ways. Sometimes I get criticized for that, for being a little melodramatic. But the world contains a lot of drama. I want to represent that in my writing. I put myself out there with the rawest of emotions, in that peak emotional experience. I try to turn that into art.” Sáenz has gathered the most awards for his children’s and young-adult stories. His most recent young-adult novel, 2012’s Aristotle and Dante Discover the Secrets of the Universe, is about two adolescents in the 1980s wrestling with their differences as well as their own identities. As in his adult fiction, Sáenz doesn’t shy from difficult topics, including sexuality. “In the 1980s, being gay was not that acceptable,” he said, explaining why the book was set some 30 years in the past. “Today a lot of young people don’t think twice about who is and who is not gay. They don’t give a damn. That wasn’t true in the 1980s. And I wanted that to be part of the narrative. The other thing: in the 1980s there was no such thing as texting. People still wrote letters. I liked the idea that when Dante went away for a year they had to write letters to each other. That allowed for fuller expression. And if they had cellphones and texting, if they had done that, they wouldn’t have missed each other as much. Back then, absence was real.” As an author whose stories are always shadowed by social and political complications, Sáenz doesn’t see the changes of the last 30-some years completely reversing the sort of cruelty and inequality that his characters, and all of us, witness today. “A lot of attitudes have changed. It’s the politics that haven’t changed. It’s like being held hostage by a certain group of people, a minority who feel they have superior beliefs. I thought Christians went to church to be better people. It turns out that in many instances they go to church because they think they are better people. I don’t know how people can live with themselves, hating the poorest people on earth. I continually ask myself, what is wrong with us? Compassion has nothing to do with political discourse, it’s not liberal or conservative. That’s the one thing writing has taught me: how to be a kinder human being.” ◀
details ▼ Benjamin Alire Sáenz with anthropologist and journalist Cecilia Ballí, a Lannan Foundation Literary Series event ▼ 7 p.m. Wednesday, April 16 ▼ Lensic Performing Arts Center, 211 W. San Francisco St.
Sunday, April 13, 1–4 p.m.
OPENING EVENTS
Dance performances, hands-on activities, jewelry-making demonstrations, panel discussion, and refreshments. More information available at indianartsandculture.org
Museum of Indian Arts & Culture Museum Hill in Santa Fe | (505) 476-1250 | indianartsandculture.org
▼ $6, discounts available; 505-988-1234, www.ticketssantafe.org
PASATIEMPOMAGAZINE.COM
39
James M. Keller I The New Mexican
Into the night C
onductor Steven Smith took the reins as music director of the Santa Fe Symphony and Chorus in 1999, held them for 14 years, and then laid them down at the end of last season. It was not the leave taking one might have anticipated after so long a tenure: no congratulatory gala, no retrospective tribute booklet, no brouhaha whatsoever. In fact, that final concert last May was not really his farewell. Although the symphony’s roster this season and next features a parade of conductors under consideration to succeed Smith — though as principal conductor rather than music director — this weekend’s concert is entrusted to the man himself. Again, the group is not advertising this as a farewell performance, and it isn’t at all clear whether it is one or not. But if it turns out that it is, Smith will be going out with a “big statement,” conducting the longest strictly orchestral work he will ever have led with the Santa Fe Symphony, the Symphony No. 7 of Gustav Mahler.
Steven Smith conducts Mahler’s 7th The entire concert will be given over to this piece, which runs about 80 minutes. Mahler struggled to balance the competing demands of conducting and composing, devoting himself to the former from autumn through spring and withdrawing to some bucolic spot to compose during the summer. He wrote his five-movement Seventh Symphony at the villa he constructed on the Wörthersee, a lake in the Austrian province of Kärnten (Carinthia), over the course of two summers: its two slow movements, both of which he titled “Nachtmusik” (Night Music), in 1904, the other three movements in 1905, while on vacation from his job as director of the Vienna Court Opera. By the time he led the work’s premiere, in Prague in September 1908, he had resigned his post in Vienna and had largely moved his career to New York, where he was conducting at the Metropolitan Opera and would soon assume the music directorship of the New York Philharmonic. It is perhaps fair to characterize the Seventh as one of Mahler’s “nature symphonies,” even apart from the “Nachtmusik” movements. The composer described the symphony’s first movement by saying, “Here nature roars!” and he stated that its opening was inspired by the sound of oars in the water of the Wörthersee. The audience responded warmly at its premiere, but it gradually gained a reputation as a problem piece, and today it is probably the least frequently programmed — and certainly the least recorded — of Mahler’s nine completed symphonies. We asked Steven Smith to share some thoughts about Mahler’s Seventh as he prepared to conduct it in Santa Fe. Pasatiempo: In past seasons you have conducted the Santa Fe Symphony in Mahler’s First and Fourth Symphonies and in his symphonic song cycle Songs of a Wayfarer. Did you come to Mahler as a young music lover or did you grow into him later? 40
PASATIEMPO I April 11-17, 2014
Music from Gustav Mahler’s Symphony No. 7; top left, conductor Steven Smith, top right, Mahler
Steven Smith: A bit of both. I remember distinctly first hearing Mahler when I was in junior high school. I went with my parents to a concert of the Toledo Symphony, where I grew up, and heard Mahler’s Sixth. I was completely overwhelmed. I couldn’t believe what I was hearing, the scope of it. There was the whole theatricality of the hammer blows in the last movement, which to my young eyes and ears was completely different from anything I had seen or heard before. I was a little bewildered by what Mahler’s sound world was. Over time, as I learned more about music, I began to realize just how important Mahler really is to music in general and particularly to orchestras. His body of work is such a pivotal landmark of music history. I think of him as part of the great symphony tradition that comes from Beethoven and moves through the 20th century to Shostakovich. Pasa: Have you ever conducted the Seventh Symphony before? Smith: I have not, so I am doubly excited about not just doing it with the Santa Fe Symphony and presenting it to Santa Fe but also having the opportunity to do it myself for the first time. Pasa: It’s the least popular of the Mahler symphonies, they say, but every time I hear it, the audience responds with great enthusiasm. What gives? Smith: I don’t know. It does have that reputation of being difficult to get a handle on. That’s probably true in certain ways, if you compare it to some of the other Mahler symphonies where things may be a little more obvious. There are some
details ▼ Santa Fe Symphony, Steven Smith conducts Mahler’s Symphony No. 7
Sam Richard ‘15
peculiarities about this piece. In a lot of ways it is more abstract, certainly more so than the symphonies that have textual bases. The Seventh doesn’t have any of that. There’s no programmatic element, the closest thing being the titling of the second and fourth movements as “Nachtmusik.” It is sometimes more transparent than the other symphonies. In many places it functions as more of a chamber piece, so for people who think of Mahler in terms of the huge force and power of orchestration, this piece doesn’t have quite as much of that. I think it’s an extraordinary piece, incredibly imaginative in its orchestration and its textures. It’s so carefully crafted. There’s that sense of subtlety, those delicate and personal moments that are in all of his works but are a particularly special part of this symphony. For people to dismiss it as one of his weaker pieces — I really don’t understand that. Pasa: Nonetheless, Mahler does call for quite a large orchestra here, doesn’t he? Quadruple winds, two harps, a mandolin, a guitar ... Smith: It’s a big group, definitely. Not as big as in some of the other Mahler works, but it is a big piece. We’ll do our best to cram all the folks onstage. Pasa: When he prepared the premiere of this piece with the Czech Philharmonic in 1908, Mahler had two dozen rehearsals. How many will you have? Smith: We’ll have two sectionals — one for the strings, one for the winds and brass — and then four in addition to that. It’s not as much as Mahler had, but the general awareness of Mahler’s vocabulary is probably greater today, so players come to his music with an awareness of what techniques are required. Pasa: What do you think were some hurdles Mahler’s orchestra would have found especially difficult? Smith: Those textures we talked about. The reliance on that degree of solo playing probably was a particular challenge on an individual basis. Also, dealing with the tempo changes, the shifts from section to section, which are sometimes quite abrupt and even come without any warning at all — that’s one of the trickiest aspects. That remains one of the challenges of the piece, to see its overall form and get from place to place in a solid and convincing manner. Pasa: Do you anticipate that this will be your final performance with the Santa Fe Symphony or do you expect to be coming back as a guest in the future? Smith: I really don’t know. At the moment, this is all we have planned, but I certainly wouldn’t rule out the possibility of returning at a future time. Pasa: Over the 14 years you directed this orchestra, how has the group changed in essential aspects — its sound, its attitudes? Smith: Over that time the orchestra gained greater stability of personnel, and that has enabled it to create more of its own identity. There has been as a result greater cohesiveness. That may be the biggest thing. Over the time I was there we worked quite a lot on issues of ensemble and sound. Pasa: Your main obligation is now at the Richmond Symphony. Smith: Yes, that’s my main activity at this point, and I’m also continuing as music director of the Cleveland Chamber Symphony. Pasa: You have said in the past that you were eager to have more time for composing. Have you found yourself able to do more of that now? Smith: At this point, no, unfortunately. I’m now finishing my fourth year in Richmond, and that has proved to be a very busy time, and while I was also music director in Santa Fe, that naturally made further demands on available time. So I haven’t really had the ability to get myself away and clear my head of all the music I’m involved in performing — not enough to be able to write. I’m hopeful that in the next few years I may find a way to do that, or at least to embark on some smaller composing projects, because it is important to me and I have missed it over the past several years. Pasa: You know who you sound like, right? Smith: Oh, my gosh. That’s true! Like Mahler, I need summers in the Alps and a nice lake to row across. ◀
The PoweR of cRiTicAl ThinkinG “The function of education is to teach one to think intensively and to think critically. Intelligence plus character - that is the goal of true education.” Martin Luther King, Jr.
Prep means Prepared. Ready for Anything. Mike Multari Director of Admissions mmultari@sfprep.org 505 795 7512 Serving Grades 7 -12 sfprep.org
The Ar t of Spr ing at La Posada The Art of Easter Brunch Easter Brunch - Sunday, April 20 An extravagant Easter brunch with both traditional and new favorites, a Bloody Mary bar and more. Easter egg hunt and handcrafted baskets for the children. $55 for adults; $25 for children 12 and under.*
The Art of Relaxation Relax and renew with special seasonal spa treatments including a Springtime Organic Facial or Mint Aroma Massage for just $109.* * not including tax and gratuity
LA
PO S A D A
DE
S A N TA FE
R ESORT & S PA
TM
▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ 4 p.m. Sunday, April 13; 3 p.m. lecture free to ticket holders ▼ $22-$76; 505-988-1234, www.ticketssantafe.org
Call 505-986-0000 or visit OpenTable.com 330 E. Palace Avenue, Santa Fe • laposadadesantafe.com
PASATIEMPOMAGAZINE.COM
41
another kind of rickie lee jones
D
o not call Rickie Lee Jones “dear.” Now approaching 60, the singer and musician expressed her frustration to Pasatiempo with the way women — especially artists and entertainers — are labeled during various stages of their lives. She said in advance of her Thursday, April 17, appearance at the Lensic Performing Arts Center: “I am no longer ma’am, the owner of my business, the mother of my child, the perpetrator of a kind of musical idea that has become part of how women sing today, I’m not even a sexual being anymore. … I am now ‘hon’ and ‘dear’. The loss of my sexuality, it seems, in the eyes of the beholders, makes me now just Old Person. ‘Hello, old person.’ ” At the onset of her career, Jones received a more flattering and unique label, and one that has stuck. She was dubbed “the Duchess of Coolsville” in a Time magazine article reviewing one of her early performances. The same article said that the then-new 42
PASATIEMPO I April 11-17, 2014
Loren Bienvenu I For The New Mexican hit “Chuck E.’s in Love” from her debut album, Rickie Lee Jones, was “the most unlikely hit of the season.” Peaking at No. 4 on Billboard’s U.S. Hot 100, that song was nominated for a Grammy and helped Jones secure the Grammy for Best New Artist in 1980. Fast forward about 35 years, and Jones is still an active force in contemporary music, but now she possesses added perspective from those many years on the road and stage. She also remains the Duchess, having embraced the title in a 2005 compilation of material extending back to her earliest compositions, The Duchess of Coolsville: An Anthology. This year Jones embarked on a new recording project that promises to be her first album of original material in 10 years. Funding the album via a crowdsourcing campaign, she launched a sort of digital garage sale — incentives for donating to the cause included receiving vintage instruments, tour clothes, Jones’ copy of the liner notes to former lover Tom Waits’ Blue Valentine, and her own original album artwork. Asked whether audiences can expect to hear any of the new material performed on her upcoming tour, Jones demurred. “I am not sure if I will bring out new
stuff. Its embryonic nature makes it susceptible to the slightest breeze. That being said, if I have anything finished, I am excited to play it for folks. While I love my job, playing the same songs for 30 years makes you have to find ways to keep them new. Sometimes.” Though it might be an exaggeration to say that Jones has played the same material for 30 years, the singer is the first to admit “that I am not very prolific.” However, she said this paucity motivates her to explore interesting ways of covering nonoriginal material. Her last album, The Devil You Know (2012), was composed exclusively of covers chosen by Jones and producer Ben Harper. The selections represent classic rock hits by the Rolling Stones, Neil Young, and the Band as well as older material, like “St. James Infirmary,” a traditional folk piece popularized by Louis Armstrong. “My daddy used to sing that to me, so it’s very connected to my kaleidoscope of emotion.” “Once in a while I think I do a good job with an old song. I sing it in a way no one has. I bring another point of view. And that’s fun for me — the literary aspect — inspiring people to ruminate and realize that what they come to know and expect isn’t always true.”
Some of the covers on The Devil You Know have the nearopposite effect of their original intent. For instance, Jones called her take on the Mick Jagger-Keith Richards song “Sympathy for the Devil” an “evocation” — but not necessarily in the way imagined by the songwriters. “While it’s become associated with Mick Jagger dancing around and so forth, I like to bring out the evil and frightening nature of men who control the world and will take your very soul if you mess with them. And by showing that character, as a woman embodying this man, I like to remind you that evil is all around, and only you can step up and brush it away.” Both in her music and her musings, the singer remains passionate about outing the conceptual and real evils she sees in this world. In a 2011 interview with Vanity Fair, Jones discussed a period in her early career marked by drug and alcohol abuse, and said the lasting press coverage generated by her personal problems was especially negative because she is female. “They love to portray women as dying things. It’s romantic, right? We don’t tell that story about men, but we tell it about Billie Holiday, Rickie Lee Jones. The fall of the rose.” Asked to elaborate on the concept of the fallen rose for this article, she said, “I think by letting my journey be public, maybe some others are inspired. I don’t live like the weak rose, so maybe I set an example for another kind of flower.” Jones considers sexism to be “the most invidious and damaging of crimes; it crosses into every country, village, home. There is no woman in any country who has not experienced it firsthand.” The issue can be more pronounced for female performers, she said, because they are often objectified. Jones emphasized that she has witnessed little change to that trend during her career. “I see more women in music but not more women of power. I see boys and girls in almost equal numbers in bands, but look a little closer — the girls are really dressed up like girls. It does seem like gay women are the only women who present themselves with the same unadorned confidence. I should say: they don’t always, but they can get away with it.” She added that even Patti Smith, who “has a mustache and was never a great-looking woman,” was sexually fetishized as a means to sell records. But the Duchess’ most fervent displeasure seems to stem from the practice of categorizing others with impersonal labels. “Why address anyone according to race or sex or age? It diminishes us with preconceptions of what that word means. I figure one day this too will be addressed. Some crazy middle-aged woman will take hostages. “Don’t call me dear!” her flag will shout, and she’ll make the victims all eat ice-cream cake and she will burn the women’s Victoria’s Secret slave-labor bras and dump out the men’s hair gel.” Offering no additional hints regarding the identity of this hypothetical hostage-taking woman (who would almost certainly fall into the “another kind of flower” category), Jones concluded, “I am ready for a brave new world. Meet you out there, dear?” ◀
details ▼ 7:30 p.m. Thursday, April 17 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $40-$60; 505-988-1234, www.ticketssantafe.org
Paul Zollo
▼ Rickie Lee Jones
PASATIEMPOMAGAZINE.COM
43
MOVING IMAGES film reviews
Waiting for Godard Jonathan Richards I For The New Mexican Le Week-End, dramedy, rated R, The Screen, 3 chiles Meg (Lindsay Duncan) and Nick ( Jim Broadbent) are a not-very-happily-married couple from Birmingham who have decided to perk things up for their 30th anniversary by returning to Paris, the city where they spent their honeymoon in happier days. They arrive by train, already bickering, and go to their honeymoon hotel to find that 30 years have been no kinder to it than to them. “It’s beige,” Meg says, contemptuously surveying their room, and she storms out. They wind up in a high-end hotel they can’t begin to afford. The view from the balcony is of the Eiffel Tower, but for Nick the view is into the abyss of insolvency. There’s something desperate about their determination to have a good time and to pretend it’s worth whatever it costs and will all work out. “Tony Blair stayed in this suite,” the manager tells them. Nick mutters, “As long as they changed the sheets.” It doesn’t take long before we begin to wonder whether this is a marriage that can be saved, or should be. They choose their anniversary in Paris to drop a few bombshells: he’s been fired from his teaching post for political incorrectness; she’s thinking of leaving him. The sexual dynamic of their relationship is completely skewed, with Meg doling out centimeters of skin as if they were shavings of some exotic truffle and Nick literally reduced to crawling on all fours to beg for her favors. “Sex is a distant memory,” he complains. “I’m a phobic object for you.” In their
44
PASATIEMPO I April 11-17, 2014
La vie en rows: Lindsay Duncan and Jim Broadbent
middle 60s, Meg has weathered the decades far better than he, and as we see in a later scene, she still has the power to attract a younger man. Their fights, and their alternating grasp of the upper hand, oscillate like a metronome. “You can’t not love and hate the same person,” Nick says, “usually within the space of five minutes.”That’s about the way it goes here, and they do have their good times. There are moments when we see glimpses of the younger selves that fell in love all those years before, shining out through the gathered overcast. The movie’s turning point comes when out of the blue on the streets of Paris they run into an old American friend of Nick’s. Morgan ( Jeff Goldblum) and Nick were pals 40 years earlier, back in Cambridge, where Morgan looked up to Nick as an inspiration and a role model. But where Nick’s life has taken him down the weary road to a post as a lecturer in philosophy at a small university in Birmingham, Morgan has become a superstar in the world of economics. He has a new book coming out, and he invites
Nick and Meg to a dinner party at his lavish Paris apartment to celebrate its publication. As good as Broadbent and Duncan are — and both are truly marvelous — the arrival on the scene of the less nuanced but ebullient Goldblum comes as a welcome shot in the arm for the movie. Morgan is a touch crass and obvious (a bit, how you say, American?), but he’s a good-hearted guy and genuinely excited to see his old university chum. At the dinner party, he introduces Nick and Meg to his pregnant French trophy wife ( Judith Davis) and confides self-deprecatingly to Nick, “She can’t see through me yet, but we know she will.” At the party, Meg meets a younger Frenchman (Brice Beaugier), who wants to take her out for a drink, and Nick meets Morgan’s teenage son from his first marriage (Olly Alexander), with whom he shares a joint and his frustrations. And there is a cathartic moment at dinner that shapes the course of Nick and Meg’s relationship — for the immediate future at any rate. Le Week-End is for the most part an engaging and even enchanting story, although we are occasionally aware of manipulative button-pushing from director Roger Michell (Notting Hill) and screenwriter Hanif Kureishi (My Beautiful Laundrette). The two have collaborated several times previously, including on The Mother and on the Peter O’Toole vehicle Venus (with the addition of this one, Kureishi labels the films the Viagra Trilogy), and their work here is smooth, sometimes insightful, and often very funny. But some scenes feel forced or unjustified, such as Nick and Meg’s exit from Morgan’s dinner party (down circular stairs, filmed from above, a shot no director — and certainly not Michell — can resist), with Morgan calling plaintively after them. There’s a conscious homage to Jean-Luc Godard’s New Wave classic Band of Outsiders at work in Le Week-End, and that reference provides a bittersweet perspective on youth to age as Meg and Nick explore the uneven terrain of the regrets and hopes of their 30-year marriage. ◀
THE CINEMATHEQUE
Proud Sponsors of the CCA Cinematheque
April 11 - 17
1050 Old Pecos Trail • 505.982.1338 • ccasantafe.org
Santa Fe’s only not-for-profit, community-supported independent theater, showing the best in cinema since 1983
A MASTERPIECE
“
”
“THE FUNNIEST MOST META MUSIC MOVIE SINCE SPINAL
.
-Tina Brown
TAP ”
“MIND BLOWING”
PITCHFORK
– The New York Times
The sTory of AmericAn power pursued And ” misused “
D
KEN WEE THIS NLY! O
.
A FILM BY
-Jon frosch,
TOM BERNINGER
OPENING NIGHT FILM
OFFICIAL SELECTION
TRIBECA
LONDON
FILM FESTIVAL
a film by academy award winner ®
errol morris
THE UNKNOWN KNOWN THE INVESTIGATION OF DONALD RUMSFELD
FILM FESTIVAL
OFFICIAL SELECTION
AFI DOCS FILM FESTIVAL
OFFICIAL SELECTION
HOT DOCS FILM FESTIVAL
FOUNDER’S PRIZE SPECIAL AWARD FILM FESTIVAL
SYDNEY FILM FESTIVAL
l a r s v o n t r i e r “IT’S EASY AND SO VERY TEMPTING, to dismiss Lars Von Trier as a joke - if only his movies weren’t so bloody brilliant.” – Ty Burr, BOSTON GLOBE
“A THRILLING, UPROARIOUS VISUAL AND INTELLECTUAL JOURNEY.” –Andrew O’Hehir, SALON
“FORMIDABLE. A PROVOCATION WORTH TALKING ABOUT.”
PARTICLEFEVER
– David Denby, THE NEW YORKER
“A JOYOUS WORK OF FLAT-OUT GENIUS.”
WITH ONE SWITCH, EVERYTHING CHANGES
–John H. Richardson, ESQUIRE
“A TANTALIZING MEMOIR.”
particlefever.com
–Richard Corliss, TIME
forge t ab out love
VO L . I
©2013DHRPROJECT,LLC ANDA&ETELEVISIONNETWORKS,L.L.C. ALLRIGHTSRESERVED
delightful!
“
OFFICIAL SELECTION
TRAVERSE CITY
”
- LOS ANGELES TIMES
“A STIMULATING DETECTIVE STORY THAT HOLDS YOU IN THRALL!” -Peter Travers, ROLLING STONE “GRADE A! EXQUISITELY FUN!” -Owen Gleiberman, ENTERTAINMENT WEEKLY “IT’S THRILLING TO WATCH.” -Joe Morgenstern, WALL STREET JOURNAL
Tim’s Vermeer A Penn & Teller Film FOR SOME STRONG LANGUAGE
Fri-Sun April 11-13 11:30a 12:30p 1:15p 2:30p 3:30p 4:15p -
- Walking the Camino - Ernest & Celestine* The Unknown Known Ernest & Celestine* Particle Fever Nymphomaniac Pt 1*
5:45p 6:45p 8:00p 8:30p
-
Unknown Known Tim’s Vermeer* Nymphomaniac Pt 1 Mistaken for Strangers*
WWW.SONYCLASSICS.COM
COMING SOON to CCA:
Mon-Thur April 14-17 12:30p 1:15p 2:30p 3:30p 5:00p -
- Walking the Camino* The Unknown Known Ernest & Celestine* Particle Fever Tim’s Vermeer*
5:45p - The Unknown Known 7:00p - Nymphomaniac Pt 1* 8:00p - Nymphomaniac Pt 1
*indicates show is in The Studio at CCA
• Nymphomaniac Pt. 2 • Under The Skin • Jodorowski’s DUNE •Finding Vivian Maier • Blue Ruin...& more
PASATIEMPOMAGAZINE.COM
45
MOVING IMAGES film reviews
Yes we Neocon: Donald Rumsfeld
Citizen Rumsfeld Jonathan Richards I For The New Mexican The Unknown Known, documentary, rated PG-13, Center for Contemporary Arts, 3 chiles
CERTIFIED TRAINERS · STRENGTH · CARDIO · NUTRITION
Experience Cutting Edge Fitness dkb Boot Camp is a strength, cardio, and fat-loss program grounded in kettlebell technique and other fitness modalities. 6 weeks, 3 days/week Only $300!
Starts May 13 with Morning + Evening sessions available!
Begin your body transformation today! 984-9000 www.dkbfitness.com info@dkbfitness.com
3201 Richards Lane · Suite B · Santa Fe GROUP CLASSES & PERSONAL TRAINING ALSO AVAILABLE
K E T T L E B E L L S · C L U B B E L L S · B O DY W E I G H T · T R X · M O B I L I T Y
46
PASATIEMPO I April 11-17, 2014
Coming out of The Unknown Known, Errol Morris’ documentary on former Secretary of Defense Donald Rumsfeld, you are not likely to have changed your opinion of the man. To his supporters, he will come off as a no-nonsense, witty, unflappable sage. His detractors will see a smug, narcissistic sociopath to whom his architecture of the deaths of hundreds of thousands, and the devastation of America’s economy and prestige, are matters to be dismissed with a quip and a smirk. Would it have been better not to invade Iraq? A little grin: “Time will tell.” Over a political career that has spanned half a century of maneuvering, including stints as congressman, ambassador, advisor, White House Chief of Staff, and Secretary of Defense, Rumsfeld has been a survivor, a master of realpolitik, and, in the words of Richard Nixon (from tapes played in the movie), “a ruthless little bastard.” That career, and particularly his second stint at Defense in the Bush II years (given his service under Gerald Ford, he is both the youngest and oldest to hold the cabinet post), produced a blizzard of memoranda so profuse they became known as “snowflakes.” This prompts Morris to use the imagery of a snow globe as an icon in the film and suggests an association with the megalomaniacal Charles Foster Kane. The difference is that the snow globe, and “Rosebud,” revealed the vulnerability of Citizen Kane. Rumsfeld gives no hint of any such weakness or humanity, and audiences hoping for a reprise of the self-examination displayed by his predecessor Robert McNamara in Morris’ 2003 The Fog of War will be disappointed. Morris shows a number of Rumsfeld’s memos, shooting them in sometimes irritating partial close-ups as he discusses them with his subject. He also includes a number of clips from press conferences in which a supremely selfconfident Rumsfeld spars patronizingly with the press, during one of which he delivered his famous “known knowns” quote. He relishes refining definitions and parsing words, he shuffles history to suit his perceptions, and he clearly sees himself as the smartest guy in any room. “Some things work out, some don’t,” he says in reference to Vietnam. “That didn’t. If that’s a lesson, yeah, that’s a lesson.” It’s not one he would apply to Iraq. “I don’t do quagmires.” Is there a there there? The closest we can come is one of Rumsfeld’s Rules: “The absence of evidence isn’t evidence of absence.” Another visual Morris returns to repeatedly is a vast ocean, suggesting the unknowableness of Rumsfeld’s truth. Somewhere deep in that ocean, there may be a black box pulsing out an ever-weakening signal. Morris doesn’t find it, and very likely we never will. ◀
Fri and Sat at 1:00, 3:10, 5:15 and 7:30 Sun at 3:10, 5:15 and 7:30 Mon at 1:00, 3:10, 5:15 and 7:30 Tues at 1:00, 3:10 and 7:30 Wed at 1:00, 3:10, 5:15 and 7:30 Thurs at 1:00, 3:10 and 5:15
A Film by Andrzej Wadja
Innocent Sorcerers
Sat at 11:00am • Tues at 5:35 Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®
D I G I T A L
S U R R O U N D •E X
Don Giovanni (Royal Opera House, London)
Sun at 11:00am SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com
Bargain Matinees Monday through Friday (First Show ONLY) All Seats $8.00 PASATIEMPOMAGAZINE.COM
47
MOVING IMAGES film reviews
American idle: Matt (left) and Tom Berninger
Shine on, you eventempered diamonds Robert Ker I For The New Mexican Mistaken for Strangers, rock documentary, not rated, Center for Contemporary Arts, 2 chiles The National is a band of inoffensive, ordinary dudes from Cincinnati. They play music that circles around in midtempo rhythms and cinematic crescendos, prodded onward by Matt Berninger’s world-weary baritone. The band members are gifted but rarely seem to challenge themselves. Their albums are reliably good; they have not contributed a masterpiece to the rock canon, and there is not a clunker in their catalog. It’s beige music made by boring people, and there’s nothing wrong with that. Among everyone who has heard the band’s music, this is a minority opinion. The National have achieved a level of fame that is admirable in an era when radio has been homogenized into uselessness and significant album sales have gone the way of the phone booth. The band is able to sell out large theaters around the world, and people love them. I am an exception, but at least one person seems to agree with me — and that is the director of this film, who happens to be Matt Berninger’s younger brother, Tom. It isn’t long before Tom turns the camera on himself and makes it plain that the film is really about what it’s like to grow up in the shadow of a well-loved, well-adjusted rock star. He’s having a hard time of it. Bits of jealousy shine through, as with how unimpressed he seems to be by the band’s actual music. He’s quick to point out when Matt is full of crap. “I like how he acts like he doesn’t like going to these photo shoots, but he actually does,” Tom says as Matt poses confidently on a beach with his arms outstretched as photographers click away. His struggles to make the movie are exaggerated. Interviews with the Berninger parents, in which they choose their words with more care when discussing Tom than Matt, confirm his worries that he’s regarded as a bit of a sensitive, well-meaning also-ran. Getting the little brother to make the film has a certain logic, as The National is a band of siblings (aside from Matt, the other members are two pairs of brothers). Mistaken for Strangers follows them as they play the biggest tour of their careers and work on their 2013 album, Trouble Will Find Me. Tom shies away from using concert footage, he tries in vain to coax stories of drug use from the drummer, and he attempts to fabricate the inner conflict of a band that is “blowing up” when in fact they seem comfortable with success and each other. The band is as professional, workmanlike, and humorless as its music, which is an admirable approach to a music career but not exactly compelling cinema. “When I walk into a room I do not light it up,” Matt sings in Trouble’s “Demons,” and he isn’t lying. Mistaken for Strangers is not quite for fans of the band or of documentaries. No amount of wattage can light it up. ◀ 48
PASATIEMPO I April 11-17, 2014
Call to Auction
The Horse Shelter’s Annual Auction Benefit on May 18th, 2014 at 12 p.m. We are looking for quality items including art, jewelry, trips, air tickets and gift certificates for our auction. They do not have to be horse related. Tickets $75 per person (90% tax deductible), luncheon by restaurant martín This is our biggest annual fundraiser and our success depends on YOUR support and attendance!
The Horse Shelter 1600 Lena St, C.10, Santa Fe, NM 87505 • 505-471-6179 info@thehorseshelter.org • www.thehorseshelter.org
try on and win
MEET THE EXPERTS! FRI., APRIL 11th • 11am to 4pm Come experience ultimate comfort and walk away a winner. Stop by On Your Feet and try-on a pair of Clarks shoes for your chance to win a $5 or $10 Gift Card and other great prizes.
ON YOUR FEET
530 Montezuma Ave, Santa Fe, NM 87501 505.983.3900 • www.onyourfeetsf.com Store Hours: Mon.–Sat. 10am–6pm + Sun. 12pm–5pm
SWAIA and Hotel Santa Fe Present:
A CelebrAtion of nAtive food & Wine Saturday i April 12 2014 5-8 pm i Hotel Santa fe
Home. Your Home. Open Houses and Home Real Estate Guide from santafenewmexican.com
$100 for SWAIA Members $125 for Non-Members Full tables available Call for tickets 505-983-5220 x232 santafeindianmarket.com
SANTAFE AFE NEWMEXICANXICAN .COM/ LIFE/HOME
PASATIEMPOMAGAZINE.COM
49
MOVING IMAGES pasa pics
— compiled by Robert Ker
economist ( Jeff Goldblum). It’s for the most part an engaging story, although we are occasionally aware of manipulative button-pushing from director Roger Michell and screenwriter Hanif Kureishi. A conscious homage to Jean-Luc Godard’s New Wave classic Band of Outsiders is at work, providing a bittersweet perspective on youth to age. Rated R. 93 minutes. The Screen, Santa Fe ( Jonathan Richards) See review, Page 44. MARTIN SCORSESE PRESENTS: MASTERPIECES OF POLISH CINEMA This series of Polish classics, most of them seldom seen in the U.S., covers three decades, from the mid-’50s to the mid-’80s. The 21 films include work by Andrzej Wajda, Andrzej Munk, and Krzysztof Kieslowski. Wajda’s Innocent Sorcerers (1960, 88 minutes) is shown on Saturday, April 12, and Tuesday, April 15, at The Screen, Santa Fe. Jerzy Kawalerowicz’s Pharoah (1965, 152 minutes) screens on Sunday, April 13, and Thursday, April 17, at the Jean Cocteau Cinema, Santa Fe. Not rated. In Polish with subtitles. ( Jonathan Richards)
Beak your interest: Rio 2, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week BRAZIL Director Terry Gilliam had broken away from the Monty Python troupe with 1981’s Time Bandits, but it wasn’t until 1985’s Brazil that he firmly established himself as his own man. As a filmmaker he can often pursue whimsy for its own sake, but here he wonderfully channels Jacques Tati for an absurdist tale that takes place in a dystopian society where bureaucracy and consumerism rule. 11 p.m. Friday and Saturday, April 11 and 12, only. Rated R. 132 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) ERNEST & CELESTINE In a world where mice inhabit a subterranean world while bears roam the land above, an unlikely partnership develops between Celestine (voiced by Mackenzie Foy), a young mouse, and Ernest (voiced by Forest Whitaker), a grumpy bear. Celestine is pressured by mouse society to become a dentist (the mice steal teeth from bears to replace their own worn-out incisors), but she wants to be an artist. Ernest, a down-and-out street performer, wants to be a musician. Their slapstick misadventures land them in hot water with the law, and their friendship blossoms while on the lam. Frenetic energy and witty dialogue make this hand-drawn animated feature a delight for all ages. Its message about overcoming 50
PASATIEMPO I April 11-17, 2014
societal prejudices is couched in hilarity and is touching without being sappy. Rated PG. 80 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) DRAFT DAY Kevin Costner has played many men with difficult jobs, from hitmen to secret-service agents, but none more difficult than this: the general manager expected to turn around the NFL’s Cleveland Browns. This film, by director Ivan Reitman, shows us the pressure he faces balancing big egos, strong personalities, and gifted players on draft day. Rated PG-13. 103 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) HEAVEN IS FOR REAL This movie, based on the book Heaven Is for Real: A Little Boy’s Astounding Story of His Trip to Heaven and Back, recalls the account of Colton Burpo, the young son of a Nebraska pastor (Greg Kinnear) who dies on an operating table, goes to heaven, and comes back to tell the tale. Opens Wednesday, April 16. Rated PG. 100 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) LE WEEK-END Meg (Lindsay Duncan) and Nick ( Jim Broadbent) are a notvery-happily-married couple from Birmingham who have decided to perk things up for their 30th anniversary by returning to Paris, where they spent their honeymoon in happier days. The movie’s turning point comes when they run into an old Cambridge friend of Nick’s, a successful American
MISTAKEN FOR STRANGERS The National is a band of inoffensive, well-adjusted dudes from Cincinnati. They approach their careers with workmanlike professionalism and make consistently good, if sometimes bland, music. None of this makes for especially compelling cinema. This documentary was directed by lead singer Matt Berninger’s younger brother, Tom, and there are insights into life in the shadow of a semifamous older sibling, but not enough of them to justify the film, which may even disappoint fans of the band. Not rated. 75 minutes. Center for Contemporary Arts, Santa Fe. (Robert Ker) See story, Page 48. OCULUS Karen Gillan plays a young woman who attempts to free her brother (Brenton Thwaites) of murder charges by proving that some kind of horrible demon in the mirror in their house was the true killer. Apparently tackling that creepy antique mirror in your attic late at night is still preferable to dealing with lawyers. Rated R. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.(Not reviewed) PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of Mozart’s Don Giovanni from London’s Royal Opera House. Mariusz Kwiecien and Alex Esposito star. 11 a.m. Sunday, April 13, only. Not rated. 205 minutes, plus one intermission. The Screen, Santa Fe. (Not reviewed) THE RAID 2 The 2011 action film The Raid: Redemption gained quite a reputation for it’s wild, fastpaced sequences and incredible fight choreography. For the sequel, Indonesian martial-art performer Iko Uwais is back as the undercover policeman Rama for
a lot more of the same. Rated R. 150 minutes. Regal DeVargas, Santa Fe. (Not reviewed) RIO 2 The first Rio film, about a macaw from Minnesota (voiced by Jesse Eisenberg) that winds up in Rio de Janeiro, was a big hit in 2011. This sequel hopes to parrot that success by rehashing the plot — this time, Rio and his family are relocated to the Amazon rainforest — and rolling out more crazy music and zany characters. Rated G. 96 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) THE UNKNOWN KNOWN Coming out of Errol Morris’ documentary on former Secretary of Defense Donald Rumsfeld, you are not likely to have changed your opinion of the man. To his supporters, he will come off as a no-nonsense, unflappable sage. His detractors will see a smug, narcissistic sociopath whose architecture of the deaths of hundreds of thousands and devastation of America’s economy and prestige are matters to be dismissed with a quip and a smirk. He relishes refining definitions and parsing words, he shuffles history to suit his perceptions, and he clearly sees himself as the smartest guy in any room. Is there a there there? The closest we can come is one of Rumsfeld’s Rules: “The absence of evidence isn’t the evidence of absence; nor is it evidence of presence.” Rated PG-13. 104 minutes. Center for Contemporary Arts, Santa Fe. (Jonathan Richards) See review, Page 46. WAR OF THE WORLDS This 1953 adaptation of H.G. Wells’ iconic alieninvasion story is certainly hokey, but it is also more eerie than you may remember. There are effective swaths of noir and horror here, all presented in dry, no-nonsense fashion. The second half of the film is more action-oriented and thus significantly weaker than the suspenseful first half, but it remains required viewing for genre fans. Not rated. 85 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker)
now in theaters AMERICAN HUSTLE Irving Rosenfeld (Christian Bale) and Sydney Prosser (Amy Adams) bond over the music of Duke Ellington at a party. This is appropriate, because David O. Russell has orchestrated his wild and wonderful riff on the 1978 Abscam sting operation like an Ellington suite. The film weaves themes and rhythms, tight ensemble work and electrifying solos, and builds to a foot-stomping climax. Rated R. 138 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards)
CESAR CHAVEZ It’s hard to believe nobody has made a feature film about 1950s and ’60s Mexican-American activist and labor organizer Cesar Chavez before, given his status as an icon of nonviolent resistance. Michael Peña plays Chavez in this film, and John Malkovich plays the farm owner who opposes him. Rated PG-13. 101 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) CAPTAIN AMERICA: THE WINTER SOLDIER Following the events in The Avengers, the star-spangled superhero (Chris Evans) returns to fight an evil plan that is ridiculous even by funnybook standards. There are some neato action effects, and some supporting characters work — Robert Redford, as a world security council leader, proves he still looks better than you do in a fitted suit vest, while Scarlett Johansson once more makes the case for a Black Widow solo film. Otherwise, the humor is missing, the film is too violent for a theater full of kids, and there’s too much of the story: by the time it’s over, you’ll feel like you’ve been frozen in ice since the 1940s. Rated PG-13. 135 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) DIVERGENT Need something to keep you occupied until the next Hunger Games film arrives? Try this, based on the first book in Veronica Roth’s popular YA series. It’s set in postapocalyptic Chicago, where society is organized into five factions. As teenagers, everyone takes a test to determine the group for which they’re best suited, but some, such as Tris (Shailene Woodley), can’t be easily sorted. She keeps her “divergence” hidden as she begins her training, senses romantic sparks with an instructor (Theo James), and learns that one faction is plotting to overthrow the government. The performances are solid; the leads have great chemistry; and the pacing mostly keeps you engaged. But the way the story unfolds is predictable — unfortunate for a film about thinking for yourself. Rated PG-13. 143 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Laurel Gladden) 50 TO 1 Skeet Ulrich plays a cowboy in a film based on the true story of Mine That Bird, the racehorse that was partly trained in New Mexico and won the Kentucky Derby in 2009. Rated PG-13. 110 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) GLORIA In Santiago, Chile, an outgoing sexy divorcée (Paulina García) with a youthful spirit makes a fresh start at dating in this lighthearted but keenly observed film about the challenges of finding love later in life. After meeting a former naval officer (Sergio Hernández) who owns a paintball park, Gloria is swept into a
whirlwind romance. She’s a woman seeking freedom from the past, and he’s a man who can’t let go of his. García gives a strong but measured performance. Rated R. 110 minutes. In Spanish with subtitles. Regal DeVargas, Santa Fe. (Michael Abatemarco) GOD’S NOT DEAD Kevin Sorbo plays a college professor who loses his faith and teaches his students that God is dead until a plucky freshman (Shane Harper) challenges him. Willie Robertson, one of the Duck Dynasty dudes, appears as himself. Rated PG. 113 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE GRAND BUDAPEST HOTEL It is truly a joy to witness the work of Wes Anderson, who devotes such attention to his creative vision that he crafts his own singular world — one that has grown over the course of eight features. This time, Anderson tells a tale of an Eastern European hotel manager (Ralph Fiennes) who is willed a priceless painting by a former lover (Tilda Swinton). This angers a relative (Adrien Brody), who feels he should be the true heir. For some of his new tricks, Anderson adds suspense worthy of Hitchcock’s Spellbound or Carol Reed’s Night Train to Munich to his impeccably designed “dollhouse” aesthetic. Willem Dafoe, Jeff Goldblum, Edward Norton, Jude Law, and Harvey Keitel co-star in this caper, which plays out like a youth novel or board game. Rated R. 100 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE LEGO MOVIE Emmet Brickowski (voiced by Chris Pratt) is an ordinary LEGO worker in a city where everyone follows instructions to build the perfect world. Then he learns from some rebels that he can build whatever he wants, and they set out to defeat the evil President. What sounds like a long commercial is one of the best family films in recent years, with subversive humor, nifty twists, wild visuals, catchy music, guest spots by the likes of Batman, and an anarchic plot that snaps together as perfectly as a certain plastic toy. Rated PG. 101 minutes. Screens in 2-D only at Regal DeVargas, Santa Fe. (Robert Ker) THE MONUMENTS MEN During World War II, the U.S. put together a team of art scholars and academics under the aegis of the military to try to locate art treasures looted by the Nazis. As the war wound down, it became apparent that the Germans were prepared to destroy these works if they couldn’t keep them. This is gripping, funny, and moving material, and George Clooney, wearing the hats of writer, director, producer, and star, has crafted a hugely enjoyable old-fashioned continued on Page 52 PASATIEMPOMAGAZINE.COM
51
MOVING IMAGES pasa pics
continued from Page 51
war movie in the tradition of The Dirty Dozen. Rated PG-13. 118 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards)
after the water recedes. Rated PG-13. 138 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker)
MR. PEABODY & SHERMAN Those old enough to have watched The Rocky and Bullwinkle Show may remember “Peabody’s Improbable History,” a smart segment about the time travels of a brilliant beagle and his human. This adaptation, which complicates those goofy adventures considerably, will remind you that this concept worked better in 5-minute doses. Some terrific animation, good gags, and cute characterizations don’t quite offset the general lack of excitement and jokes based on stale internet memes. Rated PG. 91 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker)
NON-STOP An ordinary trans-Atlantic flight is terrorized by someone who threatens to kill all the passengers on board. Fortunately, one of those passengers is a federal air marshal. Unfortunately, the terrorist has a vendetta against this marshal. Fortunately, the marshal is played by Liam Neeson. Go get ’em, Liam! Rated PG-13. 106 minutes. Regal DeVargas, Santa Fe. (Not reviewed)
MUPPETS MOST WANTED The latest Muppet caper involves an evil doppelgänger Kermit who tries to pull off the crime of the century while the real Kermit languishes in a Siberian gulag. The jokes land more often than in typical Hollywood comedies, and the music is uniformly wonderful and plentiful. However, parents will like it more than kids, and even parents will find it too long. As the great Statler once said, “They could improve this whole show if they just changed the ending … by putting it closer to the beginning!” Ooooh-ho-hoho-ho-ho! Rated PG. 112 minutes. Regal Stadium 14, Santa Fe. (Robert Ker) NOAH Darren Aronofsky follows his decorated Black Swan by turning to the Old Testament and reimagining the story of Noah’s ark. The result is an ambitious, odd movie. The first half combines elements of classic Bible epics, Lord of the Rings blockbusters, and Terrence Malick’s art films; in the more-pensive back half, Noah (Russell Crowe) ponders the full ramifications of God’s message to him. Concepts of faith, servitude, environmental preservation, and the responsibilities of dominion give viewers a lot to meditate on, even if these ideas are burdened by more-generic subplots of romance and revenge. As expected, Noah is often dreary, grim, and monochromatic, but Crowe wears the gravity well, and many thematic and visual aspects of the film linger long
spicy
medium
bland
heartburn
mild
Read Pasa Pics online at www.pasatiempomagazine.com
52
PASATIEMPO I April 11-17, 2014
NYMPHOMANIAC: VOLUME I A man (Stellan Skarsgård) finds a woman (Charlotte Gainsbourg) who has been severely beaten in an alley. She tells him her life story, and it’s so full of lust and sex that director Lars von Trier must split the movie in two parts. Shia LaBeouf, Willem Dafoe, Uma Thurman, Christian Slater, and Jamie Bell co-star — with body doubles for their naughty bits, of which quite a lot is shown. Not rated. 118 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) PARTICLE FEVER Director Mark Levinson filmed events at the Large Hadron Collider as they unfolded during the most expensive scientific experiment to date, during which scientists from more than 100 nations sought to prove or disprove the existence of the Higgs boson, a theorized elementary particle that would help explain how matter is given mass. The discovery of the boson is a dramatic and entertaining story that opens wide the door on a mystery of the universe that has been perplexing scientists since the 1960s, and it leaves you fascinated. Not rated. 99 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) SABOTAGE Arnold Schwarzenegger has struggled to get his acting career going again since leaving politics. For this venture he lets his gray hair show like never before and teams with a filmmaker (David Ayer of End of Watch) who has proven he can do gritty, streetlevel action. Arnie plays a DEA agent who angers a powerful drug cartel, which will do whatever it takes to get him but good. Rated R. 109 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) 300: RISE OF AN EMPIRE In the years since the 2006 blockbuster 300, there’s been no shortage of movies attempting to copy that film’s distinct visual style and Roman-era subject matter. Finally, here’s an official follow-up — but without Zack Snyder as director (he co-writes and produces) or star Gerard Butler, is this still Sparta? The plot centers on greased-up, shirtless men waving swords and shouting. Rated R. 103 minutes. Screens in 2-D only at Regal DeVargas, Santa Fe.(Not reviewed)
TIM’S VERMEER There are two essential questions posed by this richly entertaining movie created by Penn and Teller around a quixotic experiment by their friend Tim Jenison, a tech multimillionaire. One: Did Johannes Vermeer use optical devices to create his extraordinary paintings? Two: If he did, does that make them less extraordinary? Jenison embarks upon what can only be described as an obsessive quest as he sets out to prove that he, a non-artist, can produce a Vermeer using optics available in 17th-century Holland. Rated PG-13. 80 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) VERONICA MARS This movie was made for and paid for by — via Kickstarter — the fans of the cancelled television series from the mid-aughts. It’s pretty much everything a fan could hope for, and it’s good enough on its own to attract new fans to the cult following. Ten years after they graduated from Neptune High, everyone returns for a reunion, some crime, and noir lighting. It’s a murder mystery, so no spoilers here. Highlights include an amazing Gaby Hoffmann as the victim’s biggest fan; Martin Starr as Gia Goodman’s (Krysten Ritter) neighbor; and Chris Lowell as Piz, clearly undeserving of Veronica’s affections. It’s great to see the old gang back together, especially Veronica (Kristin Bell) and her dad, Keith (Enrico Colantoni). Rated PG-13. 107 minutes. Jean Cocteau Cinema, Santa Fe. ( Jennifer Levin) WALKING THE CAMINO: SIX WAYS TO SANTIAGO This documentary looks at a few of the many people who walk across northern Spain on the pilgrimage path known as the Camino de Santiago. Not rated. 84 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed)
other screenings DreamCatcher Need for Speed. Screens in 2-D only. Jean Cocteau Cinema 6:30 p.m. Wednesday and Thursday, April 16 and 17: Milius. Regal Stadium 14 2 p.m. Sunday, April 13; 2 & 7 p.m. Wednesday, April 16: And the Oscar Goes To.... 7 p.m. Thursday, April 17: Bears. 8 p.m. Thursday, April 17: A Haunted House 2. 8 p.m. Thursday, April 17: Transcendence. The Screen 7 p.m. Thursday, April 17: Radio Taboo. Director Issa Nyaphaga and producer Pamela Booton in person. ◀
WHAT’S SHOWING
“GRAND ISN’T GOOD ENOUGH A WORD FOR THIS ‘BUDAPEST HOTEL.’
GREAT IS MORE LIKE IT.”
Call theaters or check websites to confirm screening times. CCA CINEMATHEQUE AND SCREENING ROOM
1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Ernest & Celestine (PG) Fri. to Sun. 12:30 p.m., 2:30 p.m. Mon. to Thurs. 2:30 p.m. Mistaken for Strangers (NR) Fri. to Sun. 8:30 p.m. Nymphomaniac:Volume I (NR) Fri. to Sun. 4:15 p.m., 8 p.m. Mon. to Thurs. 7 p.m., 8 p.m. Particle Fever (NR) Fri. to Thurs. 3:30 p.m. Tim’s Vermeer (PG-13) Fri. to Sun. 6:45 p.m. Mon. to Thurs. 5 p.m. The Unknown Known (PG-13) Fri. to Thurs. 1:15 p.m., 5:45 p.m. Walking the Camino: Six Ways to Santiago (NR) Fri. to Sun. 11:30 a.m. Mon. to Thurs. 12:30 p.m. JEAN COCTEAU CINEMA
418 Montezuma Avenue, 505-466-5528 www.jeancocteaucinema.com Brazil (R) Fri. and Sat. 11 p.m. Milius (NR) Wed. and Thurs. 6:30 p.m. Pharoah (NR) Sun. 1 p.m. Thurs. 1 p.m. Veronica Mars (PG-13) Fri. and Sat. 2:15 p.m., 6:30 p.m. Sun. 6:30 p.m. Tue. 6:30 p.m. Wed. 2:15 p.m., 8:45 p.m. Thurs. 8:45 p.m. War of the Worlds (G) Fri. to Sun. 4:30 p.m., 8:45 p.m. Tue. 8:45 p.m. Wed. and Thurs. 4:30 p.m. REGAL DEVARGAS
562 N. Guadalupe St., 505-988-2775, www.fandango.com 300: Rise of an Empire (R) Call for showtimes American Hustle (R) Fri. to Thurs. 3:50 p.m., 6:50 p.m. Gloria (R) Fri. and Sat. 1:40 p.m., 4:20 p.m., 7:40 p.m., 10:10 p.m. Sun. to Thurs. 1:40 p.m., 4:20 p.m., 7:40 p.m. The Grand Budapest Hotel (R) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10:05 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. The Lego Movie (PG) Fri. to Thurs. 1:50 p.m., 4:40 p.m. The Monuments Men (PG-13) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7:10 p.m., 9:50 p.m. Sun. to Thurs. 1:10 p.m., 4:10 p.m., 7:10 p.m. Non-Stop (PG-13) Fri. and Sat. 1:20 p.m., 9:55 p.m. Sun. to Thurs. 1:20 p.m. The Raid 2 (R) Call for showtimes REGAL STADIUM 14
3474 Zafarano Drive, 505-424-6296, www.fandango.com 50 to 1 (PG-13) Fri. and Sat. 11 a.m., 1:40 p.m., 4:20 p.m., 7:10 p.m., 10:05 p.m. Sun. 4:25 p.m., 7:10 p.m., 10:05 p.m. Mon. and Tue. 1:40 p.m., 4:20 p.m., 7:10 p.m., 10:05 p.m. And The Oscar Goes To... (NR) Sun. 2 p.m. Wed. 2 p.m., 7 p.m. Bears (G) Thurs. 7 p.m. Captain America:The Winter Soldier (PG-13) Fri. to Sun. 12 p.m., 1:10 p.m., 3:30 p.m., 4:15 p.m., 6:50 p.m., 7:25 p.m., 10 p.m., 10:25 p.m. Mon. and Tue. 12 p.m., 1:10 p.m., 3:30 p.m., 4:15 p.m., 6:50 p.m., 7:25 p.m., 10 p.m., 10:25 p.m. Captain America:The Winter Soldier 3D (PG-13) Fri. to Tue. 12:45 p.m., 4 p.m., 7:05 p.m., 10:10 p.m. Cesar Chavez (PG-13) Fri. to Tue. 12 p.m., 2:30 p.m., 5 p.m., 7:30 p.m., 10 p.m. Divergent (PG-13) Fri. to Tue. 12:25 p.m., 3:50 p.m., 7:10 p.m., 10:20 p.m. Draft Day (PG-13) Fri. to Sun. 11 a.m., 1:40 p.m., 4:20 p.m., 7:10 p.m., 10 p.m. Mon. and Tue. 1:40 p.m., 4:20 p.m., 7:10 p.m., 10 p.m. God’s Not Dead (PG) Fri. to Sun. 11:45 a.m., 2:30 p.m., 5:10 p.m., 7:50 p.m., 10:30 p.m. Mon. and Tue. 2:30 p.m., 5:10 p.m., 7:50 p.m., 10:30 p.m.
TIME Richard Corliss
A Haunted House 2 (R) Thurs. 8 p.m., 10:10 p.m. Heaven Is for Real (PG) Wed. and Thurs. 12 p.m.,
2:25 p.m., 5 p.m., 7:25 p.m., 9:50 p.m.
Mr. Peabody & Sherman (PG) Fri. to Sun. 11:15 a.m.,
1:50 p.m., 4:25 p.m., 7 p.m. Mon. and Tue. 1:50 p.m., 4:25 p.m., 7 p.m. Muppets Most Wanted (PG) Fri. to Sun. 11:10 a.m., 1:55 p.m., 4:35 p.m., 7:25 p.m., 10:05 p.m. Mon. and Tue. 1:55 p.m., 4:35 p.m., 7:25 p.m., 10:05 p.m. Noah (PG-13) Fri. to Tue. 12:50 p.m., 4:05 p.m., 7:20 p.m., 10:25 p.m. Oculus (R) Fri. to Sun. 11:30 a.m., 2:05 p.m., 4:40 p.m., 7:25 p.m., 10:10 p.m. Mon. and Tue. 2:05 p.m., 4:40 p.m., 7:25 p.m., 10:10 p.m. Rio 2 (G) Fri. to Sun. 11:15 a.m., 1:50 p.m., 4:25 p.m., 7:15 p.m., 9:55 p.m. Mon. and Tue. 1:50 p.m., 4:25 p.m., 7:15 p.m., 9:55 p.m. Rio 2 3D (G) Fri. to Sun. 11 a.m., 1:35 p.m., 4:10 p.m., 7 p.m., 9:40 p.m. Mon. and Tue. 1:35 p.m., 4:10 p.m., 7 p.m., 9:40 p.m. Sabotage (R) Fri. to Tue. 9:55 p.m. Transcendence (PG-13) Thurs. 8 p.m., 10 p.m.
FE EXCLUSIVE ENGAGEMENT SANTA UA De Vargas Mall 6
NOW PLAYING (800) FANDANGO #608 “THRILLING! THE WOW FACTOR IS OFF THE CHARTS!” -Peter Travers, ROLLING STONE
“INTOXICATING! WILDLY INVENTIVE!” -Joshua Rothkopf, TIME OUT NEW YORK
WRITTEN AND DIRECTED BY GARETH EVANS
THE SCREEN
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Innocent Sorcerers (NR) Sat. 11 a.m. Tue. 5:35 p.m. Le Week-end (R) Fri. and Sat. 1 p.m., 3:10 p.m., 5:15 p.m., 7:30 p.m. Sun. 3:10 p.m., 5:15 p.m., 7:30 p.m. Mon. 1 p.m., 3:10 p.m., 5:15 p.m., 7:30 p.m. Tue. 1 p.m., 3:10 p.m., 7:30 p.m. Wed. 1 p.m., 3:10 p.m., 5:15 p.m., 7:30 p.m. Thurs. 1 p.m., 3:10 p.m., 5:15 p.m. Radio Taboo (NR) Thurs. 7 p.m. The Royal Opera House: Don Giovanni (NR) Sun. 11 a.m. MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com 50 to 1 (PG-13) Fri. 4:55 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:55 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:55 p.m., 7:20 p.m. Mon. to Thurs. 4:55 p.m., 7:20 p.m. Captain America:The Winter Soldier (PG-13) Fri. 4:35 p.m., 7:05 p.m., 8 p.m., 9:55 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 8 p.m., 9:55 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. Divergent (PG-13) Fri. 4:50 p.m., 7:50 p.m. Sat. and Sun. 1:50 p.m., 4:50 p.m., 7:50 p.m. Mon. to Thurs. 4:15 p.m., 7:15 p.m. God’s Not Dead (PG) Fri. 4:45 p.m., 7:15 p.m., 9:40 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:15 p.m., 9:40 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:15 p.m. Mon. to Thurs. 4:45 p.m., 7:15 p.m. Mr. Peabody & Sherman (PG) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:15 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:15 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. Need for Speed (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:45 p.m., 4:25 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:45 p.m., 4:25 p.m., 7:10 p.m. Mon. to Thurs. 4:25 p.m., 7:10 p.m. Noah (PG-13) Fri. 4:40 p.m., 7:35 p.m. Sat. and Sun. 1:45 p.m., 4:40 p.m., 7:35 p.m. Mon. to Thurs. 4:15 p.m., 7:20 p.m. Oculus (R) Fri. 4:55 p.m., 7:30 p.m., 10 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:30 p.m., 10 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. Rio 2 (G) 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. and Tue. 4:30 p.m., 7 p.m.
EXCLUSIVE ENGAGEMENT
STARTS TODAY
WWW.SONYCLASSICS.COM
Santa Fe UA DE VARGAS MALL 6 (800) FANDANGO #608
VIEW THE TRAILER AT WWW.THERAIDTWO.COM
“
A MASTERPIECE -Tina Brown
.
”
The sTory of AmericAn PoWer Pursued And misused” “
.
-Jon frosch,
A fILM bY ACADEMY AwARD wINNER ®
ERROL MORRIS
THE UNKNOWN KNOWN ©2013DHRPROJECT,LLCANDA&ETELEVISIONNETWORKS,L.L.C. ALLRIGHTSRESERVED
THE INVESTIGATION OF DONALD RUMSFELD
Santa Fe The Center EXCLUSIVE ENGAGEMENT For Contemporary Arts
STARTS TODAY (505) 982-1338
CHECK DIRECTORIES FOR SHOWTIMES NO PASSES ACCEPTED
NOw IN ThEATERS, ON ITUNES & ON DEMAND PASATIEMPOMAGAZINE.COM
53
RESTAURANT REVIEW Laurel Gladden I For The New Mexican
Street food
San Francisco Street Bar & Grill 50 E. San Francisco St., 505-982-2044, www.sanfranbargrill.com Lunch 11 a.m.-4 p.m. daily; dinner 4 p.m.-9 p.m. Sundays & Mondays, 4 p.m.-10 p.m. Tuesdays-Saturdays; happy hour 4:30 p.m.-6:30 p.m. Mondays-Fridays Vegetarian options Takeout available Handicapped accessible via elevator Noise level: quiet to moderate Full bar Credit cards, local checks
•
The Short Order Sometimes you feel like you’ll scream if you have to eat one more burrito or platter of smothered enchiladas. That’s why we have places like San Francisco Street Bar & Grill, tucked at the top of the stairs at the corner of San Francisco Street and Don Gaspar Avenue. You’ll probably never have to wait to get a table in the expansive, airy, and bright dining room, where the ambience is friendly and unpretentious, the menu easy and approachable — if a little unexciting. You’ll find a few Southwestern dishes here, but standards like wings, salads, sandwiches, and pasta- and meat-based entrees dominate. Recommended: potato nachos, wings, grilled cheese, San Francisco St. hamburger (especially with green chile and cheese), and the Mediterranean salad.
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
PASATIEMPO I April 11-17, 2014
As much as we love New Mexican food, sometimes you feel like you’ll scream if you have to eat one more burrito or platter of smothered enchiladas. Some days you just want a salad or a sandwich. You don’t want anything fancy, you don’t want your dining experience to be a big production, and you’d rather not wait an hour only to be crammed between tables of tourists. That’s why places like San Francisco Street Bar & Grill exist. Tucked at the top of a stairway at the corner of San Francisco Street and Don Gaspar Avenue, it’s one of a few non-street-level eateries downtown — you might not know it was there if you didn’t already know it was there. Beau Bellett and David Yniguez, who last year purchased the business from its founder, Rob Day, have maintained a friendly, unpretentious environment and a menu that’s easy and approachable — if a little unexciting. You’ll find a few Southwestern dishes here, but American standards like wings, chicken and roast beef sandwiches, salads, and pasta- and meat-based entrees dominate. The dining room is expansive — you’ll probably never have to wait to get a table. The ambience is disappointingly generic and cafeterialike — or as Gertrude Stein might have put it, there’s no there there. Still, it’s airy and bright, and if the oversized divided-light windows are open, the place starts to feel like a giant, breezy portal. At lunchtime, this is a see-and-be-seen kind of place for locals. Businesspeople will pop in for a quick bite, only to run into someone they know — within a half hour one day, I saw a two-top grow into a six-top. Parents I know favor the place too — there’s room to spread out, a kids’ menu, and no one breathing down your neck for your table. Sandwiches are available at lunch and dinner. The grilled chicken includes marinated breast meat, Jack cheese, gorgeously pink pickled onions, and Parmesan-rosemary aioli on focaccia. The bread was mildly sweet but a touch too soft and crumbly — the sandwich started to fall apart after a few bites. The meat was flavorful and noticeably moister than that cut often is, and the aioli was, thankfully, applied sparingly. Dark-brown pumpernickel and tongue-tingling green chile elevate what would otherwise be a humdrum grilled cheese and tomato sandwich. Also adequate was the roast beef sandwich, with its thin slices of juicy beef, Jack, pistou aioli, and more of those pickled onions. I love the way pickling tempers onion’s sulfurous pungency, but far too many were piled on here — they nearly overpowered the beef itself. A plate can barely contain the colorful Mediterranean salad — a generous mound of greens topped with bittersweet, biting red-chile hummus. Surrounding it are Israeli couscous, stuffed grape leaves (their filling a bit too mushy), mysteriously tough grilled eggplant, marinated red peppers, piquant feta, salty Niçoise olives, and wheaty pita triangles. SFSB&G has a great happy hour, with drink specials (like a generous-for-five-bucks margarita served in a pint glass) as well as discounts on appetizers. If you’re sitting at the bar, sample the hybrid potato-skin nachos — thin flat pieces of spud laid out like chips and adorned in traditional fashion, with cheese, chile, sour cream, bacon, and chives.
The New Mexican bread basket — chips, salsa, and guac — is here, of course. The bright-red salsa looks soupy, but its flavor is appealingly bright and fresh, and the guacamole is almost velvety smooth. Our calamari — standard squiggly squid pieces in a nubbly brown crust — was acceptable, except for the soggy, greasy pieces at the bottom of the pile. With their fiery, tangy, eye- and mouth-watering vinegarbased sauce, the plump Buffalo-style chicken wings stood out among the traditional bar snacks. Skip the formal entrees. Our ahi filet was properly seared and jewel-pink inside, but it was otherwise unremarkable, the exciting-sounding green-chile risotto blandly disappointing. Bolognese sauce, ladled generously on spaghetti, was abundantly meaty and rich and had the requisite mild sweetness, and the noodles looked and yielded like fresh pasta. A proper finishing — tossing the sauce with the noodles — might have kept some of the pasta from tangling up in starchy knots and clumps. The best thing we ate was the grass-fed-beef burger topped with green chile and cheddar. SFSB&G’s rendition of our state’s culinary landmark looked picture-perfect. The meat was just as tender, juice-oozing, and earthy as you’d want it to be and topped with just the right amount of precisely melted sharp cheese and a healthy heap of smokytasting, surprisingly spicy chile. Sure, sometimes you need a break from New Mexican food. On the other hand, it’s good to remember the things we love best about home. ◀
Lunch for three at San Francisco Street Bar & Grill: Chips, salsa & guacamole .................................$ 7.00 Grilled chicken sandwich .................................$ 10.00 Mediterranean salad plate .................................$ 13.00 Roast beef sandwich .........................................$ 10.00 Iced tea .............................................................$ 2.25 TOTAL ..............................................................$ 42.25 (before tax and tip) Dinner for four, another visit: Happy hour margarita ......................................$ 5.00 Happy hour pint, San Francisco St. pilsner ......$ 3.50 Happy hour pint, La Cumbre IPA .....................$ 3.50 Chicken wings ..................................................$ 8.00 Calamari ...........................................................$ 8.00 Burger with green chile and cheese ..................$ 11.00 Spaghetti Bolognese ..........................................$ 15.00 Grilled cheese & tomato sandwich with green chile ............................................$ 9.75 Ahi filet .............................................................$ 17.00 TOTAL ..............................................................$ 80.75 (before tax and tip)
READINGS & CONVERSATIONS brings to Santa Fe a wide range of writers from the literary world of fiction, nonfiction, and poetry to read from and discuss their work.
RESIDE BENJAMIN ALIRE SÁENZ
with CECILIA
HOME
BALLÍ
WEDNESDAY 16 APRIL AT 7PM LENSIC PERFORMING ARTS CENTER
FREE Seminars for Santa Fe Non-Profit Organizations Presented by
Seven stunningly evocative short stories … a haunting tableau of characters wrestling with the boons and burdens of existence … Sáenz, with these masterfully hewn
“Growing a Sustainable Non-Profit”
city and to the parts they play in its intricate dimensions.
Thursday, April 17 • 9am – 12 Noon Presenters: Judith Nix and Michael Mendez > This seminar is for non-profit organizations that have successfully emerged from the start-up phase and are now coping with the growth and challenges of their success.
stories, presents this hardscrabble yet tenacious city as beautiful in its contradictions, disquieting in its ambiguities, and heartbreaking in its quotidianness. Filtered through this book are the lives of its singular people: doomed, broken, resourceful, and, above all else, faithful — to the — Texas Books in Review Benjamin Alire Sáenz’s latest book, Everything Begins and Ends at the Kentucky Club, is a collection of stories whose characters are all tied in one way or another to a famed watering hole on the Avenida Juárez, where the author says, “people go when they’re in trouble, when they’re looking for trouble or when they’re trying to get out of trouble.” A prolific writer and master of many genres, his books include the novel Carry Me Like Water, the young adult book Sammy & Juliana in Hollywood, and the poetry collection Dark and Perfect Angels. Born in Old Picacho, New Mexico in 1954, Sáenz has been a member of the
> Develop fundraising skills
faculty at the University of Texas at El Paso since 1992.
> Free 75 page manuel
TICKETS ON SALE NOW
The event will take place at the Santa Fe Business Incubator, 3900 Paseo del Sol, off Airport Road. This seminar is sponsored by the City of Santa Fe Economic Development Department
Sponsored By:
Register by phone: 424-1140 / Option 1 or scoreseminars@hotmail.com
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 PASATIEMPOMAGAZINE.COM
55
Spring “Open HOuSe” Sale
Celebrate Spring!
Easter Sunday Brunch april 20 • 11:30am –3pm
FreSHen yOur HOme witH SavingS OF 50% OFF mSrp and enjOy reduced depOSitS On Special OrderS nOw tHrOugH april 15!
Make your reservations today 505.982.4353 653 Canyon Road compoundrestaurant.com
Lunch • Dinner • Bar 8001 Wyoming NE, Suite B3 | Albuquerque, NM 87113 Tuesday through Saturday 9 a.m. to 5 p.m. Sunday & Monday by Appointment Only 505.856.5009 Visit: adobe-bungalow.com
photo: Kitty Leaken
GET THE
STICKLEY. MADE FOR LIFE.
BESTOF NEW MEXICO
You turn to us. Unlimited access to santafenewmexican.com and pasatiempomagazine.com plus
your choice of 7-day, weekend or Sunday-only home delivery.
Total access PRINT + DIGITAL JUST
3
$ 24
*
/Week
*Automated payments of $12.95/mo.
Automated monthly payments. Total access subscribers must reside in home delivery area.
santafenewmexican .com/subscribe
986-3010 56
PASATIEMPO I April 11 - 17, 2014
pasa week
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
TO LIST EVENTS IN PASA WEEK: Send an email or press release two weeks before our Friday publication date. SUBMISSION GUIDELINES Provide the following details for each event/occurrence: • • • • •
Time, day, and date Place/venue and address Website and phone number Brief description of events Tickets? Yes or no. How much?
All submissions are welcome, however, events are included in Pasa Week as space allows.
Friday, April 11 GALLERY/MUSEUM OPENINGS
El Zaguán 545 Canyon Rd., 505-983-2567. Alignment, mixed-media installation by Carolyn Riman, reception 5-8 p.m., through May 4. Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338. The Armory Show, multimedia group exhibit and program series in celebration of CCA’s 35th anniversary, through May 30, Muñoz Waxman Gallery (See story, Page 32); Enveloping Space: Walk, Trace, Think, Jane Lackey’s site-specific installation, through May 30, Spector-Ripps Project Space; reception 6-8 p.m. (See story, Page 36) Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1777. BFA Student Exhibit, showcase of contemporary and traditional works, through May 18. New Concept Gallery 610-A Canyon Rd., 505-795-7570. Santa Fe in Bloom, botanical-themed works by Carole Aine Langrall, Richard Solomon, and Brian Arthur, reception 5-7 p.m., through May 11. SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. SITE Unseen 8, group show and fundraiser; ticketed preview 5-6 p.m. $100; free public opening follows, through Sunday. Than Povi Fine Art Gallery 6 Banana Lane, 10 miles north of Santa Fe off US 84/285, 505-455-9988. Pueblo Visions, paintings and watercolors by Geraldine Tso, through May 30.
Catenary Gallery, 616 ½ Canyon Rd., shows photographs by Rumi Vesselinova.
William R. Talbot Fine Art, Antique Maps & Prints 129 W. San Francisco St., 505-982-1559. Missions & Moradas: Icons of New Mexico, 1925–1985, annual Easter exhibit of historic and contemporary works, through May 9.
CLASSICAL MUSIC
Serenata of Santa Fe Spring for Mozart, music of Pärt, Schnittke, and Mozart, 7 p.m., Scottish Rite Center, 463 Paseo de Peralta, $25, 505-988-1234, ticketssantafe.org. TGIF recital Pianist Eric Fricke performs music of Bach, Dowland, and Schumann, 5:30 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations welcome, 505-982-8544, Ext. 16.
IN CONCERT
Flamenco Puro Singer Ismael de la Rosa Fernandez and guitarist Chuscales, 7:30 p.m., Yares Art Projects, 123 Grant Ave., $55-$150, call Paul Boileau, 505-670-6482, for tickets.
Lori Carsillo Jazz vocalist, with Bert Dalton on piano, Jon Gagan on bass, and John Trentacosta on drums, 7 p.m., Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org. (See story, Page 22)
THEATER/DANCE
Louder Than Words Belisama Dance and Moving People Dance Theatre present a student repertory concert, 7 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $20, ages 6-12 $10, 505-988-1234, ticketssantafe.org. The Lyons Santa Fe Playhouse presents Nicky Silver’s drama, 7:30 p.m., 142 E. De Vargas St., $20, discounts available, 505-988-4262, santafeplayhouse.org, final weekend. When the Stars Trembled in Río Puerco Teatro Paraguas and Recuerdos Vivos New Mexico present a play by Shebana Coelho based on oral histories of the Río Puerco Valley collected
by folk historian Nasario García, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $15, discounts available, 505-424-1601, final weekend.
EVENTS
IAIA Ambassador Competition Hosted by Tatanka Means The actor and comedian (Oglala Lakota/Omaha/Navajo) hosts the 2014 IAIA Student Ambassador Competition, 6:30-8:30 p.m., Institute of American Indian Arts Auditorium, 83 Avan Nu Po Rd., no charge, RSVP online at iaia.edu. Randall Davey house tours Docent-led tours, 2 p.m. weekly on Friday, Randall Davey Audubon Center, 1800 Upper Canyon Rd., $5, RSVP to 505-983-4609.
NIGHTLIFE
(See Page 58 for addresses) Cowgirl BBQ Folk-rocker Dan Tedesco, 5-7:30 p.m.; Americana band The Santa Fe Revue, 8:30 p.m.-close; no cover. ▶▶▶▶▶▶▶▶
Pasa’s Little Black Book......... 58 Elsewhere............................ 60 People Who Need People..... 60 Pasa Kids............................ 60
In the Wings....................... 61 At the Galleries.................... 62 Museums & Art Spaces........ 62 Exhibitionism...................... 63
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 505-820-0803. 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 505-986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter. PASATIEMPOMAGAZINE.COM
57
The Den Ladies night with DJ Luna, 9 p.m., call for cover. Duel Brewing Singer/songwriter Chris Chickering, folk-rock, 7-10 p.m., no cover. El Farol Rocker Jay Boy Adams, 9 p.m., call for cover. Junction Dance cover band Chango, 10 p.m.-1 a.m., no cover. La Fiesta Lounge at La Fonda Horn-driven salsa band Nosotros, 8-11 p.m., no cover. Lodge Lounge at The Lodge at Santa Fe Pachanga! Club Fridays with DJ Gabriel “Aztec Sol” Ortega spinning salsa, cumbia, bachata, and merenge, dance lesson, 8:30-9:30 p.m., call for cover. Low ’n’ Slow Lowrider Bar at Hotel Chimayó Jazz (off the Plaza) with pianist Robin Holloway, 9:30 p.m.-12:30 a.m., no cover. Pranzo Italian Grill David Geist, piano and vocals, 6-9 p.m., call for cover. Second Street Brewery Western-swing band The Tumbleweeds, 6-9 p.m., no cover. Second Street Brewery at the Railyard Folk rockers The Bus Tapes, 7-10 p.m., no cover. Shadeh DJ 12 Tribe, 9 p.m.-4 a.m., call for cover. Tiny’s Acoustic guitarist Chris Abeyta, 5:30 p.m.; funk/rock band The Strange; no cover. Vanessie Pianist/vocalist Bob Finnie, ’ 50s-’70s pop, 6:30 p.m., call for cover.
317 Aztec 20-0150 317 Aztec St., 505-8 the Inn at ge Agoyo Loun a ed am Al e th on 505-984-2121 303 E. Alameda St., nt & Bar Anasazi Restaura Anasazi, the of Rosewood Inn e., 505-988-3030 113 Washington Av Betterday Coffee 5-555-1234 , 50 905 W. Alameda St. nch Resort & Spa Ra e dg Lo ’s op sh Bi Rd., 505-983-6377 1297 Bishops Lodge Café Café 5-466-1391 500 Sandoval St., 50 ó ay Casa Chim 5-428-0391 409 W. Water St., 50 ón es M ¡Chispa! at El 505-983-6756 e., Av ton ing ash W 213 Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. te Café The Den at Coyo 5-983-1615 50 , St. r 132 W. Wate Duel Brewing 5-474-5301 1228 Parkway Dr., 50 lton Hi e th El Cañon at 88-2811 5-9 50 , St. al ov nd Sa 100 a Sp & Eldorado Hotel , 505-988-4455 St. o isc nc Fra n Sa 309 W.
58
PASATIEMPO I April 11-17 2014
12 Saturday GALLERY/MUSEUM OPENINGS
Counter Culture 930 Baca St. Plaid All Over, group show, reception 5-9 p.m., attendees are encouraged to wear plaid.
CLASSICAL MUSIC
Santa Fe Community Orchestra Mendelssohn’s Elijah, with baritone Carlos Archuleta, soprano Christina Martos, and mezzo-soprano Jacqueline Zander-Wall, 7:30 p.m., Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place, donations accepted, 505-466-4879, sfco.org.
THEATER/DANCE
Louder Than Words Belisama Dance and Moving People Dance Theatre present a student repertory concert, 7 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $20, ages 6-12 $10, 505-988-1234, ticketssantafe.org. The Lyons Santa Fe Playhouse presents Nicky Silver’s drama, 7:30 p.m., 142 E. De Vargas St., $20, discounts available, santafeplayhouse.org, 505-988-4262, final weekend. When the Stars Trembled in Río Puerco Teatro Paraguas and Recuerdos Vivos New Mexico present a play by Shebana Coelho based on oral histories of the Río Puerco Valley collected by folk historian Nasario García, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $15, discounts available, 505-424-1601, final weekend.
PASA’S LITTLE BLACK BOOK El Farol 5-983-9912 808 Canyon Rd., 50 ill Gr & El Paseo Bar 92-2848 5-9 50 , St. teo lis Ga 208 Evangelo’s o St., 505-982-9014 200 W. San Francisc erging Arts High Mayhem Em 38-2047 5-4 50 , ne 2811 Siler La Hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters Iconik Coffee Ro -0996 28 5-4 50 , St. na Le 1600 Junction , 505-988-7222 530 S. Guadalupe St. La Boca 5-982-3433 72 W. Marcy St., 50 ina nt La Casa Sena Ca 5-988-9232 50 e., Av e lac Pa 125 E. at La Fonda La Fiesta Lounge , 505-982-5511 St. o isc nc Fra 100 E. San a Fe Resort nt Sa de da La Posa e Ave., lac Pa and Spa 330 E. 00 -00 86 505-9 g Arts Center Lensic Performin St., 505-988-1234 o isc nc Fra n 211 W. Sa The Lodge at ge un Lo Lodge St. Francis Dr., N. 0 75 at Santa Fe 505-992-5800
BOOKS/TALKS
Lawrence Lazarus The Santa Fe author discusses and signs copies of Getting the Health Care You Deserve in America’s Broken Health Care System, 3 p.m., Hastings Books, Movies, and Videos, 542 N. Guadalupe St., 505-984-2857. National Poetry Month Readings by poets Colleen Gorman, Damien Flores, and Jasmine Sena y Cuffee, 1 p.m., Santa Fe Arts Commission Community Gallery, Santa Fe Convention Center, 201 W. Marcy St., no charge, Santa Fe Arts Commission, 505-955-6707.
OUTDOORS
Enchanted Hikes The City of Santa Fe Recreation Division offers easy to moderate treks along the following trails: Dale Ball, Dorothy Stewart, Tesuque Creek, and Galisteo Basin Preserve; Session I, Thursdays through April 24, 4-6 p.m.; Session II, Saturdays through April 26, 10 a.m.-noon, preregister at Genoveva Chavez Community Center, 3221 Rodeo Rd., $6.50 per hike or $20 for full session, contact Michelle Rogers for registration information, 505-955-4047, chavezcenter.com. Make Tracks Come to Cerrillos Hills State Park to learn about different animal tracks, 11 a.m., 16 miles south of Santa Fe off NM 14, meet at the main parking lot, a half mile north of the village, $5 per vehicle, 505-474-0196.
EVENTS
Armory Show gala and auction Honoring Santa Fe Rotary Foundation for the Arts Artist of the Year Sam Scott and benefiting CCA and Capital High School’s film program;
Low ’n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St. Mine Shaft Tavern 2846 N.M. 14, Madrid, 505-473-0743 Molly’s Kitchen & Lounge 1611 Calle Lorca, 505-983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Trail, 505-982-1851 Palace Restaurant & Saloon 142 W. Palace Ave., 505-428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 505-986-0022 Pranzo Italian Grill 540 Montezuma Ave., 505-984-2645 Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705 Santa Fe Sol Stage & Grill 37 Fire Place, solofsantafe.com
awards ceremony, silent and live auctions, hors d’oeuvres, drinks, and live music, 6 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $100 in advance, ccasantafe.org, 505-982-1338. (See story, Page 32) Contra dance Folk dance with easy walking steps, live music by Roaring Jelly, beginners’ class 7 p.m., dance 7:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $9, students $5, folkmads.org. Poetry workshop Don’t Say What You Mean, Mean What You Say, Santa Fe Poet Laureate Jon Davis leads a workshop for teens and adults, 12:30-4:30 p.m., Santa Fe Public Library, Main Branch, 145 Washington Ave., sign up by calling 505-955-2839. River Voices Auctions and dinner in support of the Santa Fe Girls’ School Project Preserve ecological-education program; live music with percussion and vocal ensemble Mala Maña; meal prepared by chef Bret Sparman of Luminaria, 5:30 p.m., Inn and Spa at Loretto, 211 Old Santa Fe Trail, $75, 505-820-3188. Vista Grande Social Club Saturday Night Salsa Party Ivon Ulibarri y Café Mocha, dance lesson 8-9 p.m., dance 9 p.m.-12:30 a.m., La Tienda Performance Space, 7 Caliente Rd., Eldorado, $10 at the door.
NIGHTLIFE
(See addresses below) Anasazi Restaurant & Bar Guitarist Jesús Bas, 7-10 p.m., no cover. ¡Chispa! at El Meson! Jazz pianist John Rangel’s quartet, 7:30-10:30 p.m., no cover.
Second Street Brewer y 1814 Second St., 505-982-3030 Second Street Brewer y at the Railyard 1607 Paseo de Peralta, 505-989-3278 Shadeh Buffalo Thunder Resort & Casino, Pojoaque Pueblo, U.S. 84/285, 505-455-5555 Sweetwater Harvest Kitchen 1512-B Pacheco St., 505-795-7383 Taberna La Boca 125 Lincoln Ave., 505-988-7102 Tiny’s 1005 St. Francis Drive, Suite 117, 505-983-9817 The Underground at Evangelo’s 200 W. San Francisco St. Upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Vanessie 434 W. San Francisco St., 505-982-9966 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia Dinner 326 S. Guadalupe St., 505-988-7008
Cowgirl BBQ Santa Fe Chiles Dixie Jazz Band 2-5 p.m.; folk rockers The Bus Tapes, 8:30 p.m.-close; no cover. Duel Brewing Jazz/funk trio Müshi, 7-10 p.m., no cover. El Farol Controlled Burn, classic rock and country covers, 9 p.m., call for cover. La Fiesta Lounge at La Fonda Horn-driven salsa band Nosotros, 8-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, featuring vocalist Whitney Carroll Malone, 6-9 p.m., call for cover. Palace Restaurant & Saloon Boom Roots Collective, reggae, 10 p.m., call for cover. Pranzo Italian Grill Ron Newman, piano and vocals, 6-9 p.m., call for cover. Second Street Brewery Hot Honey, singer/songwriters Lucy Barna, Paige Barton, and Lori Ottino, Appalachian tunes, 6-9 p.m., no cover. Second Street Brewery at the Railyard Gypsy-jazz ensemble Swing Soleil, 7-10 p.m., no cover. Shadeh DJ Flo Fader, 9 p.m.-4 a.m., call for cover. Sweetwater Harvest Kitchen John Serkin, Hawaiian slack-key guitar, 6 p.m., no cover. Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m., no cover. Vanessie American Jem, acoustic Americana with Jay Cawley, Ellie Dendahl, and Michael Umphrey, guitars and vocals, 6:30-8:30 p.m., call for cover. Zia Diner Lisa Carman Band, Americana, 6:30-9:30 p.m., no cover.
13 Sunday GALLERY/MUSEUM OPENINGS
Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 505-476-1269. Turquoise, Water, Sky: The Stone and Its Meaning, highlights from the museum’s collection of Southwestern turquoise jewelry, reception 1-4 p.m., by museum admission (See story, Page 26)
OPERA IN HD
Performance at The Screen The broadcast series continues with Mozart’s Don Giovanni, performed at London’s Royal Opera House, SFUA&D, 1600 St. Michael’s Dr., $20, discounts available, thescreensf.com, 505-473-6494.
CLASSICAL MUSIC
Santa Fe Symphony Steven Smith returns to lead the orchestra in Mahler’s Symphony No. 7, 4 p.m., lecture precedes the concert, the Lensic, $22-$76, half-price tickets available for youths ages 6-14, 505-988-1234, ticketssantafe.org. (See story, Page 40)
IN CONCERT
Brazilian music and dance Frank Leto and Pilar Leto perform in conjunction with the exhibit Brasil and Arte Popular, 1-4 p.m., Museum of International Folk Art, 706 Camino Lejo, Museum Hill, by museum admission, 505-476-1200.
Eggman & Walrus, 130 W. Palace Ave., second floor, shows encaustic paintings by John Schaeffer.
Melanie Monsour Piano recital with Paul Brown on bass, noon2 p.m., Museum Hill Café, 710 Camino Lejo, no charge, melaniemonsour.com. Taína Asili y la Banda Rebelde Afro-Latin fusion band, 8 p.m., Santa Fe Sol Stage & Grill, 37 Fire Place, $10, solofsantafe.com, 21+.
THEATER/DANCE
The Lyons Santa Fe Playhouse presents Nicky Silver’s drama, 4 p.m., 142 E. De Vargas St., $20, discounts available, 505-988-4262, santafeplayhouse.org. When the Stars Trembled in Río Puerco Teatro Paraguas and Recuerdos Vivos New Mexico present a play by Shebana Coelho based on oral histories of the Río Puerco Valley collected by folk historian Nasario García, 4 p.m.; preceded by Share Your Recuerdos, an open-mic event, Teatro Paraguas Studio, 3205 Calle Marie, pay-what-you-wish, 505-424-1601.
BOOKS/TALKS
Journey Santa Fe Presents Journalist Zélie Pollon discusses the national movement known as The Happiness Initiative, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. Muse Times Two Poetry Series Readings by winners of Collected Works Bookstore’s college poetry contest, 4 p.m., 202 Galisteo St., 505-988-4226.
NIGHTLIFE
(See Page 58 for addresses) Cowgirl BBQ Americana band Boris & The Salt Licks, noon-3 p.m.; Nashville singer/songwriters Matt Verba & Hannah Bethel, 8 p.m.-close; no cover. El Farol Chanteuse Nacha Mendez, 7:30 p.m., call for cover. La Posada de Santa Fe Resort and Spa Guitarist Wily Jim, Western swingabilly, 7-10 p.m., no cover. Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.
14 Monday GALLERY/MUSEUM OPENINGS
Jean Cocteau Cinema Gallery 418 Montezuma Ave., 505-466-5528. Works by Taos Pueblo silversmith and photographer Wings, through May 11.
IN CONCERT
Neko Case Singer/songwriter, with The Dodos, 7:30 p.m., the Lensic, $34-$44, 505-988-1234, ticketssantafe.org.
BOOKS/TALKS
Southwest Seminars lecture The series continues with Ancient Stone Calendars of the Southwest, with LANL engineer Ron Barber, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 505-466-2775, southwestseminars.org.
EVENTS
Swing dance Weekly all-ages informal swing dance, lessons 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance $3, lesson and dance $8, 505-473-0955.
NIGHTLIFE
(See Page 58 for addresses) Duel Brewing James T. Baker Delta blues, 6-9 p.m., no cover. El Farol Tiho Dimitrov, R & B, 8:30 p.m., no cover. La Fiesta Lounge at La Fonda Jimmy Stadler Duo, classic country, 7:30-11 p.m., no cover. Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.
EVENTS
International folk dances Weekly on Tuesdays, dance 8 p.m., lessons 7 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5 donation at the door, 505-501-5081 or 505-466-2920.
NIGHTLIFE
(See Page 58 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30 p.m., no cover. Cowgirl BBQ Don Curry and Pete Springer, classic rock, 8 p.m., no cover. El Farol Canyon Road Blues Jam, 8:30 p.m., call for cover. La Fiesta Lounge at La Fonda Jimmy Stadler Duo, classic country, 7:30-11 p.m., no cover. Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover. Zia Diner Weekly Santa Fe bluegrass jam, 6-8 p.m., no cover.
16 Wednesday GALLERY/MUSEUM OPENINGS
15 Tuesday
Fogelson Library — Santa Fe University of Art & Design 1600 St. Michael’s Dr., 505-473-6500. Someone’s Family, work by photographer Pamela A. Houser, reception 5-7 p.m., through June 20. Liquid Outpost Coffeehouse — Inn at Loretto 211 Old Santa Fe Trail, 505-983-6503. Contemporary landscapes by Maureen Howles, through April.
BOOKS/TALKS
BOOKS/TALKS
Georgia O’Keeffe Museum Readers’ Club The discussion series continues with Ken Robinson’s book The Element: How Finding Your Passion Changes Everything, 6-7:30 p.m., Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., no charge, 505-946-1039, okeeffemuseum.org.
American Master Marsden Hartley The docent-led Artist of the Week series continues with a discussion of the late modernist painter, 12:15 p.m., New Mexico Museum of Art, 107 W. Palace Ave., by museum admission, 505-476-5075. ▶▶▶▶▶▶▶▶
PASATIEMPOMAGAZINE.COM
59
LOS ALAMOS
Institute of American Indian Arts lecture Crazy Days at the Lazy H: The James Luna Archive, brown-bag talk with Tatiana Lomahaftewa-Singer, Museum of Contemporary Native Arts curator of collections, and IAIA archivist Ryan S. Flahive, noon-1 p.m., Institute of American Indian Arts, 83 Avan Nu Po Rd., no charge, 505-424-2300, 505-983-1777, bring your lunch. Lannan Foundation Literary Series Author Benjamin Alire Sáenz in conversation with UT professor Cecilia Ballí, 7 p.m., the Lensic, 211 W. San Francisco St., $6, discounts available, 505-988-1234, ticketssantafe.org. (See story, Page 38) National Poetry Month Santa Fe Poet Laureate Jon Davis and other local poets, including Valerie Martínez, read from their respective collections, 6 p.m., Santa Fe Arts Commission Community Gallery, 201 W. Marcy St., no charge, 505-955-6707. School for Advanced Research lecture A Village Beside an Active Volcano: Searching for Serenity, by archaeologist Doug Schwartz, noon, 660 Garcia St., no charge, 505-954-7203.
Patricia McCraw The author of Tiffany Blue, discusses the rise of New Mexico’s famous mines on Turquoise Hill, 7:30 p.m. Tuesday, April 15, Fuller Lodge, 2132 Central Ave., call the Los Alamos Historical Society for details, 505-662-6272.
TAOS
Taos Art Museum at Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. Intimate and International: The Art of Nicolai Fechin, paintings and drawings, opening Saturday, April 12, through Sept. 21.
▶ People who need people Artists
2014 Mayor's Awards for Excellence in the Arts Nominations sought for artists, writers, performers, philanthropists (individuals ages 21 and older), organizations, or businesses; information and forms available online at santafeartscommission.org or call 505-955-6606; deadline is 5 p.m. Friday, May 9.
NIGHTLIFE
(See Page 58 for addresses) ¡Chispa! at El Mesón Guitarist Joaquin Gallegos, 7-9 p.m., no cover. Cowgirl BBQ Decker, psychedelic-desert folk, 8 p.m., no cover. Duel Brewing Local alternative-country band Anthony Leon & The Chain, 7 p.m., no cover. El Farol Guitarist/singer John Kurzweg, 8:30 p.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Guitarist Wily Jim, Western swingabilly, 7-10 p.m., no cover. Palace Restaurant & Saloon Folk duo Andrea Taylor and Nate Dodge, 8:30 p.m., call for cover.
Community
Nicolai Fechin (1881-1955): The Manicurist, Taos Art Museum at Fechin House, 227 Paseo del Pueblo Norte
17 Thursday
and Galisteo Basin Preserve; Session I, Thursdays through April 24, 4-6 p.m.; Session II, Saturdays through April 26, 10 a.m.-noon, preregister at Genoveva Chavez Community Center, 3221 Rodeo Rd., $6.50 per hike or $20 for full session, contact Michelle Rogers for registration information, 505-955-4047, chavezcenter.com.
CLASSICAL MUSIC
EVENTS
Santa Fe Pro Musica Baroque Ensemble The 32nd season continues with soprano Kathryn Mueller, 7:30 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $20-$65, 505-988-1234, ticketssantafe.org, or 505-988-4640.
Our Solar System Live presentation in the SFCC Planetarium, 8-9 p.m., Santa Fe Community College, 6401 Richards Ave., $5 at the door, discounts available, 505-428-1744.
IN CONCERT
NIGHTLIFE
Rickie Lee Jones Singer/songwriter, 7:30 p.m., the Lensic, 211 W. San Francisco St., $40-$60, 505-988-1234, ticketssantafe.org. (See story, Page 42) San Miguel Chapel Bell Tower Restoration Concert Series Guitarist AnnaMaria Cardinalli performs Legado y Leynda, San Miguel Chapel, 401 Old Santa Fe Trail, $20 at the door.
BOOKS/TALKS
Renesan Institute for Lifelong Learning lecture The weekly series continues with Joanne Birdwhistell’s discussion of Sun Yat-sen, founding father of the Republic of China, 1 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, renesan.org, 505-982-9274.
OUTDOORS
Enchanted Hikes The City of Santa Fe Recreation Division offers easy to moderate treks along the following trails: Dale Ball, Dorothy Stewart, Tesuque Creek,
60
PASATIEMPO I April 11-17, 2014
(See Page 58 for addresses) ¡Chispa! at El Mesón Jazz pianist Bert Dalton and bassist Milo Jaramillo, 7-9 p.m., no cover. Cowgirl BBQ Shawn James & The Shape Shifters, soulful folk and gospel blues, 8 p.m., no cover. Duel Brewing Bill Palmer with Stephanie Hatfield, Americana/indie rock, 7-10 p.m., no cover. El Farol Guitarras con Sabor, Gypsy Kings style, 8 p.m., no cover. La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Trio; Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 6-9 p.m., call for cover. Low ’n’ Slow Lowrider Bar at Hotel Chimayó Tenor guitarist and flutist Gerry Carthy, 9 p.m., no cover. Palace Restaurant & Saloon Thursday limelight karaoke, 10 p.m., no cover.
Tiny’s Fun Addix, contemporary and classic rock, 8 p.m., no cover. Zia Diner Trio Bijou; vintage string jazz with Gemma DeRagon on violin and vocals, Andy Gabrys on guitar, and Andy Zadrozny on bass, 6:30-8:30 p.m., no cover.
▶ Elsewhere ALBUQUERQUE
Albuquerque Museum of Art & History events Fashioning Elite Identity: Colonial Portrait Painting in the Spanish Americas, a talk by Ray Hernandez-Duran, 1 p.m. Sunday, April 13; Dorothy Baca, of UNM’s Department of Theater and Dance, discusses and shows examples of Spanish colonial garments, 5 p.m. Thursday, April 17; in conjunction with the exhibit Behind Closed Doors: Art in the Spanish American Home, 1492-1898, 2000 Mountain Rd. N.W., by museum admission, 505-243-7255. Chatter Sunday The ensemble performs music of Pärt, Mozart, and Schnittke; 10:30 a.m. Sunday, April 13, poetry reading by Vogue Robinson follows; The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterabq.org. Same Love, Same Rights LGBT wedding expo, 1-4 p.m. Sunday, April 13, Sheraton Albuquerque Uptown, 2600 Louisiana Blvd. N.E., no charge, RSVP online at www.samelovesamerights.com. Patti Littlefield and Arlen Asher Quintet Jazz vocalist and Santa Fe’s woodwind master, with Brian Bennett on piano, Michael Olivola on bass, and John Trentacosta on drums, 7:30 p.m. Thursday, April 24, Outpost Performance Space, 210 Yale Blvd. S.E., $20, students $15, outpostspace.org, 505-268-0044.
Nominations for Santa Fe Community Foundation’s 28th Annual Piñon Awards Honoring Santa Fe and Northern New Mexico nonprofit organizations; four categories: Courageous Innovation, Quiet Inspiration, Visionary, and Tried-and-True; visit santafecf.org for guidelines and nomination forms, Tuesday, April 15, deadline.
Volunteers
Plant a Row for the Hungry A Food Depot program encouraging home gardeners to plant extra produce for donation to the organization; 505-471-1633. Volunteer recruitment day The Spanish Colonial Arts Society seeks individuals to serve on a weekly, monthly, or as-needed basis in numerous positions at the Museum of Spanish Colonial Art, at Spanish Market, and at other special events; 10 a.m.-2 p.m. Tuesday, April 15, at the museum, 750 Camino Lejo, Museum Hill, 505-982-2226.
▶ Pasa Kids Cuentos al Lado del Río Teatro Paraguas presents interactive bilingual folk tales for kids of all ages at the Santa Fe Public Libraries; 4 p.m. Friday, April 11, La Farge Branch, 1730 Llano St.; 10:30 a.m. Saturday, April 12, Main Branch, 145 Washington Ave.; 2:30 p.m. Saturday, April 12, Southside Branch, 6599 Jaguar Dr., no charge. Bee Hive family crafts Make spring-inspired paper wreaths, 10 a.m.noon Saturday, April 12, Bee Hive Kids Books, 328 Montezuma Ave., no charge, 505-780-8051. Museum of Contemporary Native Arts Family Day Earth Day celebration with art-making activities and a sing-a-long/ storytelling program with Emmett (Shkeme) Garcia, noon-4 p.m. Saturday, April 12, Museum of Contemporary Native Arts, 108 Cathedral Place. no charge, 505-983-1777. Santa Fe Children’s Museum Weekly events including open art studio, drama club, jewelry-making club, and preschool programs, 1050 Old Pecos Trail, by museum admission, 505-989-8359, for ongoing programs and special events visit santafechildrensmuseum.org. ◀
In the wings MUSIC
Bobby Shew Quartet Plays Chet Baker Local trumpeter, with John Proulx on piano, Michael Glynn on bass, and Cal Haines on drums, 7 p.m. Friday, April 18, Harwood Museum of Art, 238 Ledoux St., $25, 575-758-9826, harwoodmuseum.org. David Berkeley Singer/songwriter, 8 p.m. Saturday, April 19, High Mayhem Emerging Arts, 2811 Siler Lane, $12, students $8, brownpapertickets.com. Yours Truly, Ray Brown Jazz concert with Seattle bassist Michael Glynn, joined by pianist Bert Dalton and percussionist Cal Haines, 7-9 p.m. Saturday, 3-5 p.m. Sunday, April 19-20, $35, call 505-989-1088 for tickets and venue directions. Living Colour Rock band, 8 p.m. Saturday, April 19, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge, required tickets can be picked up at the Lensic Performing Arts Center box office. Citizen Cope Solo acoustic performance by the singer/songwriter, 7:30 p.m. Monday, April 21, the Lensic, $30-$50, 505-988-1234, ticketssantafe.org, a portion of the proceeds goes toward purchasing musical instruments for middle schoolers on the Northern Cheyenne Indian Reservation. The Met at the Lensic The season continues with a live HD broadcast of Mozart’s Cosi Fan Tutte, 11 a.m. April 26, the Lensic, $22-$28, ticketssantafe.org, 505-988-1234. The Dandy Warhols Power-pop rockers, 7:30 p.m. Tuesday, April 29, Santa Fe Sol Stage & Grill, 37 Fire Place, $27 in advance, 505-988-1234, ticketssantafe.org, $35 at the door. Perla Batalla Singer/songwriter, 7:30 p.m. Monday, May 5, the Lensic, $15-$35, 505-988-1234, ticketssantafe.org. Sangre de Cristo Chorale The ensemble performs Baroque Fireworks, 5:30 p.m. Saturday, May 10, First Presbyterian Church of Santa Fe, 208 Grant Ave., $20 in advance and at the door, discounts available, sdcchorale.org. Leni Stern African Trio Jazz ensemble; featuring Senegalese musicians Mamadou Ba and Alioune Faye, 8 p.m. Sunday, May 11, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. Jenny Bird Taos singer; with Omar Rane on guitar, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m. Friday, May 16, Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org. Seventh Annual Crawdaddy Blues Fest Includes Mississippi Rail Company, Junior Brown, Desert Southwest Blues Band, and Felix y Los Gatos, Saturday and Sunday, May 17-18, Madrid, $15 daily, kids under 12 no charge, crawdaddybluesfest.com. Dave Grusin & Friends Santa Fe Waldorf School presents the jazz pianist/composer; accompanied by John Rangel, Michael Glynn, and Ryan Lee; vocals by Barbara Bentree, 6:30 p.m. Thursday, May 22, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $25-$65, 505-988-1234, ticketssantafe.org.
Austin Piazzolla Quintet Tango ensemble, 7:30 p.m. Saturday, May 24, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. Santa Fe Opera 2014 Festival Season The season opens with a new production of Bizet’s Carmen and includes the American premiere of Dr. Sun Yat-sen by Huang Ruo, as well as Beethoven’s Fidelio and Stravinsky’s Le Rossignol, June 27-Aug. 23, schedule of community events available online, Santa Fe Opera, 301 Opera Dr., 505-986-5900, santafeopera.org. Ninth Annual New Mexico Jazz Festival July 11-27 in Albuquerque and Santa Fe; Terri Lyne Carrington’s Mosaic Project, Jack DeJohnette Trio, Claudia Villela Quartet, Henry Butler with Steven Bernstein & The Hot 9, tickets TBA, visit newmexicojazzfestival.org for schedule.
THEATER/DANCE
Consider This Theater Grottesco presents a light-hearted showcase of theatrical styles through history, 7:30 p.m. Friday and Saturday, April 18-19, Santa Fe Playhouse, 142 E. De Vargas St., $10, students $5, 505-474-8400, theatergrottesco.org.
UPCOMING EVENTS Aspen Santa Fe Ballet Mixed-repertory encore, 7:30 p.m. Saturday, April 19, the Lensic, $25-$72, 505-988-1234, ticketssantafe.org. Left to Our Own Devices: Staying Connected in the Digital Age Just Say It Theater presents a collaborative performance by students of Santa Fe University of Art & Design and New Mexico School for the Arts, 7 p.m. Thursday-Saturday, 2 p.m. Sunday, April 24-27, Warehouse 21, 1614 Paseo de Peralta, $10, 505-820-7112. Spring Awakening A musical based on Frank Wedekind’s oncecontroversial play, 7 p.m. Friday and Saturday, April 25-May 3, 2 p.m. Sunday, May 4, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org. Joe West’s Theater of Death Original one-act plays, includes musical guests Busy McCarroll, Anthony Leon, and Lori Ottino, 8 p.m. Fridays and Saturdays, April 25-26, May 2-3, and Thursday, May 1, Engine House Theater, 2846 NM 14, Madrid, $15 in advance at Candyman Strings & Things, 851 St. Michael’s Dr., 505-983-5906, and Mine Shaft Tavern, 2846 NM 14, Madrid, 505-473-0743. BalletNext Classic and contemporary choreography by Mauro Bigonzetti and Brian Reeder, 7:30 p.m. Friday and Saturday, April 25-26, the Lensic, $20-$75 in advance at the Santa Fe Concert Association box office, 505-984-8759, or 505-988-1234, ticketssantafe.org. The Lilac Minyan A play by Debora Seidman, presented by Metta Theatre, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, May 2-4, Teatro Paraguas Studio, 3205 Calle Marie, $18, discounts available, 505-424-1601, teatroparaguas.org.
J.Q. Whitcomb & Five Below Santa Fe trumpeter; with Ben Finberg on trombone, Dimi DiSanti on guitar, Andy Zadrozny on bass, and Arnaldo Acosta on drums, 7:30 p.m. Thursday, May 15, Outpost Performance Space, 210 Yale Blvd., S.E., Albuquerque, $20, student discounts available, holdmyticket.com Spring Dance Concert Student showcase with choreography by SFUA&D faculty and guest artists, 7 p.m. Wednesday, May 14, Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org. Flexion Wise Fool New Mexico’s touring stilt and aerial performance, 7:30 p.m. Friday and Saturday, May 16-17, Santa Fe Railyard Park, 740 Cerrillos Rd., donations accepted, wisefoolnewmexico.org.
HAPPENINGS
Opera Unveiled Santa Fe Opera Guild presents author and lecturer Desirée Mays in a preview of the 2014 Santa Fe Opera season, 5:30 p.m. Wednesday, April 23, Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., $10, 505-629-1410, guildsofsfo.org. Santa Fe Film Festival 2014 More than 30 films, including international documentaries, shorts, feature films, and accompanying events; hosted at Jean Cocteau CCA Cinematheque; Thursday-Sunday, May 1-4, santafefilmfestival.com, 505-988-7414. Fantase Dome Fest Outdoor multimedia interactive light installation presented by Creative Santa Fe, 6-11 p.m. Friday, May 9, De Vargas Park, W. Alameda and S. Guadalupe streets, no charge, 505-989-9934, creativesantafe.org. 2014 IAIA Pow Wow Gourd dancing 10-11 a.m., grand entry 11 a.m.; dancing contests continue to 7 p.m. Saturday, May 10, Institute of American Indian Arts, 83 Avan Nu Po Rd., no charge, 505-424-2300. Tenth Annual Native Treasures More than 200 Native artists selling handcrafted works; benefit preview party with a reception for 2014 Living Treasures artists Joe Cajero and Althea Cajero, live jazz ensemble, hors d’oeuvres, and champagne, 7:30 p.m. Friday, May 23; early bird show 9 a.m. Saturday, May 24, art show and sale 10 a.m.-4 p.m. Saturday and Sunday, Santa Fe Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St., early bird admission $20 at the door, Saturday show $10 at the door, no charge on Sunday, preview party $100 in advance online at nativetreasures.org (includes early bird ticket for Saturday admission). New Mexico History Museum Fifth Anniversary Bash Highlighting toys from the permanent collection with Toys and Games: A New Mexico Childhood, games held in the Palace of the Governors Courtyard, 2-4 p.m. Sunday, May 25, New Mexico History Museum, 113 Lincoln Ave., by museum admission, 505-476-5200.
Singer/songwriter David Berkeley performs April 19, at High Mayhem Emerging Arts.
PASATIEMPOMAGAZINE.COM
61
AT THE GALLERIES Andrew Smith Gallery Annex 203 W. San Francisco St., 505-984-1234. Outer/Inner: Contemplation on the Physical and the Spiritual, work by photographer Patrick Nagatani, through April. David Richard Gallery 544 S. Guadalupe St., 505-983-9555. New Moon West, Paul Pascarella’s paintings, through Saturday, April 12. Lineal Pathways, paintings by Julian Stanczak, through April 19. Evoke Contemporary 550 S. Guadalupe St., 505-995-9902. Works by Steve Huston, Nicholas Herrera, and Victor Wang, through April. Heidi Loewen Porcelain Gallery 315 Johnson St., 505-988-2225. Sustenance in the World of Porcelain, new work by Loewen, through April. LewAllen Galleries 1613 Paseo de Peralta, 505-988-3250. Glass artist Lucy Lyon’s Sandy Hook Elementary School memorial, through April 20. Visual Arts Gallery — Santa Fe Community College 6401 Richards Ave., 505-428-1501. Gray, Matters: An Exhibition of Contemporary Native American Art + Design, group show, through April 22.
MUSEUMS & ART SPACES
SANTA FE
Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338. The Armory Show, multimedia group exhibit and program series in celebration of CCA’s 35th anniversary, reception 6-8 p.m. Friday, April 11, gala 6 p.m. Saturday, April 12 (See story, Page 32) • Enveloping Space: Walk, Trace, Think, Jane Lackey’s immersive site-specific installation, Spector-Ripps Project Space, exhibits up through May 30; (See story, Page 36) Georgia O’Keeffe Museum 217 Johnson St., 505-946-1000. Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept. 14. Paintings, drawings, sculptures, sketches, and photographs by O’Keeffe in the permanent collection. Open daily; visit okeeffemuseum.org. Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1777. BFA Student Exhibit, traditional and contemporary showcase of works, opening Friday, April 11, through May 18 • Articulations in Print, group show, through July • Bon à Tirer, prints from the permanent collection, through July • Native American Short Films, continuous loop of five films from Sundance Institute’s Native American and Indigenous Program. Closed Tuesdays; visit iaia.edu/museum. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 505-476-1269. Turquoise, Water, Sky: The Stone and Its Meaning, highlights from the museum’s collection of Southwestern turquoise jewelry, reception 1-4 p.m. Sunday, April 13 (See story, Page 26) • Native American Portraits: Points of Inquiry, vintage and contemporary photographs, through January 2015 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, more than 1,300 artifacts from the museum collection. Closed Mondays through Memorial Day; visit indianartsandculture.org.
62
PASATIEMPO I April 11-17, 2014
Vajravarahi, by Patrick Nagatani, Andrew Smith Gallery Annex, 203 W. San Francisco St.
Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900. Gathering of Dolls: A History of Native Dolls, through April 27. Closed Mondays; visit pvmiwa.org. Poeh Cultural Center and Museum 78 Cities of Gold Rd., 505-455-3334. Nah Poeh Meng, 1600-square-foot installation highlighting the works of Pueblo artists and Pueblo history. Closed Saturdays and Sundays; visit poehcenter.org. Santa Fe Children’s Museum 1050 Old Pecos Trail, 505-989-8359. Current interactive exhibits. Visit santafechildrensmuseum.org; closed Mondays and Tuesdays through May. SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. SITE Unseen 8, group show and fundraiser, ticketed preview 5-6 p.m. Friday, April 11, $100; free public opening follows at 6-7:30 p.m., through Sunday, April 13 • Feast: Radical Hospitality in Contemporary Art, through May 18. Closed Mondays-Wednesdays; visit sitesantafe.org. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through Sunday, April 13. Open daily; visit wheelwright.org.
ALBUQUERQUE
Museum of International Folk Art 706 Camino Lejo, Museum Hill, 505-476-1200. Wooden Menagerie: Made in New Mexico, early 20th-century carvings, through Feb. 15, 2015 • Tako Kichi: Kite Crazy in Japan, exhibition of Japanese kites, through April 27 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s collection, through Aug. 10. Visit internationalfolkart.org; closed Mondays. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 505-982-2226. Filigree & Finery: The Art of Adornment in New Mexico, through May • Window on Lima: Beltrán-Kropp Peruvian Art Collection, through May 27 • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonialperiod re-creation. Closed Mondays; visit spanishcolonialblog.org. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 505-476-5200. Transformed by New Mexico, work by photographer Donald Woodman, through Oct. 12 • Water Over Mountain, Channing Huser’s photographic installation • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe. Closed Mondays; visit nmhistorymuseum.org. New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Focus on Photography, rotating exhibits: • Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes used to make color and platinum-palladium prints from the collection, through March 2015 • 50 Works for 50 States: New Mexico, through Sunday, April 13. Visit nmartmuseum.org; closed Mondays.
Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255. Everybody’s Neighbor: Vivian Vance, family memorabilia and the museum’s photo archives of the former Albuquerque resident, through January 2015 • Behind Closed Doors: Art in the Spanish American Home, 1492-1898, works from the Brooklyn Museum, through May 18 • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, more than 150 examples of craftsmanship and design distinctive to the charro • African American Art From the Permanent Collection, installation of drawings, prints, photographs, and paintings by New Mexico African American artists, through May 4. Closed Mondays; visit cabq.gov/culturalservices/albuquerquemuseum/general-museum-information. Indian Pueblo Cultural Center 2401 12th St. N.W., 866-855-7902. Our Land, Our Culture, Our Story, a brief historical overview of the Pueblo world, and exhibits of contemporary artwork and craftsmanship of each of the 19 pueblos. Open daily; visit indianpueblo.org. Maxwell Museum of Anthropology UNM campus, 1 University Blvd. N.E., 505-277-4405. The museum’s collection includes several million individual archaeological, ethnological, archival, photo, and skeletal items. visit maxwellmuseum.unm.edu; closed Sundays and Mondays. National Hispanic Cultural Center 1701 Fourth St. S.W., 505-604-6896. En la Cocina With San Pascual, works by New Mexico artists. Hispanic visual arts, drama, traditional and contemporary music, dance, literary arts, film, and culinary arts. Closed Mondays; visit nationalhispaniccenter.org. New Mexico Museum of Natural History & Science 1801 Mountain Rd. N.W., 505-841-2804. Timetracks, core exhibits offer a journey through billions of years of history. Open daily; visit nmnaturalhistory.org. UNM Art Museum 1 University of New Mexico Blvd., 505-277-4001. Melanie Yazzie: Geographies of Memory, works by the printmaker and sculptor • 400 Years of Remembering and Forgetting: The Graphic Art
of Floyd Solomon, etchings by the late artist • The Blinding Light of History: Genia Chef, Ilya Kabakov, and Oleg Vassiliev, Russian paintings and drawings • Breakthroughs: The Twentieth Annual Juried Graduate Exhibition, all through May 17. Closed Sundays and Mondays; visit unmartmuseum.org.
ESPAÑOLA
Bond House Museum and Misión Museum y Convento 706 Bond St., 505-747-8535. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Call for hours; visit plazadeespanola.com.
LOS ALAMOS
Bradbury Science Museum 1350 Central Ave., 505-667-4444. Information on the history of Los Alamos and the Manhattan Project, as well as over 40 interactive exhibits. Open daily; visit lanl.gov/museum. Los Alamos Historical Museum 1050 Bathtub Row, 505-662-4493. Edith and Tilano: Bridges Between Two Worlds, photographs and artifacts of the homesteaders, through May. Core exhibits on area geology, homesteaders, and the Manhattan Project. Housed in the Guest Cottage of the Los Alamos Ranch School. Visit losalamoshistory.org; open daily. Pajarito Environmental Education Center 3540 Orange St., 505-662-0460. Exhibits of flora and fauna of the Pajarito Plateau; herbarium, live amphibians, and butterfly and xeric gardens. Closed Sundays; visit pajaritoeec.org.
TAOS
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 daily; visit taoshistoricmuseums.org. Harwood Museum of Art 238 Ledoux St., 575-758-9826. Ken Price: Slow and Steady Wins the Race, Works on Paper 1962-2010, drawings by the late artist • Charles Mattox: Poetry in Motion, works on paper from the 1970s • Art for a Silent Planet: Blaustein, Elder and Long, works by local artists Jonathan Blaustein, Nina Elder, and Debbie Long, exhibits up through May 4 • Highlights From the Harwood Museum of Art’s Collection of Contemporary Art • Death Shrine I, work by Ken Price • works of the Taos Society of Artists and Taos Pueblo Artists. Open daily through October; visit harwoodmuseum.org. Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson displaying artifacts, antique firearms, pioneer belongings, and Carson memorabilia. Visit kitcarsonhomeandmuseum.com; open daily. La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. One of the few Northern New Mexico-style, late-Spanish-colonial-period “great houses” remaining in the American Southwest. Built in 1804 by Severino Martin. Open daily; visit taoshistoricmuseums.org. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Historical collections of Native American jewelry, ceramics, and paintings; Hispanic textiles, metalwork, and sculpture; and a wide range of contemporary jewelry. Open daily through October; visit millicentrogers.org. Taos Art Museum at Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. Intimate and International: The Art of Nicolai Fechin, paintings and drawings, opening Saturday, April 12, through Sept. 21. Visit taosartmuseum.org; closed Mondays.
EXHIBITIONISM
A peek at what’s showing around town
Jane Abrams: Gumbo Limbo, 2014, oil on linen. New Concept Gallery (610 Canyon Road) presents Santa Fe in Bloom, an exhibition of botanical art by Carole Aine Langrall, Richard Solomon, Brian Arthur, Jane Abrams, and Ann Hosfeld. The work includes paintings and mixed-media pieces made with repurposed organic materials such as bark, seeds, and plant fibers. The show opens Friday, April 11, with a 5 p.m. reception. Call 505-795-7570.
William Dickerson (1904–1972): Church at Canyoncito, 1942, lithograph. William R. Talbot Fine Art’s exhibit Missions and Moradas: Icons of New Mexico, 1925-1985 features works by Gustave Baumann, Howard Cook, Gene Kloss, and other artists who made images of Southwestern missions and Penitente moradas. The show, which includes paintings, drawings, prints, and photographs, opens on Friday, April 11; there is no reception. The gallery is at 129 W. San Francisco St., second floor. Call 505-982-1559.
Tom Lea (1907-2001): Employment in Public Works, 1934, oil on Masonite. New Mexico Art Tells New Mexico History is an ongoing exhibit of historic and contemporary works from the collection of the New Mexico Museum of Art (107 W. Palace Ave.). The show is organized by themes covering subjects such as Ancestral Pueblo life, New Mexico’s growth and statehood, and multiculturalism as seen through the work of artists such as Joseph Henry Sharp, Maria Martinez, Agnes Martin, and Georgia O’Keeffe. Entrance is by museum admission. Call 505-476-5072.
Donald Woodman: Two Boys in a Doorway, circa 1970, archival pigment print. Donald Woodman: Transformed by New Mexico continues at the New Mexico History Museum (113 Lincoln Ave.) through Oct. 12. The exhibition includes Woodman’s early photographs from when he studied under Minor White; images of Sacramento Peak Solar Observatory in Sunspot, New Mexico; and selections from The Therapist Series, selfportraits taken during sessions with psychiatrist Donald Fineberg. The show is part of a yearlong series of exhibits commemorating the museum’s fifth anniversary. Entrance is by museum admission. Call 505-476-5200.
Maureen Howles: Untitled II, 2011, monotype. The Liquid Outpost in the Inn and Spa at Loretto (211 Old Santa Fe Trail) presents an exhibition of contemporary landscapes by artist Maureen Howles. She captures the colors and feeling of the Southwest, blending naturalism and abstraction. The show opens Wednesday, April 16. Call 505-983-6503.
PASATIEMPOMAGAZINE.COM
63
Best Selection… Best Ser vice… Best Prices alaska Fish emulsion Alaska Fish Emulsion is the perfect natural fertilizer to give all of your seedlings and plants a healthy boost.
1 gallon $19.99
ocean Forest Potting soil
Perennials
Shasta Daisy Gaillardia Penstemon Ice Plant Vinca Creeping phlox Moonshine yarrow Ajuga Columbine Iris Jupiter’s Beard Sedum Hens n’ chicks Holly Hocks Catmint Plus lots more...
Fuchsia
Time to Plant!
#1 containers $7.99
4” containers $4.99 or 2 for $8.00
aspen Trees
Geraniums SALE!
m’s Fox Farum Premi oil S Potting
1.5 cubic feet $15.99 Regularly $19.99
#5 containers $45.99 Regularly $49.99
#1 containers $9.99 Regularly $11.99
Gro-Power Plus
Weed Fabric
Gourmet Herbs
Family Owned & Operated Since 1974 ALWAYS FRIENDLY PROFESSIONAL NURSERY SERVICE
Jaguar Drive
NEWMAN’S Newmans
d
trees, shrubs and perennials in Santa Fe. However, it is still too early for annual flowers and vegetables. Now is the time to fertilize all trees, shrubs and plants with Gro-Power. Make sure to start watering deeply after you fertilize. Once a week for established trees and shrubs and twice a week for items that were planted last year. Hold off on the temptation to prune trees and shrubs, it is still too early. According to the American Arborist Society, the best time to prune is right after the trees have leafed out.
sR oa
Pete Moss’ Garden Tip: April is the time to start planting
2.5” containers $2.99 or 10 for $19.99
Ocate Road
Walmart
llo
4’ x 100’ rolls $12.99 Regularly $36.99
oPeN: 9am-6Pm seveN days a Week
Good thru 4/17/14 • while supplies last • stop by today and see our Great selection.
64
PASATIEMPO I April 11 - 17, 2014
Great fo Window r s Growin ill g!
rri
20 lbs. $16.99 Regularly $19.99
SALE!
Ce
Now is the time to fertilize all of your trees and shrubs with Gro-Power Plus.
Sweet Basil Tarragon Lemon balm Lavender Thyme Sage Parsley Cat Nip Watercress Dill Marjoram Oregano
5 I-2
7501 Cerrillos rd.
471-8642