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The The New New Mexican’s Mexican’s Weekly Weekly Magazine Magazine of of Arts, Arts, Entertainment Entertainment & & Culture Culture April 18, 2014

“I have the simplest of tastes always satisfied with the best” - Oscar Wilde I am

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

Inspired Lunch Menu Starting at 9 dollars

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

526 Galisteo Street • 820.0919

Tradition // Innovation // Excellence

Tickets: 505-988-1234

the lensic is a nonprofit, member-supported organization


FUSIONTheatre Company










PASATIEMPO I April 18 - 24, 2014




b o t w i n

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g r o u p

o p t i c s s a n t a

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optometric physicians Dr. mark botwin Dr. Jonathan botwin Dr. Jeremy botwin


The premier source for Native American Jewelry 101 W. SAN FRANCISCO ST. SANTA Fe

505-988-1866 OPeN 7 DAYS

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. mon-Fri 8:00-6:00, sat 8:30-12:00 444 st michaels Drive |



A Great Night Out!

Dinner, Tapas & Live Entertainment 213 Washington Avenue | (505) 983 6756 4

PASATIEMPO I April 18 - 24, 2014

restaurant & tapas bar




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.

Joey “Coco” Diaz & Ari Shafir

Drive Home a 2014 Chief Vintage Motorcycle Memorial weekend!

For Tickets

but it doesn’t have to be.

Complimentary car washes for life.



Fri & Sat in April & May

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10 Minutes North of DOWNTOWN Santa Fe


Exit 175 on Hwy 84/285

6824 Cerrillos Rd. | Santa Fe, NM 87507


Easter Lunch!


Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room





Featuring Attractive Handcrafted Furniture

Southwestern Style Great one-of-a-kind Pieces


Reasonable prices everyday of the year! Please come in, you’ll be pleasantly surprised.

Lemon Shrimp Cocktail, Spring Pea Salad on Arugula Greens Grilled Salmon, CousCous Salad, Grilled Asparagus Roast Ham, Pineapple Chutney, Chipotle Sweet Potato Gratin Vanilla Panna Cotta with Fresh Raspberries Lemon Cheesecake Mimosa, Raspberry Champagne Cocktail

Navajo Two Door Bookcase (shown) Adjustable Shelves 31”W x 13”D x 76”h $682

Served all day from 11am

Navajo Three Door Bookcase Adjustable Shelves 48”W x 13”D x 76”h $980

Navajo One Door Bookcase Adjustable Shelves 17”W x 13”D x 76”h $480


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525 Airport Road • 660-4003 • Corner of Airport Rd. & Center Dr. Monday - Saturday • 9 - 5 • Closed Sundays




April 18 - 24, 2014

ON THE COVER 28 The intersect Every kind of cross is fair game for Jane Levy Reed’s lens. Some are elaborate sculptural grave markers, and others are as simple as an X painted on the pavement. She avoids religious-based interpretations of her work, focusing on form and leaving meaning open-ended. Where Dreams Cross, a themed-based collection of her pictures shot over decades, was published last year. On the cover is a photo Reed took in 2011 in Oakland, California. Images from the book, © 2013 Jane Levy Reed


BOOKS 12 14 16

40 Under the Skin 41 Alan Partridge 42 Pasa Pics

In Other Words The Fan Who Knew Too Much: The Secret Closets of American Culture Mistress of mystery Anne Perry Mouthpiece of modernism Carl Van Vechten




20 Pasa Tempos CD reviews 22 Terrell’s Tune-Up Voodoo roots 24 Pasa Reviews Santa Fe Symphony 27 Onstage Tinariwen

AND 9 11 46


Art of Space William Lumpkins Sacred times Joel-Peter Witkin

PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, Art Director — Marcella Sandoval 505-986-3025,

Assistant Editor — Madeleine Nicklin 505-986-3096,

Detail of a felt-tip-pen drawing by William Lumpkins, AM Cover, 1977

Chief Copy Editor/Website Editor — Jeff Acker 505-986-3014,

Associate Art Director — Lori Johnson 505-986-3046,

Calendar Editor — Pamela Beach 505-986-3019,

STAFF WRITERS Michael Abatemarco 505-986-3048, James M. Keller 505-986-3079, Bill Kohlhaase 505-986-3039, Paul Weideman 505-986-3043,

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

Mixed Media Star Codes Restaurant Review: La Plazuela at La Fonda

ADVERTISING: 505-995-3852 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 Week

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 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





Comprehensive .Compassionate .Patient Centered Health Care

Family Physician | Board Certified ABFM In Santa Fe since 1987

983-6911 A lecture series on political, economic, environmental, and human rights issues featuring social justice activists, writers, journalists, and scholars discussing critical topics of our day.

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$50 Credit On Initial Visit With This Ad No longer accepting insurance, but reasonable fees.


three courses before 7 p.m. eVerY NIGHT



1501 Paseo de Peralta, Santa Fe | 5:30-10:00pm | 505.955.7805 |

From the right to know and the duty to inquire flows the obligation to act. — from Living Downstream © 2010

Sandra Steingraber, Ph.D., is an ecologist, author, cancer survivor and an internationally recognized authority on the environmental links to cancer and human health. Her acclaimed book Living Downstream: An Ecologist’s Personal Investigation of Cancer and the Environment presents her research on, and personal experience with, environmental pollution and cancer. She has also written Having Faith: An Ecologist’s Journey to Motherhood and Raising Elijah: Protecting Our Children in an Age of Environmental Crisis. Heralded as “the new Rachel Carson,” she speaks extensively and is a columnist for Orion Magazine. TICKETS ON SALE NOW or call 505.988.1234 $6 general/$3 students/seniors with ID

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.

$72 $36


Dinner 6:00 p.m. - 9:30 p.m. Brunch seatings: 11:00 a.m., 1:00 p.m. and 3:00 p.m.

Video and audio recordings of Lannan events are available at:

TREAT YOURSELF at Four Seasons Resort Rancho Encantado

For reservations or information, please call (505) 946-5700 or visit 8

PASATIEMPO I April 18 - 24, 2014


Left, Clayton Porter: Untitled, 2014, colored pencil on paper Sam McBride: Day 164 (detail), 2013, ink and colored pencil on paper

Sourdough dudes: Toast + Cowboys The cowboy has become a clichéd image of the West, clinging to the back of a bucking bronco, riding off into the sunset. So common are horse and rider in Western art that you could call them mundane, perhaps even as mundane as piece of toast. With a focus on meticulous draftsmanship and some wry humor, Toast + Cowboys opens at Offroad Productions (2891-B Trades West Road) on Saturday, April 19. The exhibition, curated by Cyndi Conn, executive director of Creative Santa Fe, presents two bodies of work by local artists Sam McBride and Clayton Porter. The show includes images from McBride’s Daily Bread series, a project in which she drew a piece of toast in one sitting every day for a year, using various mediums. The toast is rendered in detail, sometimes whole or in various stages of being eaten. Porter’s intricate rose-colored drawings of horses and riders, including one falling off the back of a bronc, are a sardonic take on the Western genre. Porter’s color choice reminds us of the veneer of romance that cowboy and cowgirl portraits still hold. The reception for Toast + Cowboys begins at 6 p.m. on the 19th. The exhibit is on view by appointment through April 26. Call Michael Freed of Offroad Productions at 505-670-9276. — Michael Abatemarco

Lensic Presents Grammy-nominated singer/songwriter

Perla Batalla

May 5 | 7:30 pm | $15–$35 Discounts for Lensic members

“Perla Batalla, a Los Angelina of Mexican descent, is possessed of a vocal gift so deeply expressive as to belong in a class alongside some of the best singers of our age.” — Editorial Review “A Chicana Joni Mitchell, a gutsier Joan Baez” —Los Angeles Times


th e lensic is a non profit, member-supported organ ization




CHRIST IS RISEN! Easter Sunday, April 20 ST. JOHN’S UNITED METHODIST CHURCH Worship Celebration 8:30 and 11 am Sunrise Service 7 am

St. John’s is a warm and welcoming church. Please join us at 1200 Old Pecos Trail. 505-982-5397 & sjumcsantafe. org

DESERT SON of santa fe


Lecture & Workshop Naomi Ruth Lowinsky, Ph.D. Jungian analyst practicing in San Francisco

Lecture: Self-Portrait with Ghost: The Art of Lament and Redemption

Friday, April 25th 7-9pm $10 2 CEUs When you lose three children, your home and your country, how do you go on? If you are Emma Hoffman, a gifted painter in the impressionist tradition, you paint. Those paintings continue to speak of the redemptive power of art to Hoffman’s granddaughter, Naomi Ruth Lowinsky. Lowinsky was the first child born in the New World to a family of German Jewish refugees from the Shoah. She had a special tie with her only surviving grandparent, whom she knew as Oma. Oma taught her that making art can be a way to transmute grief, a way to bear the unbearable. A series of self-portraits, portraits of family, landscapes, interior scenes of the houses in which she lived, reflects her lamentations, her wandering, her search for redemption. This presentation is the result of an ongoing dialogue between Hoffman’s paintings and Lowinsky’s poetry. She will weave together Emma Hoffman’s story and paintings, her poetry and prose, and her reflections on Jung’s Red Book as an example of the “art of lament and redemption,” a form she calls Jungian memoir.

Workshop: Speak Muse: A Day with the Sister from Below

Saturday, April 26th 10am-4:30pm $80 6 CEUs In this writing workshop Naomi Ruth Lowinsky will introduce her muse, the shape shifting Sister from Below, and invite her to inspire your writing practice. With the Sister’s help she will facilitate an imaginative encounter with the stuff of your inner and outer life—your own Jungian Memoir. The “Sister from Below” is a fierce inner figure. She emerges out of reverie, dream, a fleeting memory, a difficult emotion—she is the moment of inspiration—the muse. This Sister is not about the ordinary business of life: work, shopping, making dinner. She speaks from other realms. If you’ll allow, She’ll whisper in your ear, lead your thoughts astray, fill you with strange yearnings, get you hot and bothered, send you off on some wild goose chase of a daydream, eat up hours of your time. She’s a siren, a seductress, a shape-shifter . . . Why listen to such a troublemaker? Because She is essential to the creative process: She holds the keys to the doors of our imaginations and deeper life—the evolution of Soul. Open to those who write and those who want to. Bring pen, notebook, and a brown bag lunch. Both events take place at Center for Spiritual Living, 505 Camino de los Marquez, Santa Fe

Fri. lecture tickets at the door. For Sat. workshop pre-registration call Jacqueline Zeller Levine, 505-989-1545 For expanded program details go to


PASATIEMPO I April 18 - 24, 2014

Re presenting He n r y B eg u e l i n , N u m e ro 1 0 & O f f i c i n e C re a t i ve 725 Canyon Rd. • 505-982-9499 •


Heather Roan Robbins

The mood is energized, excited, eventful, easily bored, and easily

riled up. Roll with opportunity and duck the dangers: we’re at a pivotal astrological turning point and will be dealt wild cards. This year’s major astrological aspect, a grand square, although felt for months, peaks this week as Mars at 13 degrees of Libra, Jupiter at 13 degrees of Cancer, Uranus at 13 degrees of Aries, and Pluto at 13 degrees of Capricorn form four roads at a crossroad around our earthly home. This planetary square can make it fun to be contentious. That whiff of excitement readies us to respond if a real emergency arises, but most of us can use that buzz to energize our options. This voltage puts wind in our sails if we know where we’re going, but frayed wires short out easily, as do frayed nerves. Some people are just cruising for a fight. Let’s be open to conflicting ideas, but we don’t have to play into the tension — we can encompass a wide horizon. By the end of the week, if we’re pushed to choose what fresh road we need to walk, do it thoughtfully and with an eye on the far horizon.

Lunch Specials

Mon-Grilled Cheese & Soup $7 Tues-Chicken Enchiladas $7 Wed-Fish-n-Chips $9.95, 2nd ½ off Thur-Green Chile Stew $7 Fri-Green Chile Cheeseburger $6

Raw Bar & Sushi Menu! Starting April 23rd

Welcome Taka Ayamoto, our new Sushi Chef. Visit the sushi table for flavorful bites such as fresh oysters, sashimi and other delicious rolls!

Make Reservations Now For:

Easter Champagne Brunch Buffet April 20th in our picturesque Gallery.

Small Batch Brew Dinner Be one of the FIRST to try Chefster’s Ale! Featuring Santa Fe Brewing Company & Chefster’s Ale, brewed by Chef Tony. April 24th 6:30pm.

Purchase tix with QR code, at Santa Fe Brewing or AGAVE Lounge. $49 inclusive.

Friday, April 18: The mood is excited, irritable, and adventurous. We’re tired of going over the same old problems and need fresh material, though there’s some confusion about how as the restive Sagittarius moon squares Neptune this morning. Blaming doesn’t help. Important items can fall through the cracks if we’re distracted. Tonight can feel tired and wired — keep talking and entertain possibilities.

Daily Happy Hour 4-7pm Reservations 505.995.4530 R Eldorado Hotel & Spa 309 W. San Francisco Street

Saturday, April 19: Humor, spontaneity, and life-changing discussions help us reinvent ourselves. Later, the mood slows down and grows more sensual with undertones of a power struggle as the moon enters serious Capricorn and the sun enters earthy Taurus. Sunday, April 20: The uses and abuses of power and empowerment are front and center as the grand square perfects. A practical desire helps us renovate our house, garden, or country. Keep the flow moving and don’t let pressure build as the moon conjuncts Pluto. Monday, April 21: We feel our world shift as we question old assumptions and form new connections. Let’s look at those fate assembles around us. Tuesday, April 22: Stubbornness can push our personal best or make life a wrestling match, depending on our attitude, as the Aquarius moon squares the sun. Work toward improvement. If someone tries to hook us into an argument, we can sidestep it like a bullfighter. Wednesday, April 23: Underneath a general community-minded friendliness, deeper feelings stir our desire for acquisition, territory, possession, or just a moment alone. Our efforts can take root for better or worse. Important surgical decisions are needed — weed and prune to make room for fresh growth as Mercury enters Taurus.

Saturday, April 26, 2014 at 6:00pm AMUSE BOUCHE

Cumin-red chile dusted, housemade potato chips


Grilled salad, smoked feta, charred tomatillo-orange vinaigrette ROCKY MOUNTAIN WHEAT

Thursday, April 24: Hold hands while crossing the street as the moon enters sensitive, bittersweet Pisces. Be there for one another with acceptance and practicality as Venus trines Saturn. ◀



Toasted barley rubbed tri tip steak, BBQ whipped potatoes, asadero green beans, beer veal jus


Toasted flourless chocolate torte, “Billy’s Chilies” chili beer cream, grilled mango BIG SHOT ESPRESSO STOUT + BILLY’S CHILIES For Reservations Please Call 505-988-9232. $45 Per Person. Open Daily 11:00am until 10:00pm | 125 East Palace, Santa Fe (505) 988-9232 |



IN OTHER WORDS book reviews The Fan Who Knew Too Much: The Secret Closets of American Culture by Anthony Heilbut, Soft Skull Press, 354 pages Despite his professed atheism, author Anthony Heilbut found refuge in the redemptive message of African American gospel music. In his impeccably researched collection of essays The Fan Who Knew Too Much: The Secret Closets of American Culture, Heilbut writes “I love gospel music without believing a word of it.” Before Cher and Lady Gaga, there were the original divas: Mahalia Jackson, Clara Ward, and Marion Williams. Sporting colorful robes and sky-high bouffants, their domain wasn’t the concert hall or the disco but the church. The role of these women — and the gay men who loved them — in American music and culture constitutes the bulk of Heilbut’s book, which makes the fascinating argument that early-20th-century American black churches, particularly of the Pentecostal persuasion, were not just places of worship; they also served as safe havens for gay men and women who contended with economic struggle and racial discrimination, along with the stigma of homosexuality. At 14, the precocious author visited Harlem’s Apollo Theater and fell in love with gospel, which he maintains is “the most essential American music.” Heilbut points out that many hymns abound with declarations of a kind of ecstatic, unfettered love that can sound both romantic and devotional. Titles like “I Bowed on My Knees and Cried Holy,” “Hide Me in Thy Bosom,” and “I Want Two Wings to Veil My Face” evoke visceral associations and offer broad interpretative possibilities. In exalting a relationship with the divine, religious music is effectively absent of overt sexuality or romance, and this, Heilbut posits, is precisely what made its message so enduring to gays. In a liturgical setting, one could sing of an earthshaking love that was not only free of stigma but in fact sanctified; a love that could not be denied or ridiculed. Of this experience, Heilbut writes, “A fellow could lose himself in his secret closet, dance with his eyes stabbed shut, stay in the spirit for as long as he chose, and then leave, ready for life in an unfriendly land.” Heilbut draws fascinating parallels between blues music and gospel music — genres that sometimes overlapped yet diverged crucially in focus and audience. The story of Aretha Franklin, whose career has seamlessly bridged both musical styles, wends its way through the book. Franklin was raised in a household steeped in religion and music. Her father was C.L. Franklin, a gifted gospel singer and a profoundly influential pastor, a “Mississippi whooper” with a masterful delivery and a thunderbolt voice. From him, 12

PASATIEMPO I April 18 -24, 2014

Aretha learned how to infuse soulful pop songs with the purity and intensity of church hymns. From his musings on Franklin, Heilbut switches abruptly to an essay about German émigrés called “Somebody Else’s Paradise.” Heilbut, the New Yorkborn son of German Jewish refugees, explores the horrific ordeal of his parents and others like them, whose escape from Nazi Germany, though fortuitous, ultimately affected “no happy endings.” Though the relationship between black gospel singers and European refugees is not an obvious one, Heilbut suggests intriguing connections. He writes luminously about Thomas Mann, who left Germany prior to the outbreak of World War II but never really felt at home in the U.S. Other subjects of Heilbut’s essays here, including Hannah Arendt, Albert Einstein, Hanns Eisler, and most touchingly, the brilliant but troubled writer Joseph Roth, experienced similar emotional conflicts. These densely intellectual essays aren’t easy reading, but they deftly and convincingly force us to examine similarities between seemingly disparate cultures and life experiences. Elsewhere, Heilbut’s far-reaching interests are manifested in essays that aren’t as gripping as the lives and loves of gospel stars. “Brave Tomorrows for Bachelor’s Children” is an exhaustive dissertation on Irna Phillips, a pioneer of radio-serial soaps whom Heilbut credits with celebrating and consequently empowering American women. The problem is that it goes on and on, and Heilbut breathlessly dissects plot lines of old soaps with squeamish detail and intensity. In most cases, however, Heilbut’s propensity for tangents and parenthetical observations occurs as a worthwhile, even endearing exercise, the mark of an author who is unabashedly passionate about his subject. Perhaps the most successful essay in The Fan Who Knew Too Much is its last, in which the author reveals himself as a music fan of epic proportions, marveling over the advent of the web and surfing YouTube with abandon in search of rare gospel videos and recordings. Heilbut suggests that the love of a fan is noble in its ravenous curiosity and loyalty. In many ways, his enormous enthusiasm for the genre and its practitioners is still that of his teenage self, who stepped into the Apollo Theater and was enchanted by the “Spirit feel music” he first heard there. It’s no mistake that Heilbut’s friend James Baldwin, who was black and gay, named his quasi-memoir Go Tell It on the Mountain after the African American hymn. Though Baldwin came to regard Christianity with ambivalence, he grew up adhering to its message of forgiveness and compassion and ultimately insisted that “if the concept of God has any use, it is to make us larger, freer, and more loving.” — Iris McLister

SUBTEXTS Give it away: World Book Night What do Shakespeare, Miguel Cervantes, St. George, and Amy Poehler have in common? They’re all mixed up in the story of World Book Night, which nominally takes place on April 23 but is celebrated here at 5:30 p.m. on Tuesday, April 22, at Op. Cit. Books (500 Montezuma Ave., 505-428-0321). Scheduled to attend is Armistead Maupin, whose Tales of the City is one of more than 30 books selected by librarians and booksellers in the U.S. to be distributed to deserving potential readers (in other words, teens and adults not likely to buy or read books). At the Op. Cit. event, selected volunteers will each give out 20 copies of a particular book they know and love to those unlikely readers, along with a sales pitch (generally, “I love this book and here’s why. I think you’ll love it, too.”). Amy Poehler? She’s the honorary chairman of World Book Night U.S. this year. World Book Night is a spinoff from UNESCO’s World Book and Copyright Day, established in 1995 and only recently celebrated in the U.S. April 23 was chosen by UNESCO (the United Nations Educational, Scientific, and Cultural Organization) because it marks the deaths of both Shakespeare and Cervantes — both died in the year 1616 — despite the fact that, taking into account differences in the Julian and Gregorian calendars (the former still having been used in England at the time), Shakespeare actually died 11 days after the author of Don Quixote. To further complicate matters, some scholars claim that Cervantes died on April 22 and was buried on the 23rd. Either way, the date is also celebrated in Spain as La diada de Sant Jordi or St. George’s Day — you know, he’s the guy who is popularly believed to have killed the dragon — and marked by gifts of books and flowers. The books distributed on World Book Night are special editions donated by publishers. In addition to Maupin’s Tales, they include Agatha Christie’s After the Funeral, Malcolm Gladwell’s The Tipping Point, Joesph Heller’s Catch-22, and Anthony Bourdain’s Kitchen Confidential. Attend the event to cheer on the volunteers, hear Maupin, and learn how you can be a volunteer distributor next year. See — Bill Kohlhaase

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Loren Bienvenu I For The New Mexican

“I’m talking to you about [Death on Blackheath, the most recent Pitt novel]. I’ve delivered two after that, and I’m working on the one I’m working on, which is three after that, and I’m thinking of four, five, and six after that,” Perry said. She then specified: “I’m doing a Monk at the moment. I’ve done the next Monk for this fall, of course, and the next Pitt for next spring, and I’ve got ideas for one more of each after that. This year’s I have this Christmas novella to come I’ve unspoken pact done, and the one after that, and with the reader the one after that as well.” that I won’t do Promoting Death on Blackheath, anything hideous the prolific author comes to the to the main Jean Cocteau Cinema on Thursday, characters. April 24. Her interviewer for the evening, George R.R. Martin, does — Anne Perry not have the same reputation for regulated prolificacy — the books in his popular A Song of Ice and Fire series come out at a relative trickle (perhaps because of their length), much to the exasperation of his impatient fans. To their further exasperation, he is known to dispatch key characters with the caprice of a child frying ants with a magnifying glass. “Every time someone asks when the next book will be finished, I kill a Stark,” goes a popular internet meme that sums up some fans’ frustrations. estselling English author Anne Perry summed Perry, by contrast, in addition to having published up her writing habits simply: “I’m awake enough novels to fill a moderate-sized bookcase, is and I’m working.” Speaking to Pasatiempo gentle with her creations. “I wouldn’t do anything from Los Angeles, the creator of two well- nasty to any of the main ones. I might make them sufknown Victorian-era detective series — the fer, but they will come out all right in the end. Added Charlotte and Thomas Pitt novels, spanning to which I have this unspoken pact with the reader that 29 volumes, and the William Monk novels, I won’t do anything hideous to the main characters. I soon to reach 20 volumes — interrupted her think this is about the 29th or 30th Pitt story; if you work routine for the sake of the interview. never do anything hideous to the main character, you “I put the pen down to talk with you. I have kind of promise that you won’t ever do it.” Monk on deck. He’s boarding a ship and I’ve The author confessed that Thomas Pitt in particular got pirates coming up the other side, and the people has a special place in her heart. Her first novel, The on the ship, who are gunrunners, stopped in the hold, Cater Street Hangman (1979), featured the blunt yet and they’ve just shot their way out. ... I bet you’re not canny policeman. Coming from a working-class having as much fun as that!” background, Pitt is slightly out of his element in Pirates, detectives, soldiers, and time travelers have the Victorian drawing rooms and parlors where his all sprung to life from Perry’s pen. In addition to the investigations often lead him, but his cunning and Pitt and Monk series, her interest in historical fiction persistence have helped him rise in social rank over has broadly manifested itself in the form of a series the course of the series. Perry explained, “Pitt has of five World War I novels, two novels set in France changed and grown, as well as I have. Added to which, around the time of the French Revolution, and an epic if he hadn’t, there’s something wrong with someof 13th-century Byzantium. Then there are her series body who has this many adventures and experiences of 12 Christmas-themed mystery novellas, three time- and does not grow from it. The story is all about the travel novels for the young-adult market, two fantasy changes that happen to the people, during the events books featuring Tathea, the Empress Sihinabar, and or because of the events. A person that can experience countless short stories. Combined, these add up to those things and not be made to think or feel isn’t more than 26 million Anne Perry books in print, worth reading about.” according to the author’s website. How does she keep Perry was past 40 when she published her first book. track of each series? Prior to that, her résumé included stints as a flight

Mistress of mystery

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PASATIEMPO I April 18 -24, 2014

attendant and limousine dispatcher. But the most dramatic period of her life took place some 60 years ago, when Perry (then known by her birth name, Juliet Hulme) was convicted at age 15 of murder. Living in New Zealand at the time for health reasons, Hulme and her best friend, Pauline Parker, killed Parker’s mother, in part to forestall their separation, as there was a plan to send Hulme away to South Africa. The story was sensationalized in Peter Jackson’s 1994 film Heavenly Creatures, with Kate Winslet starring as Perry/Hulme in her screen debut. Perry’s identity as Hulme became widely known not long after. With rare exception, Perry and her publicist exclude discussion of the author’s personal life from media interviews. In a filmed conversation with fellow crime writer Ian Rankin, Perry reflected on the topic of whether the five-and-a-half years she spent in prison were reformative. “I think until you feel that you have settled the debt, you cannot move on. It is a bit like trying to walk with an open parachute behind you. By paying, you cut the strings and then you can move on. You can allow yourself to move on. I can say it and look you in the eye, because I can say: Yes, I have dealt with it. I believe that I have paid. I believe that I have been forgiven where it matters. And it now for me no longer exists. I can move on and be the best person I am capable of being.” Death on Blackheath is likewise concerned with the concept of settling one’s debts. The narrative centers around a treasonous plot that implicates an aristocratic naval scientist whose secrets are paramount to national security. Now at the apex of his career as commander of Britain’s Special Branch, Pitt must draw on resources from all echelons to support his investigation, racking up a few debts of his own. Perry said the theme informed and preceded the plot: “The theme was, you can’t go through life without incurring debts of honor. And when you feel you have to pay them, it can get you in a lot of trouble. And, you can’t go through life without ever accepting help, you just can’t. We all need help at times.” She emphasizes this same distinction between theme and plot in her writing workshops, which extend to a DVD entitled Put Your Heart on the Page. “I love doing workshops, teaching and discussing with people their plots and how it could be sharpened, that sort of thing.” The author enjoys book tours as well, because they result in the same sort of intimacy between herself and her admirers. Though she spends most of her waking hours in the company of the detectives, murderers, lovers, and pirates of her imagination, Perry said, “It’s one of a writer’s greatest rewards to meet the people who really like your books and maybe read them through a difficult time, or it’s given them companionship and taken their minds off worries. People will tell you that — they’re very friendly and open. It’s the ultimate reward.” ◀

details ▼

George R.R. Martin interviews author Anne Perry

7 p.m. Thursday, April 24

Jean Cocteau Cinema, 418 Montezuma Ave.

$10, $5 with purchase of paperback, no charge with purchase of hardback; 505-466-5528

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This endowed lecture is free and open to the public. Please join us!

Pulitzer Prize Nominated Author to Speak on Land Claims and Chicano Legal Education

April 22, 2014 at the UNM School of Law

This lecture/symposium series has been established to celebrate and keep alive the extraordinary legacy of Dennis Chavez, one of New Mexico’s most influential U.S. senators during the mid-20th century.

Richard Delgado, Profesor at the Alabama University School of Law, will present

Delgado’s Darkroom: Critical Reflections on Land Claims and Chicano Legal Education 4:30 pm s Lecture

5:30 pm s Reception

One of the leading commentators on race in the United States, Profesor Richard Delgado has appeared on Good Morning America, the MacNeil-Lehrer Report, PBS, NPR, the Fred Friendly Show, and Canadian NPR. Delgado’s books have won eight national book prizes and a Pulitzer Prize nomination.

The Senator Dennis Chavez Endowed Lectureship/ Symposium is free and open to the public. Parking will be available in streets and lots surrounding the School of Law and the NM Court of Appeals building, and in M and G lots.

RSVP by April 20th to or 505.277.8184.

UNM School of Law s 1117 Stanford N.E. s Albuquerque



James M. Keller I The New Mexican

Mouthpiece of modernism P

eople who concern themselves with America in the modernist decades — say, the period from the 1910s through the 1940s — find the instantly recognizable face of Carl Van Vechten creeping into photographs alongside the hallowed visages of the era. There he is peeking out from between Gertrude Stein and Alice B. Toklas, staring at a copy of The First Book of Negroes held by Langston Hughes, and accompanying Georgia O’Keeffe as she donates a trove of Alfred Stieglitz’s holdings to Fisk University. He always looks rather stern, but his reluctance to smile when a camera was pointed in his direction was less a personality trait than his way of concealing to posterity a distinctive physical attribute. In an enlightening new biography, The Tastemaker: Carl Van Vechten and the Birth of Modern America, Edward White describes what we don’t see as “front teeth that became a trademark in his years of fame and infamy: huge, angular, misshapen, and apparently resistant to dental intervention of any sort.” By the time he died in 1964, at the age of 84, the teeth were pretty much all he had kept hidden, with one further exception. Among the mountains of memorabilia he left behind were boxes destined for Yale University and the New York Public Library that he insisted should remain sealed until 25 years after his death. When they were opened in 1989, they were found to contain scrapbooks filled with clippings, photographs, correspondence, and even pornography, all of it of an explicit homosexual nature. It wasn’t that Van Vechten had ever concealed his sexual propensities to his friends or his two wives (who figured rather as footnotes in his life). But he was well aware that documenting his escapades was potentially dangerous, that even his subscribing to the early publications of the proto-gay-lib Mattachine Society could have gotten him arrested during the more fanatical years of J. Edgar Hoover’s FBI. Missing the opening of the boxes may have been one of his few regrets. “The setup took a quarter of a century,” White explains, “but when the boxes were eagerly unpacked, it was discovered that through an inscription on one of the books Van Vechten had delivered the perfect punch line from beyond the grave: ‘Yale May Not Think So, but It’ll Be Just Jolly.’ ”

informing and steering American arts enthusiasts who were inundated by the streams of innovation that swirled while Van Vechten was at his height. He emerged from the bosom of a well-to-do family in Cedar Rapids, Iowa, and he couldn’t wait to get the bejesus out of there. Childhood visits to Chicago suggested an escape route, and when he reached college age he headed to the University of Chicago, where he didn’t particularly distinguish himself except as an authority on the city’s red-light district. Upon graduating in 1903, he snagged a job as a rookie reporter for the Chicago American, a flagship of William Randolph Hearst’s yellow journalism. “In a Christmastime edition,” White recounts, “he filed the story of little Louis Simmons, a six-year-old boy who died after opening his presents on Christmas morning, under the headline XMAS TOYS BOY’S DEATH MESSENGER. Van Vechten quoted the child’s mother, who said, ‘I have never seen him so happy before, and I think that it was joy that killed him.’ On the surface readers were entreated to wring their hands in sympathy. But there is a certain relish in the way Van Vechten reported the lament of the grieving mother: death in the attainment of pure pleasure seemed a gloriously decadent way to go.” Before long he was drawn by the magnetism of New York. He lost no time convincing the editor of Broadway Magazine that he was uniquely qualified to explicate a new work eagerly anticipated at the Metropolitan Opera: Richard Strauss’ Salome. His writing earned him a staff position covering the music beat at The New York Times, for whose readers “he fueled speculation about the love life of Geraldine Farrar, gasped at the fashion trends set by Mary Garden,” and broke a huge story about a leading tenor’s new look (“CARUSO’S MUSTACHE OFF: Can he sing without it?”). Dance was not yet a prominent field in New York, but when Isadora Duncan, Loie Fuller, and Maud Allan began performing there in 1909, Van Vechten sensed that something essential was happening. He basically invented a critical vocabulary that let him share his impressions with his readers, and in the course of doing that he became revered as the city’s leading authority on modern dance. So it would go throughout his career, as he showed uncanny acuity for discerning what was artistically significant and communicating his enthusiasms to his readers. In so doing, he boosted his own reputation as an expert whose finger was more sensitive to the cultural pulse than was anyone else’s. He found Gertrude Stein her first

Carl Van Vechten


he biography is perfectly titled. Van Vechten pursued many vocations in the course of his career: reporter, novelist, bon vivant, saloniste, photographer. But in the end he made his greatest mark as an arts critic, and as a critic he was indeed a tastemaker,


PASATIEMPO I April 18 -24, 2014

continued on Page 18

Clockwise from top left, Bessie Smith, 1936; Mabel Dodge Luhan, circa 1934; Paul Robeson, circa 1933; self-portrait, circa 1934; photos by Carl Van Vechten; opposite page, A Prediction, caricature of Van Vechten as a black man by Miguel Covarrubias; images courtesy Farrar, Straus and Giroux



Carl Van Vechten, continued from Page 16 publisher, promoted her work in his columns, and saw his reputation rise along with hers. The composer Leo Ornstein, the writer Ronald Firbank, the forward-looking painters of the Armory Show — Van Vechten led the cheerleading for all of them, and the rising tide his columns engendered lifted all their boats. One of his on-and-off friendships was with Mabel Dodge, whose Fifth Avenue salon was practically his headquarters for some years. After she moved to Taos and married Tony Lujan, she convinced Van Vechten to spend time in New Mexico, certain that he would share her fascination with Native American culture — which he did not. (The Van VechtenLineberry Taos Art Museum that used to stand grandly at the top of Paseo del Pueblo Norte in Taos was not named for him, by the way. It was the legacy of his niece, the Taos painter Duane Van Vechten.)


f all his interests, the two that tracked most dependably through his life were sex and race, in both cases the more outré the better, and when they intersected, better still. Already in his Chicago days he was hanging out with Negro society; in New York, it became his passion. In the 1920s, New Yorkers clustered into Harlem institutions like the Cotton Club where black entertainers titillated an exclusively white clientele, but, White says, “Van Vechten avoided those places, dedicating himself to what he considered the real Harlem, where black people could be encountered as drinking pals and not merely as entertainers.” He was an unmistakable and widely welcomed presence when he traveled up from his sprawling apartment on West 55th Street to make the rounds of the rent parties, gambling halls, jazz haunts, and orgy dens to which he was afforded privileged access. What’s more, he brought his uptown friends to mingle with the white cultural elite, from Wall Street bankers to Hollywood movie stars, at his own legendary parties in midtown, where George Gershwin might take a break from the piano so James Weldon Johnson could read a poem. Important business transactions grew out of these affairs. After being transfixed by hearing Langston Hughes recite “The Weary Blues,” Van Vechten asked the 23-year-old writer’s permission to show some of his poems to his friend Alfred Knopf, who had launched a publishing house a decade earlier and in the intervening years had brought out a dozen Van Vechten titles. Within two weeks, everything was arranged for Hughes’ first published volume. Van Vechten signed up his friend Miguel Covarrubias to design the cover and hitched his own wagon to his latest discovery by contracting to write the introduction. Covarrubias followed up by drawing a caricature of Van Vechten as a black man, his teeth for once exposed, and titled it A Prediction. An overjoyed Van Vechten sent copies of it to his best friends. His adventures in this area constitute a fascinating chapter of race relations in America. White offers a thorough account, but rather more detail can be gleaned from another recent volume, Carl Van Vechten & the Harlem Renaissance: A Portrait in Black and White by Emily Bernard. The cast of characters is mind-blowing: the writers Countee Cullen and Zora Neale Hurston, the singers Ethel Waters and Paul Robeson, the political leaders W.E.B. Du Bois and Walter White, who for years led the N.A.A.C.P. (“He speaks French and talks about Debussy and Marcel Proust,” Van Vechten told a friend. “An entirely new kind of Negro to me.”) One cheers the naturalness with which Van Vechten bridged a racial divide that was unimaginably vast at the time. On the other hand, a whiff of opportunism surrounded him. In this case it led to a crisis, the publication in 1926 of his most famous book, the title of which begins with an immensely pejorative word … but let us here call it instead “Negro Heaven.” Van Vechten heard the “N word” used all the time in

his Harlem circles, but by placing it on a book cover he overstepped the line. The black community exploded in debate, and much of the white community as well. Outrage over the title to some degree hijacked deeper discussion about the possible merits of this roman à clef about vibrant black society, and it continues to taint his reputation to this day. There was much more in his life, including his career as a photographer, launched when Covarrubias showed up with a newfangled Leica that could take crisp pictures without the hassle that had previously consigned photography to the realm of professionals. Whether Van Vechten ever transcended amateur status is open to opinion — he (predictably) reported that Stieglitz considered him one of the best — but he didn’t lack commitment, and he certainly had connections. Practically everyone came for a sitting in his home studio. “My first subject was Anna May Wong,” he claimed, “and my second was Eugene O’Neill.” By the time he was done, his photo archive numbered some 1,400 portraits, a practically exhaustive rogues’ gallery covering multiple generations of the cultural world. Any of them that documented African-American figures went with the rest of his similarly themed materials into the vast depository he established at Yale and named not the Carl Van Vechten Collection but rather the James Weldon Johnson Collection, yet another of his grand gestures of interracial respect. ◀ “The Tastemaker: Carl Van Vechten and the Birth of Modern America” by Edward White was published by Farrar, Straus and Giroux this year. “Carl Van Vechten & the Harlem Renaissance: A Portrait in Black and White” by Emily Bernard was published by Yale University Press in 2012.

Hugh Laing, 1940, photo by Carl Van Vechten


PASATIEMPO I April 18 -24, 2014




album reviews

OFF! Wasted KELIS Food Years (Vice) Hardcore (Ninja Tune) You no supergroup Off! issued its first doubt know Kelis for one song: of four EPs in 2010, a self-titled LP the 2003 hit “Milkshake,” which was in 2012, and now a second LP that’s not inescapable on the radio, licensed in much longer than some EPs. Wasted Years half of the Hollywood comedies in the contains 16 tracks that clock in collectively 2000s, and — let’s face it — so infecat under 24 minutes. Singer Keith Morris, tious that it still brings all the boys to co-founder of Black Flag and Circle Jerks, the yard. As you can tell from the title of still maintains the raw vocal energy that her sixth album, Food keeps up the culihelped establish those bands back in the late nary metaphors from “Milkshake,” and 1970s, especially on tracks “Red White and even contains songs called “Breakfast,” Black” and “Legion of Evil.” Elsewhere he “Biscuits ‘n’ Gravy,” and “Jerk Ribs.” exhibits a little “end-of-the-party” weariness (for example, “Death Trip The songs cover a range of emotions, primarily those centered on on the Party Train”). At 58, Morris should be applauded for personally longing and belonging, but the epic confidence we remember from contradicting the lyrics to one of his signatory Circle Jerks’ songs, “Live “Milkshake” has been replaced by pensiveness, vulnerability, and even Fast Die Young,” and perhaps it is the onset of his mellower autumnal years — on lines such as “So much of who we are is from who first taught us that is causing him to reflect on whether the earlier ones were truly wasted how to love,” from “Breakfast” — a bit of earned wisdom. She aims for or just spent being wasted. In terms of personnel, Off! consists entirely old-school, gospel-informed soul, with a hint of 1970s folk and torch of punk veterans: on guitar, Dimitri Coats of Burning Brides, on songs in “Bless the Telephone” and “Floyd,” which are both bass, Steven Shane McDonald of Redd Kross, and on drums, truly wonderful songs. The album was produced by TV on Mario Rubalcaba of Rocket From the Crypt. All fill their the Radio’s Dave Sitek, who eschews his usual forwardVijay Iyer has roles convincingly, providing enough feedback, distortion, thinking, razor-sharp mix of rhythm for a stripped-down and speed to make it suitably difficult to disentangle the feel; the lead single “Jerk Ribs,” for example, is powered composed themes that nuances of any individual track. In addition to the music, by tin-can percussion and a Memphis horn section. hardcore die-hards are sure to appreciate the cover art The album is 50 minutes, with little chaff. No lonreadily take to variation by the iconic Raymond Pettibon. — Loren Bienvenu ger content with the empty calories of milkshakes, Kelis serves up a full, satisfying meal. — Robert Ker and then countered them VIJAY IYER Mutations (ECM) “Mutations are incremental, stochastic changes in genetic material — the noise in our LEYLA McCALLA Vari-Colored Songs: A Tribute to with passages where genes,” explains pianist Vijay Iyer in the notes to his latest Langston Hughes (Music Maker) One of my favorite recording. Mutations, the 10-part new-music suite that lends aspects of this soulful debut album is Leyla McCalla’s athimprovisation his album its name, seems more an experiment in variation letic pizzicato/strumming technique on the cello. Not that than mutation, and the spare electronic effects that decorate she can’t use a bow: after getting her music degree, the New trumps theme. different sections of the suite with its string quartet and piano York native moved to New Orleans to play Bach on the streets are often more musical than simple noise. Iyer has composed of the French Quarter. She went on to tour with the Carolina themes that readily take to variation and then countered them with Chocolate Drops and sang on the string band’s most recent record. passages where improvisation trumps theme. The minimalism of “Air,” the Her research into Louisiana Creole and Cajun music shows on Vari-Colored suite’s first section, starts with sounds that recall pipe organ, before expanding Songs, which features tunes in Creole and French as well as English. Her into gestures and exclamations buoyed on repeated cello tones. The haunting multicultural perspective has something to do with the facts that her parents “Canon” repeats folk-influenced lines from the violins before the viola are Haitians and that she spent two of her teen years in Ghana. The album and cello take up more ominous tones. The piano finds common ground opener, “Heart of Gold,” is one of eight on which she creates a musical between the two then, alone, strikes a playful three-count figure. The setting for Hughes’ poetry. “When I Can See the Valley,” a McCalla strings rise again, darkly, accented by a single, pulsing bass note from original, has her playing her other instrument, tenor banjo. Her vocals the piano. “Chain” entangles an abbreviated are straightforward, sometimes playful, clave beat with twining strings and a dancing and with a light tremolo, which fits perpiano line. Some of the pieces are predictable, fectly in the “clear and honest” music she especially “Rise,” with its slow ascending professes. The emotional context ranges slide of strings. The three stand-alone from “Song for a Dark Girl,” about a black pieces that surround the suite, with their young lover hanged in Dixie, to “Manman touch of electronics and meandering minorMwen,” a traditional Creole song (the key piano lines, are the recording’s strangest, first of three tunes with second vocalist yet beautiful. Despite those “stochastic” Rhiannon Giddens harmonizing) about changes, little here seems random catching crawfish and an encounter or pointlessly noisy. with “a real handsome boy.” — Bill Kohlhaase — Paul Weideman


PASATIEMPO I April 18 -24, 2014

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and the people who make Prep special To our alumni, like Anya Bershad ’05, who graduate from Prep with an intrepid spirit and an appetite for discovery. Anya earned her B.S. in Biochemistry and Biophysics and a B.A. in Comparative Literature from Stanford, where she studied stem cells and Kafka. She’s now exploring the brain at the University of Chicago as an M.D./Ph.D candidate. Her research, ranging from empathy among rats to the addictive effects on people of reality TV shows, has led to her interest in developing integrative treatments for psychiatric disorders. Like many Prep alumni, Anya has an auspicious mix of curiosity, intelligence, and innovation.

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Voodoo roots You might think that the name of the band John the Conqueror, whose new album The Good Life I’ve been enjoying lately, sounds familiar. As a matter of fact, anyone who has ever heard Muddy Waters or the endless supply of lesser mortals sing “Hoochie Coochie Man” has heard the phrase “High John the Conquerer” (or, sometimes, “Conqueroo”). But unless you’re somewhat acquainted with the ways of the hoodoo, you might not realize what exactly that is. So before we get into the music, let’s have a little lesson in culture. There’s a reason Muddy mentioned High John in the same breath as his black cat bone and his mojo in that song. Here’s what Papa Jim, a San Antonio mail-order voodoo merchant (and, according to some of his old catalogs, “a true man of God”), has to say on his website about the “Hi John the Conqueror” root: ▼ The most famous of all Voodoo roots. Carry with you at all times to help remove and conquer all obstacles in your path. ▼ Carry in a green bag for good luck, money drawing and power over others. Anoint daily with John the Conqueror Oil. ▼ Attract a specific lover by carrying this root and a lock of hair from the one you desire in a Red Flannel bag anointed with Attraction Oil. ▼ A fantastic good luck charm when kept in your pocket while gambling. ▼ Carry in your pocket to offset moods of depression and confusion.


PASATIEMPO I April 18 -24, 2014

THIS HERB IS NOT SOLD FOR THERAPEUTIC, MEDICINAL, OR COSMETIC USE, AND IS NOT TO BE CONSUMED. That last line has to be for the benefit of the Food and Drug Administration. So who was High John, for whom this root is named? Zora Neale Hurston wrote that he was an archetypal trickster found in myth and folklore. According to an

blues-rock attack. Moore’s songs are stronger than they were on the first album. In an interview with That Music, Moore said that every song here comes from “a personal story of ours.” And just about every story is interesting. He writes what he knows, and he seems to know a lot about drinking, drugging, sex, and being a troublesome kid. In the stories he tells, Moore often presents himself

Deep in the grooves of‘The Good Life,’ I hear real potential — not to mention some good drum tunes and secret laughter. essay in Hurston’s collection The Sanctified Church, John started out as “a whisper, a will to hope, a wish to find something worthy of laughter and song.” However, he soon became “a man in full, and had come to live and work on the plantations, and all the slave folks knew him in the flesh. ... Old Massa couldn’t know, of course, but High John de Conquer was there walking his plantation like a natural man. He was treading the sweat-flavored clods of the plantation, crushing out his drum tunes, and giving out secret laughter.” Like Jimmy Dean said, “It’s hard to get the best of a man named John.” So it’s a whisper, a man, a root, a magic charm, and now a Jimi Hendrix-influenced, blues-soaked rock ‘n’ soul band from Philadelphia, whose members are young enough to be Muddy’s grandchildren and have roots in Mississippi. That’s a strong claim to stake, but deep in the grooves of The Good Life, I hear real potential — not to mention some good drum tunes and secret laughter. The band is fronted by a singer, guitarist, and songwriter named Pierre Moore. Along with drummer Michael Gardner, he moved from Oxford, Mississippi — first to Atlanta, where they were in an “Afro-punk” group called The Slack Republic — before moving to the City of Brotherly Love. They hooked up with bassist Ryan Lynn to form John the Conqueror. Their selftitled debut album was released in 2011. For the new record, J the C added the bassist’s brother, Steve Lynn, on keyboards on some tracks. But that’s not the biggest change I hear in their basic

as a modern variation on the trickster/hero archetype, perhaps a contemporary Hoochie Coochie Man. He doesn’t actually tell tales of voodoo, though in his guitar you can here echoes of Hendrix’s “Voodoo Chile.” On “Golden Rule” Moore sings about being an unruly kid testing the boundaries of his strict mother. “I picked up a cigarette butt and my butt got the belt,” he recalls. Mama warns, “I brought you in this world, and I’ll sho’ ’nuff take you out/If I ever see another cigarette hangin’ out your mouth.” But that’s not the only time he faces the wrath of mama. One day she leaves work early: “She opened up my door and found a naked girl in my room,” he sings. That’s not the only naked girl we encounter on this album. In “She Said,” a song about cocaine, Moore sings, “Just met this girl and I not know why she’s naked lyin’ on my floor.” And on the cautionary tale “Daddy’s Little Girl,” it’s not his mama that Moore has to worry about. “When you mess with daddy’s little girl you’re gonna see/Just how crazy that man can be.” It’s a slow-moving, minor-key song with Moore’s stinging guitar and Gardner’s drums building the tension throughout. There’s even more youthful debauchery in “Mississippi Drinkin’.” Moore sings that he and his friends were boozing it up in some field. “It seemed like a good idea until our downtown party went downhill.” One dumb kid pulls a gun out of his pocket, but luckily he doesn’t hit anyone when he shoots it. Later, Moore and cronies are drinking in some juke joints. “Well, it’s cheap enough I ended up wearing nothin’ but my boots.” Moore wrote all the songs but one — a cool, rocking cover of Randy Newman’s “Let’s Burn Down the Cornfield.” This might be the best Newman cover since Joe Cocker bellowed out “You Can Leave Your Hat On” all those decades ago. I can’t guarantee that this incarnation of John the Conqueror will bring you luck in gambling or romance, but I can see how it would be a darn good soundtrack when you’re setting out to do those things. See ◀

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PASATIEMPO I April 18 -24, 2014


teven Smith served as music director of the Santa Fe Symphony Orchestra and Chorus from 1999 through the end of last season and then slipped away quietly without the sort of salute one would have expected after 14 years in such a high-profile position. It finally arrived this past Sunday, not in the guise of a banquet or public ceremony but rather in the even more appropriate form of a musical celebration. At the end of the concert, the musicians did present him with a sculpture in the shape of a cello, and the president of the board of directors handed him what I guess was a bottle of wine, but those gestures were footnotes to the real festivity, which involved Smith — now as a guest conductor — presiding over Gustav Mahler’s Symphony No. 7. This was an ambitious piece of programming. The Seventh Symphony, widely considered the toughest sell among Mahler’s nine, can seem a bit of a miscellany, if one that boasts many impressive episodes. Its 80 minutes are spread across five movements, of which the first threatens to be overly sprawling and the last may come across as triumphant to the point of vulgarity. It makes demands not only in general issues of coordination and tonal blend but also in requirements for more-than-usual solo input from the principal players. The orchestra rose to its challenges with obvious enthusiasm and remarkable skill. The playing was never less than honorable and was often very fine indeed. The opening movement unrolled with a sense of urgency that often proved captivating, and it terminated in a riotous climax. One might have wished that Smith had explored the extreme edges of the music’s contrasts more assiduously here, but it was certainly preferable that the orchestra should display the security it did rather than flirt with danger that might have thrown it into disarray. The three movements in the middle — a scherzo flanked by two movements titled “Nachtmusik” (Night Music) — are usually the most successful portions in performance. In this case, they received confident readings, if again on the safe side. The first “Nachtmusik” seemed a bit rushed at the outset, not quite conveying the forested mystery inherent in Mahler’s writing, and the second “Nachtmusik” might have benefited from an added dose of charm and delicacy; but, again, the playing was assured and the score was conveyed with accuracy and gusto. The finale movement has come in for particular criticism over the years, but in Sunday’s performance it provided some of the very best expanses, including finely crafted textures in its odd moments of “janissary music” and some passages of completely unzipped brashness. Much of the solo playing in this score was impressive, and a handful of the principals deserve to be singled out for individual plaudits: flutist Jesse Tatum, violist Virginia Lawrence, and tubist Brian Dobbins, in addition to the two players who season after season are the standard setters for the group’s instrumental achievement, violinist David Felberg and clarinetist Lori Lovato. Although neither Smith nor the Santa Fe Symphony called this a farewell concert, it had a valedictory feel. In a perfect world, however, Smith would return in a few seasons to revisit this piece for which he has shown missionary spirit and which the orchestra has now got comfortably under its fingers. — James M. Keller



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ON STAGE Music of sorrows: St. Luke Passion


Holy Week is a solemn moment in the Christian year, reaching its peak of austerity on Good Friday, which commemorates the crucifixion and death of Jesus. In 17th-century Germany, the liturgy during this stretch of the calendar involved readings and meditations centering on the Gospel accounts of the Passion, often accompanied by music of bracing severity. Heinrich Schütz was a long-revered musical figure when, as an octogenarian, he came to write his Passion settings, based on the Gospel accounts of Matthew, Luke, and John. All three were performed during Passiontide in 1666 at the Court of Dresden, where Schütz had by then been a valued member of the musical staff for more than half a century. On Friday, April 18, at 5:30 p.m., Linda Raney directs the Chancel Choir of the First Presbyterian Church of Santa Fe (208 Grant Ave.) in Schütz’s St. Luke Passion. It is a somber, spiritually intense work of a half-hour’s duration. Soloists deliver the scriptural text unaccompanied, in chantlike speech-song, but the a cappella chorus provides occasional punctuation in the colorful polyphonic style for which Schütz was renowned. There is no admission charge, although donations are welcome. Call 505-982-8544 or visit — J.M.K.

A brief history of theater: Theater Grottesco

The entire history of Western theater is a lot to consider in one hour. Theater Grottesco’s current original production, Consider This, asks the audience to do just that. The creative company promises to provide samples of both high and low theatrical traditions from all eras, including the comedic (buffoonery, commedia dell’arte) and the tragic (Greek tragedy). Undertaking this challenge of versatility are Danielle Reddick and Grottesco’s founding artistic director, John Flax. The play runs at the Santa Fe Playhouse (142 E. De Vargas Street, 505-988-4262) for two nights: at 7:30 p.m. on Friday, April 18, and Saturday, April 19. Tickets are $10 and $5 for students. Details and reservations are available at and by calling 505-474-8400. — L.B.

First-class citizen: Citizen Cope

Tuaregs in Taos: Tinariwen

The Tuareg people’s nomadism is traditionally contained within the vast regions of the Sahara Desert of North Africa — but in the case of Tinariwen, a Grammy-winning world and rock band from Mali, the members traveled to Joshua Tree, California, to record this year’s Emmaar. The record is Tinariwen’s first made outside of the band’s homeland since it formed in 1979, a relocation precipitated by political upheaval during the 2012-2013 Tuareg rebellion in Mali. Joshua Tree was chosen as the environment most similar to the deserts of North Africa — a requisite for a band whose name is an homage to the Sahara’s vastness and variety (it translates simply to “deserts”). Roots and Wires Presents brings Tinariwen to Taos Mesa Brewing (20 ABC Mesa Road, El Prado; 575-758-1900) for a 7 p.m. Tuesday, April 22, show that is definitely worth the drive. Tickets, $23, are available from — L.B.

Citizen Cope — aka Clarence Greenwood — is a storyteller who uses music as his medium. Born in Memphis and growing up primarily in Washington, D.C. (with additional periods in Mississippi and Texas), his itinerant upbringing informed his allencompassing style, which references the country of Willie Nelson one moment and the soul of Al Green the next. His official bio describes Citizen Cope’s sound as “Southern rural, big-sky lonely, concrete urban, and painfully romantic.” Now imagine all that combined with a radiofriendly sensibility. Citizen Cope plays an acoustic set with no backing band at the Lensic Performing Arts Center (211 W. San Francisco St.) on Monday, April 21, at 7:30 p.m. Tickets, $30 to $50, are available by calling 505-988-1234 and visiting — L.B.



THE INTERSECT Michael Abatemarco I The New Mexican


a child of 6 or 7, photographer and filmmaker Jane Levy Reed watched the beacon of the Boston Lighthouse crossing the horizon from her family’s summer home. Ships passed in the night, making their crossing en route to their destinations. As she was lulled to sleep by the beacon in the harbor, she contemplated her own body as another line, crossing the infinite horizon. With this description, Reed opens the essay accompanying her new book Where Dreams Cross, a collection of images, shot over decades, of crosses in myriad forms. The junction where two lines meet informed her later work in photography. “It was my body forming that symbol, that space, that was my first impulse to start focusing on crosses,” Reed told Pasatiempo. “It was a quieting symbol that reached out into the world everywhere you were. It was sort of an intersection of the spirit world and the inner and outer world and the connectedness of these two points of crossing.” The opening image in Where Dreams Cross shows the horizon far out in the Atlantic, viewed from Rockland, Maine. A wooden pylon rises up from the water, two vertical beams crossed horizontally by more beams. The cross, in one configuration or another, is the common thread in all the accompanying photographs. There are crosses formed by lines spray-painted into pavement, crosses gleaned in the forms of telephone poles, in the lines formed by cracks in rocks, dividing panes of glass in windows, and many examples of Christian crosses on the steeples of churches and in cemeteries, where they stand as grave markers. Although one can see the far-reaching influence of Christianity in the locations where Reed shot many of the photographs — including Mexico City, Florence, San Francisco, and New Mexico — they stand more as typologies, based not on religious considerations but on structure and form. “It was always more about the icon itself, the little sculptural figure I saw. The idea of two lines intersecting goes in many directions. It’s amazing where you see them. Most people see the cross as a religious icon. For me, it’s more of a universal, spiritual crossing of our lives, of our reference point in the universe, that challenges our whole notion of scale and perspective. It goes beyond the expected religious connotation and takes us to a different plane.” In his opening essay for the book, Brown University professor Douglas R. Nickel writes that “Reed’s photographs perform the paradoxical task of rendering one of the most loaded symbols in the Western tradition a puzzle.” Her photographs, according

Jane Reed: Skellig, Ireland 1993; top, Chimayó, New Mexico, 1995; opposite page, New York, New York, 2009; opposite page, right, Florence, Italy, 1994


PASATIEMPO I April 18 -24, 2014


continued on Page 30



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to Nickel, effectively empty the cross of meaning. The cross is not a signifier of Christ’s crucifixion, or not merely that, but sometimes simply a sign painted on the dirt to be read by utility workers, perhaps indicating buried cables or a location to dig or drill, or it is just the juncture of a crossroad. Placing the Christian cross in a collection with more profane crosses such as these can change its associations. But, in a roundabout kind of way, it can also heighten the meaning of the nonreligious crosses. One is free to read meaning into its form, to see the symbol representing the crucified Christ echoed in the intersection of any two lines, for instance. The photographs are a record of Reed’s sightings of the cross as it appears in nature or in constructed, assembled forms. “You can take it wherever you want to take it,” Reed said. “I like that it does have that open-endedness. That’s the kind of image I was after, that kind of double symbology.” Reed’s shots of old cemetery markers bring up another consideration, suggesting the intersection of life and death. “I think it would be hard not to have them speak to the crossing of life and death, the inner landscape of ourselves that reaches beyond where we are and where we’re going. That’s a more metaphysical crossing.” Reed explored cemeteries in Prague; Pátzcuaro, Mexico; Colorado; Taos; and other places around the world. “I wandered cemeteries that were meditative for me, in search of crosses that spoke to me. Before I even discovered cemeteries, I was noticing them. I saw them everywhere. I would see a cross in a tree. I would see a cross on the sidewalk that no one else would necessarily notice, but it would catch my eye and attention.” Where Dreams Cross is a representative sampling of thousands of images Reed shot over the years. In some photographs the cross is an element of a larger composition encompassing landscapes, architectural forms, and seascapes rather than being the focal point of each image. Her own passage through the places she photographs is a crossing of another sort, signifying her journey through various locales — points of intersection embodied, as in her childhood vision, in her own being. As if to underscore that idea, the final image in the book is a self-portrait. Reed stands before the sea, her arms outstretched so as to make her own body appear crosslike, the Boston Lighthouse off in the distance. “I feel like I’ve been able to close a chapter,” she said. “The book was a good way to put it to rest, even though if I still see a beautiful cross somewhere, or a beautiful crossing, I will photograph it.” ◀ “Where Dreams Cross” by Jane Levy Reed was published by Rareform Editions in 2013.

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ART OF SPACE Paul Weideman

A Soul-ar design: artist and architect


1937 abstract painting is among a trove of more than 150 works on paper by William Lumpkins that were recently released by his estate and are available at Matthews Gallery. None of the watercolors, serigraphs, and felt-tip-pen drawings by the late architect and artist have been seen before by the public. The pieces have been kept by Lumpkins’ son, Will Lumpkins of Albuquerque. He had worked at the Virginia Museum of Fine Arts, “so my dad knew I knew about taking care of art prints. When he decided to simplify his studio storage, he picked out the pieces that he wanted me to archive at home.” Lumpkins, who died in 2000 at 90, didn’t want his son to put the prints on the market until Will was at least 70. The artist wanted to be sure his son’s artistic concept “was mature enough to where I didn’t have to mimic him.” Not to worry. The son specializes in painting animals and employs Celtic-knot patterns. “I work entirely with transparent watercolors, and dad was very proud of that — that he and I were among the few who used it, because it’s difficult: after you do two washes, it gets muddy. You have to be sure of what you’re putting down, because you can’t erase it.” His father worked in acrylics later in his life, “when he was positive about his personal statement, which was kind of a Zen statement.” William Lumpkins was born in 1909 on the Rabbit Ears Ranch in Capitan (15 miles north of Ruidoso), in Lincoln County. When he was a high-school student in Roswell, he was friends with the artist Peter Hurd. Lumpkins later described him as “the one person who helped me see with the eye of an artist.” The first time he visited Santa Fe was with Hurd, in 1927. Two years later, Lumpkins attended the University of New Mexico. He studied painting under Neil Hogner and architect Irwin Parsons and became acquainted with Andrew Dasburg, Cady Wells, and other young 32

PASATIEMPO I April 18 -24, 2014

artists. From them he learned about “the conceptual aspects underlined in nonrepresentational painting, viewing art as a vehicle of personal expression through line and color,” according to a Peyton Wright Gallery biography. Lumpkins studied architecture at the University of Southern California in 1934, but he didn’t stay long enough to earn a degree. “I got tired of it,” he told Pasatiempo in 1998. He heard that the government’s Works Progress Administration was hiring in Santa Fe, so he returned to New Mexico. Artist Gustave Baumann, at the time an area coordinator of the WPA Public Works of Art Project, hired him after Lumpkins showed him a portfolio of watercolors. The young man went on to work as a junior architect for the WPA. In 1935, he built what is considered the state’s first passive-solar home in Capitan, where Will was born. The father had noticed, growing up on the ranch, that a building was warmer in the winter when it had windows facing the south. That practical fact fueled his love for solar design. Lumpkins returned to Santa Fe in 1938 and befriended Jozef Bakos, Willard Nash, B.J.O. Nordfeldt, and other modernist artists, but he was closest to Raymond Jonson, co-founder, with Emil Bisttram, of the Transcendental Painting Group. Besides Lumpkins, the group included Agnes Pelton, Florence Pierce, Ed Garman, and others. After World War II, Lumpkins lived in La Jolla, California, where he did architectural design and painted. “I worked with him in architecture, and I learned watercolors from him,” Will Lumpkins said. “During the 1960s, for a lot of the work that’s in this

show, he was in California and I was at the University of Southern California, so I was back and forth living with him. He was associated with the La Jolla Art Institute at that time. His mascot was toilet paper,” Will said with a laugh. “He would put that on the screen and then run the ink through it, which meant that there was only one print, because the TP would come apart. At the same time he started doing archival felt-tip paintings.” Back in Santa Fe in 1967, the elder Lumpkins designed adobes and worked in historic preservation, including a restoration of the Santuario de Guadalupe. In 1971 he served on a city committee — with John Gaw Meem, Sylvia Loomis, Bainbridge Bunting, and Alan Vedder — evaluating design parameters for a new hotel, the Inn at Loretto, which was planned for the site of old Loretto Academy. Wayne Nichols, who developed Second Street Studios with his wife, Susan, recalled in a 2012 interview that he and Lumpkins formed a partnership in the early 1970s with several other men. “At one time it was called Sun Mountain Design. Bill was the heavy in the group. Sun Mountain had designed more solar homes than any company in the United States at one point. There were eight homes on 40 acres south of Santa Fe called First Village and Second Village. It was written up in Life magazine and National Geographic.” It also was featured in the December 1976 issue of Popular Science. “The key to our design philosophy,” Sun Mountain’s Travis Price said in the article, “was the belief that every aspect of building a house could save or produce energy.” In 1976, Lumpkins designed a transparent roof for the courtyard at La Fonda, in the process creating La Plazuela restaurant. Among his other architectural works are DeVargas Center, Rancho Encantado (torn down six years ago to make way for what is today known as Four Seasons Resort Rancho Encantado Santa Fe), the adobe home that is now the Eldorado Community Center clubhouse, a Bandelier National Monument exhibit that tells the story of the Pueblo Indians, and some 2,000 houses. Lumpkins was presented with the Governor’s Award for Excellence and Achievement in Architecture and Painting, and he was named a Santa Fe Living Treasure. Lumpkins’ adobe architecture was featured in the 1982 exhibit Des Architecture de Terre at the Centre Pompidou in Paris. His books include Adobe Past and Present; Casa del Sol: Your Guide to Passive Solar House continued on Page 34

The gamut of William Lumpkins’ artistic output and his discipline as a designer can both be seen as results of a lifelong adherence to Buddhism.

William Lumpkins, right: Weeds, 1977, felt-tip-pen drawing; below, Trimmed, circa 1970s, felt-tip-pen drawing; opposite page, William Lumpkins, Santa Fe, 1989; photo by Joanne Rijmes; courtesy Palace of the Governors Photo Archives (NMHM/DCA), Negative Number 189214




William Lumpkins, continued from Page 32

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Untitled (Modernist Landscape), 1937, watercolor

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Designs; and La Casa Adobe, in which he advises, “Remember: Not even the wealthy can afford to build without the services of an architect.” In 1985, Lumpkins and Pony Ault founded the Santa Fe Art Institute. Carrie Benson, SFAI director at the time of Lumpkins’ death, told The New Mexican that he “had the vision, and he was able to get really big names to come in, such as Richard Diebenkorn, Wayne Thiebaud, and Nathan Oliveira.” The works in the Matthews show are, generally speaking, festive in color and form. The 1937 painting is more literal than his later paintings are. In that one, gallerist Lawrence Matthews said that you can see the influence of the modernist John Marin. Lumpkins was overwhelmed when he saw a Marin show in Taos in 1930. Matthews made the point that Lumpkins was virtually unique among the artists who made Santa Fe a mecca from the 1920s to the 1940s in being a native New Mexican, “and he brought that spirit naturally to his work.” Previously known for his watercolors, Lumpkins first showed acrylic abstractions in 1996. The gamut of his artistic output and his discipline as a designer can both be seen as results of a lifelong adherence to Buddhism. “On the ranch where my dad was raised, they were so far away from the schools that his parents hired a tutor, and that man happened to have what I think was a Ph.D. in Oriental philosophy from Princeton. That was dad’s early education. That’s where he gained a sort of Zen attitude toward his work. That gave him the freedom to do the things that came through him, which is the way he used to say it, whether he was doing semi-realistic landscapes or purely abstract forms.” That freedom sometimes surfaced in his architecture as well. His obituary in the Los Angeles Times notes that Lumpkins “created homes that favored flowing room blocks and asymmetrical designs.” In some of the paintings in the Matthews exhibition, his architectural background is evident — the works contain jumbles of plan views and elevations. But others demonstrate what is perhaps an escape from architecture. “Some of this work, particularly the mixed-media works and some of the felt-tip pieces, show a full-blown artistic imagination at play,” Matthews said. Will Lumpkins said architecture is less apparent in these works than a “concentration on color and form. His architectural form, which is what I learned from him, was about spaces. I worked with him in a kind of partnership, and he dealt with spaces: not so much what it looked like but what the actual negative space was. That was very important. He emphasized that to me. The walls are just the enclosing of the space that you’re going to use.” ◀

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Michael Abatemarco I The New Mexican


photographer joel-peter witkin


epending on your comfort level, the work of Joel-Peter Witkin will either attract or repulse you. Witkin, a seminal figure in the field of photography, has made a career shooting black-and-white tableaux in elegant arrangements, including still lifes and portraits, but the subject matter has remained provocative. Graphic sexual imagery, people with physical deformities, and dismembered animals and humans have all been arranged with pageantry in his dioramalike photos. Although the 15 new images on view at Andrew Smith Gallery in his solo exhibit Love and Other Reasons ... To Love contain the elements that have made him a controversial photographer, Witkin has settled into a gentler mode, presenting work less challenging, overall, to our squeamish natures, but no less concerned with references to the art-historical canon, themes of social justice, and, above all, compassion. In The Reader, hand-painted and scratched to resemble an aged daguerreotype, we see a graceful portrait of a woman in a chair, book in hand, a veil obscuring her face while a serpent slithers across her lap as other animal forms surround her. On the surface, Witkin has crafted a simple arrangement, but the

elements come together to suggest double meanings. The strange animal world around the woman could be an outward expression of the things she reads in books or the veil can be seen as her retreat from a threatening outer world into the safety of her interior life. A human skull rests at the foot of her chair, an image of death intended as a memento mori. “Death is a reality — the physical end of life,” Witkin told Pasatiempo. “Memento mori means ‘remember you must die.’ In art, that subject is a reminder of our mortality and is part of the art of all cultures that have existed. In our escapist, commercial culture, death is the greatest fear and the ultimate taboo. I try to remind people in my work on this subject that to understand death you must understand what life is about. Life and death are sacred times.”

More explicit, graphic imagery greets the viewer in Our Daily Bread, depicting a prostrate human figure with two faces — one male, one female — gorging on severed male genitals. Those familiar with Witkin’s work have no need to ask whether the disembodied female head, attached to the male body by cords, is real, or the genitals for that matter. No doubt they are actual body parts. But Witkin isn’t a documentarian, capturing a moment in time or a specific incident like the aftermath of an atrocity. We don’t know why the woman in this photo lost her head, but Witkin takes the head and other elements and gives them a new context. “I bring the world, its history, and its human spirit into my studio,” he said. “There I make visual narratives of what I have combined there — of people and objects. It’s like a living sculpture taken out of time. But I don’t just record an event, I want to create an indelible human experience of what I find there and what I have discovered in myself in the process.” The chimerical figure appears Janus-like, with two faces posed in opposite directions. A mythic sensibility enters into the tableau. The genitals in the mouth of the continued on Page 38

Joel-Peter Witkin: Execution of an Extraterrestrial, Petersburg, Virginia, 1864, 2013, silver gelatin print Opposite page, The Reader, Paris, 2010, hand-painted toned silver gelatin print; images © Joel-Peter Witkin



Joel-Peter Witkin, continued from Page 37

figure’s male face make this strange picture into a kind of ouroboros, like a snake devouring its own tail. Witkin’s photographs seem to belong to another age. So full of homages to art history and mythic traditions, it might be more true to say they belong to all ages. Execution of an Extraterrestrial, Petersburg, Virginia, 1864, for instance, depicts a figure, clearly human, hanging from the gallows by its dress, a mounted Confederate soldier nearby. Two UFOs hover in the sky. The image looks like it could be from 1864 were it not for the UFOs, part of the belief system of a more contemporary world. “My work has always placed people and events in and out of time because photography is about knowledge and timelessness,” Witkin said. Other work contains references to artists from the past, including 18th-century painter Thomas Gainsborough and 16th-century German painter Hans Holbein the Younger. Small versions of works by them and others surround the central figures cavorting in Witkin’s Performers. Regarding the still life A Woods Dream of Signs and Wonders, one is reminded of the Italian term natura morta, which recognizes a mortal component in the subjects of still lifes. Ripened fruits, flowers, and cornucopias in Renaissance still-life painting, sometimes with that familiar grinning skull,

were essentially collections of dead things, their beauty captured for all time in paint before it faded into decrepitude. In A Woods Dream of Sign and Wonders, two dead birds with heads replaced by a human skull and a doll, a raven, a fish, and a cubist portrait of a woman combine in a composition that honors past artistic tradition using more visceral imagery. Witkin does not deny that he is working in the idiom of long-established tradition. “We cannot negate what others have learned and given to us, so that we must build on their discoveries through our own spirits in order to elevate their wisdom and elevate life in our time. All important art — art which will last over time — is not the product of trends or compromise. It is the result of years of effort to create an original vision which has purpose and meaning and is worthy

A Woods Dream of Signs and Wonders, New Mexico, 2013, toned silver gelatin print


PASATIEMPO I April 18 -24, 2014

of study because it has the ability to ‘grow the spirit of the viewer,’ through the perceptions, both aesthetic and moral, within the artist’s creation. Those qualities are what inform and heal the maker and the viewer.” Seldom are people afflicted by deformity or other rare physical disorders photographed with the reverence Witkin gives them, reminding us not only of their humanity but, in the contexts he places them, of their essentiality. “All my work is about the acceptance or the rejection of love,” he said. “The basis of that is morality which I express with empathy and what I have learned in life. When I see a person who I feel could be part of one of my photographs, I introduce myself, give them my business card, and show them a sketch of my idea of an image I want to create. At that point, they will either walk away or show a real interest in being part of a visual creation. Even physically challenged people see my respect for them and my passion to create something deeply beautiful.” ◀

details ▼ Joel-Peter Witkin: Love and Other Reasons ... To Love ▼ Reception 4 p.m. Friday, April 18; through June 21 ▼ Andrew Smith Gallery, 122 Grant Ave., 505-984-1234

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MOVING IMAGES film reviews

Collecting specimens Jonathan Richards I For The New Mexican Under the Skin, drama, rated R, Center for Contemporary Arts, 3.5 chiles There is scarcely a moment in Under the Skin, Jonathan Glazer’s visually stunning, unsettling, and very loose adaptation of Michel Faber’s 2000 debut sci-fi novel about a predatory female, when you will have a very good grasp of what is going on. If you find yourself on its wavelength, most of the time you won’t mind very much. If not, you’ll be lost in space. It has been met at festivals with boos and cheers. To some extent the bafflement is rooted in the nature of the story and the central character, an unnamed woman played by Scarlett Johansson. There is not much question who she is, in general terms. She’s an alien negotiating a strange planet. Glazer (Sexy Beast) opens the picture with a black screen, into which seeps first a soundtrack that resembles something like mechanical gears whirring and clanking, something like music, something like guttural, nonverbal communication. A pinpoint of light appears, grows, and transforms through stages into images that suggest an eclipse, pod doors sliding shut, and finally a human eye.


PASATIEMPO I April 18 -24, 2014

Fur is murder: Scarlett Johansson

There is a good deal of uncertainty, both on the part of the aliens and the filmmaker, as to just why these creatures have come here and what they know about the species whose forms they have taken and the environment into which they have inserted themselves. Let’s take the creatures first. There are two of them. One, a male, seems to have hit the ground running. We see a motorcycle tearing at frightening speed on empty roads through an inky darkness. We don’t know who, or what, or where; all we know for sure is that this is someone who for damn sure knows how to handle a motorcycle. He stops at a lonely country lane, strides off, and returns a moment later with an inert female slung over his shoulder. He dumps the body into a van parked on the shoulder nearby. Inside the van — but is it inside the van? It’s like the kind of space you find in a dream, where you know you’re in a particular place, but it looks nothing like it — a naked woman strips the victim and puts on her clothes. She’s well-versed in earthly clothing. She handles the hooks of the bra deftly, a feat of digital coordination it takes teenage boys much fumbling practice to master. When she’s fully dressed, and the other body is naked, she picks up an ant crawling nearby and examines it with detached curiosity, and you don’t have to be Margaret Meade to understand that her attitudes toward the two life forms, human and insect, are much the same. Later on we will see a scene on a lonely beach, with an abandoned baby crying as night falls and the tide comes in. She exhibits as much compassionate awareness of the child as one might toward the ant. For much of the time she cruises in the van, picking up men. The light ranges from battleship gray to almost pitch dark, and the temperature is chilly and raw. We discover ourselves to be on the streets of

Glasgow. This movie will no doubt play very differently in Scotland, but for us the almost impenetrable Glaswegian accent has the effect of reinforcing the disconnect between the alien and the humans. There is very little dialogue. Many of the encounters were filmed with cameras hidden in the van, with real men-on-the-street unaware that they were talking to an American movie star in a dark curly wig. In the Faber novel, the purpose of the aliens is clear: they’re harvesting human meat for their starving planet. In Glazer’s adaptation, no motive or purpose is ascribed. She talks to prospective prey, makes selections who will not be missed, and lures them to her lair, a flat which, once inside, changes in that dreamlike way. As she and her victims shed their clothes in a dance of seduction, the floor expands to a vast, borderless surface of shiny, reflective black, like the polished dance surface in a Fred Astaire movie. And the victims slowly sink into it, like insects trapped in amber. There are things about the earthly environment that the alien finds baffling. Food is a curiosity for which she is unprepared. When she discovers blood on a packet of roses on which someone has pricked a finger, she is bemused. Apparently in her training they didn’t brief her on blood. She strips naked, and observes her woman’s body in a mirror with the curiosity of a scientist examining an unfamiliar artifact. And one important anatomical specific appears to have been overlooked entirely. This all seems acceptable. As with the American soldiers who stormed Bin Laden’s compound at Abbottabad, meticulous research has prepared her for a lot, but there are still surprises. As the story wears on, we begin to see a gradual slide toward something approaching human empathy in the alien creature. It may be that after all, the most contagious thing in the universe is humanity. ◀

MOVING IMAGES film reviews

Crisis equals opportunism: Steve Coogan

He’s a real knowing man Robert Ker I For The New Mexican Alan Partridge, comedy, rated R, Jean Cocteau Cinema, 3.5 chiles In America, Steve Coogan is known for his prominent roles in well-loved indie pictures such as 24 Hour Party People and Philomena or his smaller roles in mainstream comedies such as Night at the Museum and The Other Guys — by those who know him at all. He is much more famous in his native England, and that mostly comes down to one character that has only surfaced stateside on poorly distributed DVDs: the fictional entertainment personality Alan Partridge. Coogan hatched the overconfident if ultimately incompetent Partridge character during the 1990s in the On the Hour radio show. He soon transferred the persona to TV and then spun it into a talk-show spoof on the BBC called Knowing Me Knowing You With Alan Partridge, before expanding the character’s world with The Alan Partridge Show. As Coogan’s film career blossomed in the last decade, his forays as Partridge waned. Finally, last year brought Alan Partridge: Alpha Papa to cinemas in Britain, and now it has reached the U.S. The good news is that you don’t need to have seen any of that earlier material to enjoy Alpha Papa, which has been renamed Alan Partridge for American audiences. Partridge’s life as a small-time radio host in Norwich requires little back story; his aloofness is readily apparent, and his inflated sense of self is swiftly shown to be tempered by insecurity over being too old for the hip makeover the station is about to receive. And when the station is taken hostage by a gunman and Partridge is chosen to be the police’s go-between, he sees this as opportunity to reestablish his brand. This flimsy plot is used as a springboard for a great deal of gags. There are broad physical comedy and rapid-fire displays of wit. There are absurdist sequences and heartfelt moments. There is humor that is highbrow, lowbrow, and even lower brow. In terms of number of laughs, this is the funniest comedy to come around in years. It earns that designation in part because director Declan Lowney wraps things up while the jokes are still fresh, before the humor and the characters have a chance to wear out their welcome. It all works, in large part, because of Coogan. The British have a knack for comedy that features egotistical fops who exist merely to be put upon and cut down to size, and Coogan’s performance as Partridge is one of the finest. He injects the character with just enough soul that we stay on his side, even when he’s being such a selfish twit that his inevitable humiliation is well earned. He keeps the character grounded even when veering off into absurdity. Hopefully, the release of this film will mean that more American audiences will soon be knowing him, and he’ll be knowing us. ◀

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THE LUNCHBOX This debut feature from Ritesh Batra focuses on a woman who seeks to connect with her distant husband. Ila (Nimrat Kaur) prepares a meal to be delivered to him in a lunchbox, but the food is mistakenly sent to Saajan (Irrfan Khan), who is struggling to get over the loss of his wife. By exchanging notes in the luchbox, the two begin to build an unusual relationship. Rated PG. 104 minutes. In Hindi with subtitles. Regal DeVargas, Santa Fe. (Not reviewed) 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. Tadeusz Konwicki’s Jump (1965, 105 minutes) is shown on Saturday, April 19, and Tuesday, April 22, at The Screen, Santa Fe. Wajda’s The Wedding (1972, 107 minutes) screens on Sunday, April 20, and Thursday, April 24, at the Jean Cocteau Cinema, Santa Fe. Not rated. In Polish with subtitles. ( Jonathan Richards)

Stuck in the middle with me: Benicio Del Toro in Jimmy P: Psychotherapy of a Plains Indian, at The Screen in Santa Fe

opening this week ALAN PARTRIDGE After decades of radio and TV appearances, Steve Coogan (Philomena) finally brings his talk-show-host character Alan Partridge to the big screen. In terms of the sheer number and variety of successful jokes, it is one of the funniest films in years. Partridge’s life as a small-time radio host in Norwich requires little back story, as does his character — rich with an inflated sense of self that is swiftly shown to be tempered by insecurity about being too old to be hip. The film finds a radio station taken hostage by a gunman, and only Partridge can save the day — and, along the way, his brand. Rated R. 90 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) See story, Page 41. BEARS The Disneynature documentary series adds narratives to the lives of animals and presents the natural world in a kid-friendly way. Here, John C. Reilly tells the story of a brown bear and her two cubs making their way in the Alaskan wilderness. Rated G. 77 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)


PASATIEMPO I April 18 -24, 2014

THE FINAL MEMBER The world’s only penis museum — the Icelandic Phallological Museum — is measured up in this documentary, which centers on the two men (one American, one Icelandic) who are both vying to contribute the first human specimen to the collection. Rated R. 75 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) A HAUNTED HOUSE 2 Remember the 2000s, when we had an endless string of lame Scary Movie films, in which some of the Wayans brothers spoofed the latest horror flicks? Now it’s the 2010s, and we have the lame A Haunted House films, in which one of the brothers spoofs the latest horror flicks. Rated R. 87 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) JIMMY P: PSYCHOTHERAPY OF A PLAINS INDIAN Director Arnaud Desplechin returns with his first film since 2008’s A Christmas Tale to tell a story about a Native American soldier (Benicio Del Toro) who is wounded in World War II and begins experiencing sudden losses — and changes — of consciousness. In a Kansas hospital, he is treated by a French psychoanalyst (Mathieu Amalric), who attempts to uncover the source of his strange symptoms. Not rated. 117 minutes. The Screen, Santa Fe. (Not reviewed)

NYMPHOMANIAC: VOLUME II The second half of Lars von Trier’s erotic epic about a woman’s sexual odyssey is here to wrap things up. Will there be a happy ending? Charlotte Gainsbourg, Stellan Skarsgård, Shia LaBeouf, Christian Slater, Jamie Bell, Uma Thurman, and Willem Dafoe star. Not rated, but not appropriate for children. 123 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) STAR WARS (IN NAVAJO) For the first time ever, Star Wars: Episode IV — A New Hope (1977) has been dubbed into the Navajo language. Says Manuelito Wheeler, director of the Navajo Nation Museum in Window Rock, Arizona, “This film comes to Santa Fe through a museum-to-museum partnership, between the Museum of Indian Arts and Culture and the Navajo Nation Museum. The mission of the film is simple and hopefully will shed light on the importance of language preservation.” Talk about a new hope. 1 and 6 p.m. Friday, April 18, only. Rated PG. 121 minutes. Kathryn O’Keeffe Theater, Museum of Indian Arts and Culture, 710 Camino Lejo, Santa Fe. Call 505-476-1269 for reservations. (Not reviewed) TRANSCENDENCE Johnny Depp plays a scientist who, when faced with death, has his consciousness uploaded into a computer, where he soon becomes all-powerful and highly corrupt. But does he hook up with Scarlett Johansson’s operating system from Her? Rated PG-13. 119 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

UNDER THE SKIN In Jonathan Glazer’s visually stunning, unsettling, and very loose adaptation of Michel Faber’s 2000 debut sci-fi novel, an alien takes the form of a human female (Scarlett Johansson) and cruises the streets of Glasgow in a van, preying on men. Her human emotions are learned and not pervasive. As the story wears on, however, we begin to see a gradual slide toward something approaching human empathy in the alien creature. It may be that after all, the most contagious thing in the universe is humanity. Rated R. 107 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) See review, Page 40.

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 Michael Peña plays the iconic Mexican-American activist and labor organizer 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) 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) 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) 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 (co-written by Lynn Vincent, who helped Sarah Palin write Going Rogue: An American Life), 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. Rated PG. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (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 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) 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) continued on Page 44




continued from Page 43

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 war movie. Rated PG-13. 118 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) MR. PEABODY & SHERMAN Those who 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. Terrific animation, good gags, and cute characterizations don’t offset the general lack of excitement. Rated PG. 91 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) MUPPETS MOST WANTED The latest Muppet caper involves an evil Kermit doppelgänger 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-ho-ho-ho-ho! Rated PG. 112 minutes. Regal DeVargas, 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.






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PASATIEMPO I April 18 -24, 2014

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 after the water recedes. Rated PG-13. 138 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) 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 had to split it into two movies. Shia LaBeouf, Willem Dafoe, Uma Thurman, Christian Slater, and Jamie Bell star — with body doubles for their naughty bits, of which quite a lot is shown. 6:15 p.m. Friday, April 18, only. Not rated. 118 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) 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) 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) THE RAID 2 The 2011 action film The Raid: Redemption gained quite a reputation for its 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. (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) 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 nononsense, 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 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)

other screenings Regal Stadium 14 2 p.m. Sunday, April 20; 2 & 7 p.m. Wednesday, April 23: The Ten Commandments. ◀


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1050 Old Pecos Trail, 505-982-1338, Nymphomaniac:Volume I (NR) Fri. 6:15 p.m. Nymphomaniac:Volume II (NR) Fri. 8:30 p.m. Sat. to Thurs. 6:15 p.m., 8:45 p.m. Particle Fever (NR) Fri. to Sun. 11:30 a.m., 4 p.m. Mon. to Thurs. 4 p.m. Tim’s Vermeer (PG-13) Fri. to Sun. 12:30 p.m. Under the Skin (R) Fri. to Thurs. 2:30 p.m., 5 p.m., 7:30 p.m. The Unknown Known (PG-13) Fri. to Mon. 1:45 p.m. Wed. and Thurs. 1:45 p.m. JEAN COCTEAU CINEMA

418 Montezuma Avenue, 505-466-5528 Alan Partridge (NR) Fri. 6:30 p.m., 8:30 p.m. Sat. 2 p.m., 6:30 p.m., 8:30 p.m. Sun. 4:30 p.m., 6:30 p.m. Tue. 8:30 p.m. Wed. 2 p.m., 6:30 p.m. Thurs. 4:30 p.m. The Final Member (R) Fri. 11 p.m. Sat. 4:30 p.m., 11 p.m. Sun. 8:30 p.m. Wed. 4:30 p.m., 8:30 p.m. The Wedding (NR) Sun. 2 p.m. Thurs. 2 p.m. REGAL DEVARGAS

562 N. Guadalupe St., 505-988-2775, American Hustle (R) Fri. and Sat. 9:45 p.m. Sun. to Thurs. 7:05 p.m. Gloria (R) Fri. and Sat. 1:50 p.m., 4:40 p.m., 7:20 p.m., 10 p.m. Sun. to Thurs. 1:50 p.m., 4:40 p.m., 7:20 p.m. The Grand Budapest Hotel (R) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7:10 p.m., 9:30 p.m. Sun. to Thurs. 1:10 p.m., 4:10 p.m., 7:10 p.m. The Lego Movie (PG) Fri. to Thurs. 1:20 p.m., 4:20 p.m. The Lunchbox (PG) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. The Monuments Men (PG-13) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:40 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. Muppets Most Wanted (PG) Fri. and Sat. 1:40 p.m., 4:15 p.m., 7:05 p.m. Sun. to Thurs. 1:40 p.m., 4:15 p.m. The Raid 2 (R) Fri. and Sat. 6:50 p.m., 9:50 p.m. Sun. to Thurs. 6:50 p.m. REGAL STADIUM 14

3474 Zafarano Drive, 505-424-6296, Call theater or see website for times not shown. Bears (G) Fri. to Tue. 12:30 p.m., 2:40 p.m., 5 p.m., 7:10 p.m., 9:20 p.m. Wed. 2:40 p.m., 5 p.m., 7:10 p.m., 9:20 p.m. Captain America:The Winter Soldier (PG-13) Fri. to Wed. 12:45 p.m., 1:10 p.m., 4:15 p.m., 7:05 p.m., 7:25 p.m., 10:25 p.m. Captain America:The Winter Soldier 3D (PG-13) Fri. to Wed. 4 p.m., 10:10 p.m. Cesar Chavez (PG-13) Fri. to Tue. 7:40 p.m., 10:15 p.m. Divergent (PG-13) Fri. to Wed. 12:25 p.m., 3:50 p.m., 7:10 p.m., 10:20 p.m. Draft Day (PG-13) Fri. to Wed. 1:35 p.m., 4:35 p.m., 7:35 p.m., 10:20 p.m. God’s Not Dead (PG) Fri. to Wed. 12 p.m., 2:40 p.m., 5:15 p.m., 7:50 p.m., 10:25 p.m.

A Haunted House 2 (R) Fri. to Wed. 12:30 p.m.,

2:50 p.m., 5:25 p.m., 7:45 p.m., 10:05 p.m.

Heaven Is for Real (PG) Fri. to Wed. 12 p.m.,

2:25 p.m., 5 p.m., 7:25 p.m., 9:50 p.m.

Mr. Peabody & Sherman (PG) Fri. and Sat.

12:10 p.m., 2:40 p.m., 5:10 p.m. Mon. and Tue. 12:10 p.m., 2:40 p.m., 5:10 p.m. Noah (PG-13) Fri. to Wed. 12:50 p.m., 4:05 p.m., 7:20 p.m., 10:25 p.m. Oculus (R) Fri. to Wed. 12:05 p.m., 2:35 p.m., 5:15 p.m., 7:55 p.m., 10:25 p.m. Rio 2 (G) Fri. to Sun. 1:30 p.m., 3:15 p.m., 4:30 p.m., 7 p.m., 7:30 p.m., 10:10 p.m. Mon. to Wed. 1:30 p.m., 3:15 p.m., 4:30 p.m., 7 p.m., 7:30 p.m., 10:10 p.m. Rio 2 3D (G) Fri. to Wed. 12:15 p.m., 9:40 p.m. The Ten Commandments (G) Sun. 2 p.m. Wed. 2 p.m., 7 p.m. Transcendence (PG-13) Fri. to Wed. 1 p.m., 4 p.m., 7:15 p.m., 10:15 p.m.

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Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, Jimmy P: Psychotherapy of a Plains Indian (NR) Fri. 8:15 p.m. Sun. 6:30 p.m. Mon. to Thurs. 8:15 p.m. Jump (NR) Sat. 10:15 a.m. Tue. 6:15 p.m. Le Week-end (R) Fri. 2 p.m., 4:10 p.m., 6:20 p.m. Sat. 12:30 p.m., 2:30 p.m. Sun. 11:45 a.m., 2 p.m., 4:10 p.m. Mon. 2 p.m., 4:10 p.m., 6:20 p.m. Tue. 2 p.m., 4:10 p.m. Wed. 2 p.m., 4:10 p.m., 6:20 p.m. Thurs. 2 p.m., 4:10 p.m.

Expert installation of Driveways - Walkways - Patios



15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, Captain America:The Winter Soldier (PG-13) Fri. 4:40 p.m., 7:40 p.m. Sat. and Sun. 1:50 p.m., 4:40 p.m., 7:40 p.m. Mon. to Thurs. 4:20 p.m., 7:15 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., 7:10 p.m., 9:40 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:10 p.m., 9:40 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:10 p.m. Mon. to Thurs. 4:45 p.m., 7:10 p.m. A Haunted House 2 (R) Fri. 4:50 p.m., 7:25 p.m., 9:50 p.m. Sat. 2:30 p.m., 4:50 p.m., 7:25 p.m., 9:50 p.m. Sun. 2:30 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. Heaven Is for Real (PG) Fri. 4:45 p.m., 7:15 p.m., 9:45 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:45 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:15 p.m. Mon. to Thurs. 4:45 p.m., 7:15 p.m. 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. 5 p.m., 7:30 p.m., 10 p.m. Sat. 2:25 p.m., 5 p.m., 7:30 p.m., 10 p.m. Sun. 2:25 p.m., 5 p.m., 7:30 p.m. Mon. to Thurs. 5 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. to Thurs. 4:30 p.m., 7 p.m. Transcendence (PG-13) Fri. 4:35 p.m., 7:20 p.m., 9:55 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:20 p.m., 9:55 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:20 p.m. Mon. to Thurs. 4:35 p.m., 7:20 p.m.

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1273-B Calle De Comercio, Santa Fe, NM 87507



RESTAURANT REVIEW Bill Kohlhaase I The New Mexican

Plaza sweet La Plazuela at La Fonda 100 E. San Francisco St., 505-995-2334 Breakfast 7 a.m.-11:30 a.m. daily; lunch 11:30 a.m.-2 p.m. Mondays- Fridays, 11:30 a.m.-3 p.m. Saturdays & Sundays; dinner 5 p.m.-10 p.m. daily Takeout available Vegetarian options Noise level: moderate Full bar Credit cards, no checks

The Short Order A brightly lit, spacious room inside La Fonda, La Plazuela lives up to its name, with tables set around a central fountain, soaring clusters of potted trees, and a skylight high above. Chef Lane Warner includes Northern New Mexican dishes such as rolled enchiladas and chile rellenos, locally sourced lamb chops, seafood, and vegetarian specialties on his menu. Appetizers and side dishes, right down to the beans and posole, are good, and inventive salads can also be a treat when they’re not overthought. The service is unusually warm and efficient. This is a good place to bring out-of-towners to experience our city’s cooking and decorative traditions — as well as its restaurant prices. Two tacos for $18? But those tacos are very good. Recommended: pork carnitas, roastedcorn-poblano chowder, grilled pear and baby-spinach salad, lamb loin chops, carne asada, and flan.

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.


PASATIEMPO I April 18 -24, 2014

Entering La Plazuela at La Fonda is like leaving a lanternlit cavern and emerging into the sunshine. The ceiling soars toward the skylight two stories above. A stone pool containing a burbling fountain is flanked on two sides by the twisting trunks of towering potted ficus trees draped with tiny white lights. The room is separated from the surrounding corridors by divided-light windows, the frames colorfully painted with chiles, sunflowers, birds on the wing, perched owls, butterflies, and other whimsical designs. The wooden tables that surround the fountain are solid, the Mission-style chairs padded and comfortable. Even at nighttime the effect is spacious and grand. One of the city’s most intriguing dining rooms, it’s an atmospheric place to bring visiting friends and family or to go if you need a reminder of our city’s decorative traditions. The menu is also well suited for out-of-towners, though it doesn’t specifically cater to them. Executive chef Lane Warner — can it be true that’s he’s been with La Fonda for 20 years? — offers a range of traditional dishes, such as rolled enchiladas and New Mexico lamb chops, along with seafood, ambitious vegetarian entrees (a grilled cauliflower “steak” with sautéed leeks and shiitakes), and an unexpected chickpea and goji berry salad with Mandarin orange slices and an apple-cider vinaigrette. The wine list is serious and includes bottles from New Mexico. Both your steak-loving uncle and your vegetarian cousin will be happy. The kitchen’s attention to detail is apparent in the quality of side dishes and accompanying sauces. A “hash” of baked beans, sweet potato, and cranberries served with the baby back ribs was exquisite. The pinto beans served with the Northern New Mexico combination plate were tender but not mushy. Likewise the black beans served in a miniature bowl alongside a pair of soft tacos. Equally enjoyable were the jicama-carrot slaw that came with those tacos and a trio of salsas — a mild, almost creamy green; a stout and palate-warming red; and chopped avocado, papaya, and corn. The warm fingerling-potato salad, with its hint of mustard, contrasted nicely with the robust grilled flavor of the lamb chops. Those thick chops, perfectly cooked to order, were covered in a demi-glace of port and figs that accented the seared taste of the meat. The petite filet mignon, with its hearty ancho chile béarnaise, was also beautifully grilled, but we would have preferred more garlic in the velvety mash of Yukon Gold potatoes. The baby back ribs weren’t nearly as fine as the filet or lamb chops, despite the wonderful hash they rested on. At times the kitchen seems to try too hard. That goji berry and chickpea salad wasn’t as inspired as it sounded, its feta, almonds, oranges, and avocado mixing well but the chickpeas adding an odd texture and the berries getting lost in the mix. At other times, the kitchen doesn’t try hard enough. The salad’s apple-cider vinaigrette was surprisingly understated. It was a better match for the frisée and apple salad with pistachios and dried tart cherries.

Even better was a pear and spinach salad with hazelnuts and buttery manchego cheese complemented by a slightly sweet cranberry vinaigrette. Both the rich corn chowder and the savory tortilla soup — with its roasted-tomato and chicken broth — were excellent. There are some good dishes in the “Northern New Mexico Specialties” section of the menu, though for a more authentic experience, you might want to go elsewhere. Slices of excellent carne asada came on a bed of creamed poblano chiles. The corn and papaya salsa was especially good with the vegetarian soft tacos with roasted sweet potato and portobello mushroom. The carnitas tacos, the meat crispy and flavor-laden, were wonderful, as was the dinner appetizer of carnitas on crispy polenta cakes with a roasted jalapeño salsa. The only big disappointment was the chile relleno, its breading reminiscent of a state-fair corn dog. Flan is the desert of choice here — and worth the indulgence. The strawberry shortcake was fine, the berries in spring not yet perfectly ripe. And a slice of blueberry pie had a flaccid crust that would garner frowns from your grandma. But the overall experience in this spacious plaza-sized room — right down to the attentive, formal service — will make everyone happy, especially you if that steak-eating uncle picks up the bill. ◀

Dinner for three at La Plazuela at La Fonda: Chickpea and goji berry salad ............................ $ 13.00 Pear and baby spinach salad ............................... $ 11.00 Pork carnitas appetizer ....................................... $ 10.00 Lamb loin chops ................................................. $ 28.00 Baby back ribs ..................................................... $ 16.00 Petite filet mignon .............................................. $ 32.00 Glass, 2009 Gruet Cuvée Gilbert pinot noir ......... $ 10.00 Glass, 2012 Muga rioja ....................................... $ 11.00 Strawberry shortcake .......................................... $ 8.00 Blueberry pie ...................................................... $ 6.00 Flan .................................................................... $ 7.00 TOTAL ................................................................ $ 152.00 (before tax and tip) Lunch for two, another visit: Cup, roasted-corn-poblano chowder .................. $ Frisée and apple salad ......................................... $ Carne asada ........................................................ $ La Plazuela combination (pork tamale, cheese enchilada & chile relleno) .................. $ TOTAL ................................................................ $ (before tax and tip)

6.00 11.00 16.00 17.00 50.00

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THE CINEMATHEQUE April 18 - 24 1050 Old Pecos Trail • 505.982.1338 •

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A+ Rating


ADDDDDDDDDDDDDDDDDDDDDF H H H H H H H H Opera Unveiled 2014 H Desirée Mays will once again entertain us with her depth of H knowledge and marvelous sense of humor in presenting an overview H H of this year’s opera season. She will also introduce her new book, H H Opera Unveiled 2014. Everyone is welcome! After the event, buy a H copy of her book at a discount, and Desirée will be delighted to sign your copy. H H H Wednesday, April 23, 2014–5:30pm H H Unitarian Universalist Church, 107 East Barcelona, Santa Fe, NM H Free admission to all Guild members. $10 for non-members or join at the door from $35 per year. H JLLLLLLLLLLLLLLLLLLLLL:




forget about love



– The New York Times




Tim’s Vermeer


A Penn & Teller Film Fri April 18 11:30am - Particle Fever* 12:30p - Tim’s Vermeer 1:45p - Unknown Known* 2:45p - Under the Skin 4:00p - Particle Fever* 5:00p - Under the Skin 6:15p - Nymphomaniac Pt 1* 7:30p - Under the Skin 8:30p - Nymphomaniac Pt 2*

Sat-Sun April 19-20 11:30am - Particle Fever* 12:30p - Tim’s Vermeer 1:45p - Unknown Known* 2:45p - Under the Skin 4:00p - Particle Fever* 5:00p - Under the Skin 6:15p - Nymphomaniac Pt 2* 7:30p - Under the Skin 8:45p - Nymphomaniac Pt 2*


Mon, Weds & Thurs April 21, 23, & 24 1:45p 2:45p 4:00p 5:00p 6:15p 7:30p 8:45p


Unknown Known* Under the Skin Particle Fever* Under the Skin Nymphomaniac Pt 2* Under the Skin Nymphomaniac Pt 2*

Tues April 22 2:45p - Under the Skin 4:00p - Particle Fever* 5:00p - Under the Skin 615p - Nymphomaniac Pt 2* 7:30p - Under the Skin 8:45p - Nymphomaniac Pt 2*




20th ANNIvErsAry GALA MAy 3, 2014 | (505) 983-7646 x. 110

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celebrating 10 years in the railyard and 26 years in santa Fe 328 S. Guadalupe Stree t, Suite e • 505.820.1080

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

Third Course

Choice of~ Carrot cake and cream cheese frosting OR Berry shortcake with garnish of lavender OR Chocolate crème brulee

Inn on the Alameda 303 East Alameda Street | Santa Fe | 505.984.2121 48

PASATIEMPO I April 18 - 24, 2014

pasa week

compiled by Pamela Beach,

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.


Andrew Smith Gallery 122 Grant Ave., 505-984-1234. Love and Other Reasons … To Love, tableaux by photographer Joel-Peter Witkin, through June 21. (See story, Page 36) David Richard Gallery 544 S. Guadalupe St., 505-983-9555. Gloria Graham’s works on paper, reception 5-7 p.m., through May 24. Flying Fish Gallery 821 Canyon Rd., 505-577-4747. Diario Oaxaca, photographs by Mary Sloane, reception 5-7 p.m. Matthews Gallery 669 Canyon Rd., 505-992-2882. New Mexico Moderns: The Lumpkins Files, work by the late Santa Fe artist and architect William Lumpkins (1909-2000), reception 5-7 p.m., through April 25. (See story, Page 32)


Piano recital Peter Pesic; music of Chopin and Debussy, 12:10 p.m., St. John’s College, 1160 Camino de Cruz Blanca, no charge, 505-984-6000. Santa Fe Pro Musica Baroque Ensemble Featuring soprano Kathryn Mueller, 7:30 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $20-$65, 505-988-1234,, 505-988-4640. Schola Cantorum of Santa Fe Sacred music for Holy Week, 7 p.m., concert preview 6:30 p.m., The Shrine of Our Lady of Guadalupe, 417 Agua Fría St., donations welcome, 505-474-2815,

Pasa’s Little Black Book......... 50 Elsewhere............................ 52 People Who Need People..... 52 Under 21............................. 52 Pasa Kids............................ 52

Nancy Spencer and Eric Renner discuss Contemporary Pinhole Photography in the West and Southwest, at noon on Wednesday, April 23, in the Fray Angélico Chávez History Library, 120 Washington Ave.; shown, Rosetvliders, by Bethany de Forest, Palace of the Governors Pinhole Resource Collection.


TGIF Chancel Choir concert Schütz: Passion According to St. Luke, 5:30 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations welcome, 505-982-8544, Ext. 16.

Randall Davey house tours Docent-led tours,weekly on Fridays, 2 p.m. Randall Davey Audubon Center, 1800 Upper Canyon Rd., $5, RSVP to 505-983-4609.



Consider This Theater Grottesco presents a light-hearted showcase of theatrical styles through history, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $10, students $5,, 505-474-8400.


John Scariano The author discusses his memoir Marsh Township Sanitary District, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

In the Wings....................... 53 At the Galleries.................... 54 Museums & Art Spaces........ 54 Exhibitionism...................... 55

(See Page 50 for addresses) Cowgirl BBQ Country singer/songwriter Bill Hearne, 5-7:30 p.m.; Jay Boy Adams & Zenobia, with Mister Sister, R & B, 8:30 p.m.-close; no cover. The Den Ladies night with DJ Luna, 9 p.m., call for cover. Duel Brewing Rocker Les Malzman, 5:30-7:30 p.m., no cover. El Farol Guitarist/singer John Kurzweg, 9 p.m., call for cover.

Junction La Junta’s Nick Peña, 10 p.m.-1 a.m., no cover. La Fiesta Lounge at La Fonda Country band Honky Tonk Deluxe, 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. Pranzo Italian Grill David Geist, piano and vocals, 6-9 p.m., call for cover. Second Street Brewery Paw Cole & The Clinkers, old-timey tunes, 6-9 p.m., no cover. Second Street Brewery at the Railyard Roots-rock guitarist Jono Manson, 7-10 p.m., no charge. Shadeh DJ 12 Tribe, 9 p.m.-4 a.m., call for cover. ▶▶▶▶▶▶▶▶

calendar guidelines

Please submit information and listings for Pasa Week no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to, 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 or See our calendar at, and follow Pasatiempo on Facebook and Twitter. PASATIEMPOMAGAZINE.COM


Tiny’s Acoustic guitarist/singer Chris Abeyta, 5:30 p.m.; classic-rock band The Jakes, 8:30 p.m.-close; no cover. The Underground at Evangelo’s Reggae bash with Brotherhood Sound, 9 p.m.-close, call for cover. Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.


La Tienda Exhibit Space 7 Caliente Rd., Eldorado. Two Views, One Vision, paintings by Pablo Perea and Linda Storm, closing party 3-9 p.m. Offroad Productions 2891-B Trades West Rd., 505-670-9276. Toast + Cowboys, drawings by Sam McBride and Clayton Porter, reception 6-8 p.m.


Santa Fe Pro Musica Baroque Ensemble Featuring soprano Kathryn Mueller, 6 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $20-$65, 505-988-1234,, 505-988-4640.


David Berkeley Singer/songwriter, 8 p.m., High Mayhem Emerging Arts, 2811 Siler Lane, $12, students $8, Living Colour Rock band, 8 p.m., 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.

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.


PASATIEMPO I April 18-24, 2014

Yours Truly, Ray Brown Jazz concert with Seattle bassist Michael Glynn, joined by pianist Bert Dalton and percussionist Cal Haines, 7-9 p.m., $35, call 505-989-1088 for tickets and venue directions.


Consider This Theater Grottesco presents a light-hearted showcase of theatrical styles through history, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $10, students $5,, 505-474-8400. Aspen Santa Fe Ballet Encore performance of works by choreographers Nicolo Fonte, Cayetano Soto, and Norbert de la Cruz III, 7:30 p.m., the Lensic, $25-$72, 505-988-1234,


ArtMatters: Curated Native Appropriations, a panel discussion with members of New Mexico Lawyers for the Arts, Indian Bar Association, and Indian Law Section of the New Mexico Bar Association, 4-6 p.m., Evoke Contemporary, 550 S. Guadalupe St., 505-995-9902, a series presented by Santa Fe Gallery Association, 505-982-1648. National Poetry Month Pushing a Red Wheelbarrow Through the Wasteland, a lecture by Santa Fe Poet Laureate Jon Davis, 1-4 p.m., Santa Fe Arts Commission Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St., no charge.


Enchanted Hikes The City of Santa Fe Recreation Division offers easy to moderate treks along the following

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trails: Dale Ball, Dorothy Stewart, Tesuque Creek, and Galisteo Basin Preserve; Session I, Thursday, 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, Where Are You? Practice your navigation skills with a compass, maps, and other aids during this guided two-mile hike, 2 p.m., Cerrillos Hills State Park, 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.


(See addresses below) Anasazi Restaurant & Bar Guitarist Jesús Bas, 7-10 p.m., no cover. ¡Chispa! at El Meson! Jazz trumpeter Tom Rheam’s quartet, 7:30-10:30 p.m., no cover. Cowgirl BBQ Hot Club of Santa Fe, Gypsy jazz and bluegrass, 2-5 p.m.; Broomdust Caravan, juke-joint, honky-tonk, and biker-bar rock, 8:30 p.m.-close; no cover. Duel Brewing Folk-rocker Lisa Carmen, 7-10 p.m., no cover. El Farol Sean Healen Band, rock, 9 p.m., call for cover. La Fiesta Lounge at La Fonda Country band Honky Tonk Deluxe, 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.

Lodge Lounge at The Lodge at Santa Fe 750 N. St. Francis Dr., 505-992-5800 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

Palace Restaurant & Saloon Eighties-infused lounge duo Vanilla Pop, 10 p.m., call for cover. Pranzo Italian Grill David Geist and Julie Trujillo, piano and vocals, 6-9 p.m., call for cover. Second Street Brewery Busy & The Crazy 88, hipster pop, jazz-o-rama, 6-9 p.m., no charge. Second Street Brewery at the Railyard Santa Fe’s own Bill Hearne Trio, classic honky-tonk/Americana, 7-10 p.m., no charge. 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. The Underground at Evangelo’s Reggae band Brotherhood Sound, 9 p.m., call for cover. Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.

20 Sunday IN CONCERT

Yours Truly, Ray Brown Jazz concert with Seattle bassist Michael Glynn, joined by pianist Bert Dalton and percussionist Cal Haines, 3-5 p.m., $35, call 505-989-1088 for tickets and venue directions.

Santa Fe Sol Stage & Grill 37 Fire Place, 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. 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


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., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., $10, 505-629-1410, Taos Woodcarver Patrociño Barela The docent-led Artist of the Week series continues with a discussion of the late santero, 12:15 p.m., New Mexico Museum of Art, 107 W. Palace Ave., by museum admission, 505-476-5075.

(See Page 50 for addresses) Cowgirl BBQ Boris & The Saltlicks’ John Prine tribute, noon-3 p.m.; rock singer/songwriter Tiffany Christopher, 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.

21 Monday


Nature hike Robert Martin, of The Nature Conservancy, leads an easy hike; 1-2:30 p.m., meet at the Santa Fe Canyon Preserve parking lot, near the intersection of Upper Canyon and Cerro Gordo roads, no charge, RSVP to 505-946-2029,


Turner Carroll Gallery 725 Canyon Rd., 505-986-9800. Altered, group show, including works by Ann Weiner and Rusty Scruby, through May 19.


Citizen Cope Solo acoustic performance by the singer/songwriter, 7:30 p.m., the Lensic, $30-$50, 505-988-1234,, a portion of the proceeds goes toward purchasing musical instruments for middle schoolers on the Northern Cheyenne Indian Reservation.



April Author Series Writer Junot Díaz discusses his work, 7 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., 505-466-5528. Southwest Seminars lecture The series continues with The History of Jemez Province, with archaeologist Matt Barbour, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door,, 505-466-2775.


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.


(See Page 50 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 Night Train, da blues, 7:30-11 p.m., no cover. Tiny’s Great Big Jazz Band, 8:30 p.m., no cover. Vanessie Pianist David Geist, 6:30-9:30 p.m., call for cover.


The Good Body V-Day Santa Fe presents Eve Ensler’s collection of monologues, 7 p.m., silent auction 6:30 p.m., the Lensic, $10, student discounts available, 505-988-1234,, proceeds benefit New Mexico Women’s Foundation.


Armistead Maupin The local author launches Op. Cit. Books’ World Book Night, 5:30-7:30 p.m., Sanbusco Center, 500 Montezuma Ave., Suite 101, 505-428-0321. (See Subtexts, Page 12)

Monroe Gallery of Photography, 112 Don Gaspar Ave., shows Sanford Roth’s portrait of Paul Newman in Somebody Up There Likes Me, in the exhibit When Cool Was King.


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.


(See Page 50 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30 p.m., no cover. Cowgirl BBQ Jamie Russell & The Santa Fe Sessions Band, folk-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 Night Train, da blues, 7:30-11 p.m., no cover. Zia Diner Weekly Santa Fe bluegrass jam, 6-8 p.m., no cover.

23 Wednesday BOOKS/TALKS

Brainpower & Brownbags Lecture Contemporary Pinhole Photography in the West and Southwest, by Nancy Spencer and Eric Renner, noon-12:45 p.m., Meem Community Room, Fray Angélico Chávez History Library, 120 Washington Ave., no charge, 505-476-5200. Bring your lunch. Indian Arts Research Center 2014 Speaker Series Content and Analysis in Native Art: Moving Past Form and Function, a panel discussion with Cherokee Nation art historian Lara Evans and artist Kade L. Twist, and Frank Buffalo Hyde, Nez Pierce/Onondaga painter, noon-2 p.m., Museum of Contemporary Native Arts, 108 Cathedral Place, by museum admission, 505-983-1777, National Poetry Month Poet Joan Logghe reads from Odes and Offerings Revisited, 6 p.m., Santa Fe Arts Commission Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St., no charge.

(See Page 50 for addresses) ¡Chispa! at El Mesón Flamenco guitarist Chuscales, 7-9 p.m., no cover. Cowgirl BBQ Folk-pop singer/songwriter Annalise Emerick, 8 p.m., no cover. Duel Brewing Jazz-funk trio What the What, with trumpeter J.Q. Whitcomb, 7-9 p.m., no cover. El Farol Guitarist/singer John Kurzweg, 8:30 p.m., no cover. Junction Karaoke Night, 10 p.m.-1 a.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 DJ Obi Zen, 8:30 p.m., call for cover. Zia Diner Guitarist Gary Gorence, 6:30-8:30 p.m., no cover.

24 Thursday IN CONCERT

San Miguel Chapel Bell Tower Restoration Concert Series Guitarist AnnaMaria Cardinalli, 7:30 p.m., San Miguel Chapel, 401 Old Santa Fe Trail, $20 at the door.


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, 7-9 p.m., Warehouse 21, 1614 Paseo de Peralta, $10, 505-820-7112, opening night, runs through April 27.


April Author Series English author Anne Perry discusses her new novel Death on Blackheath with George R. R. Martin, 7 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., call 505-466-5528 for ticket information. (See story, Page 14) ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM


Renesan Institute for Lifelong Learning lecture The weekly series continues with architect Steven Robinson in a discussion titled Turf Wars in Santa Fe and New York, 1-3 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, 505-982-9274.


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 4-6 p.m. today; 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,


Angels Night Out 2014 Kitchen Angels’ annual fundraiser encouraging the public to dine out at any of the local restaurants contributing 25 percent of their revenue to the nonprofit organization, visit for details, 471-7780.


(See Page 50 for addresses) ¡Chispa! at El Mesón Jazz pianist John Rangel, 7-9 p.m., no cover. Cowgirl BBQ Roots-rock duo Todd & The Fox, 8 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 R & B band The Bus Tapes, 8 p.m., no cover. Vanessie Pianist/vocalist Kathy Morrow, 6:30-9:30 p.m., call for cover. Zia Diner Swing Soleil, Gypsy jazz and swing, 6:30-8:30 p.m., no cover.


516 Arts 516 Central Ave. S.W., 505-242-1445. Heart of the City, group show, through May 3. South Broadway Cultural Center 1025 Broadway Blvd. S.E., 505-848-1320. Sanctuary: A Personal Journey, group show including works by Patrick Nagatani and Holly Roberts, through May. Albuquerque Antiquarian Book Fair 2014 Featuring a signed first edition of Rudolfo Anaya’s Bless Me, Ultima and historic maps and prints, 5-9 p.m. Friday, 10 a.m.-4 p.m. Saturday, April 18-19, Sheraton Holtel Uptown, 2600 Menaul Blvd. N.E., Friday $5, Saturday $2, visit for discount coupons. Blues Night Alabama bluesman Lil’ Jimmy Reed with Memphis P. Tails, 7-10 p.m. Saturday, April 19, African American Performing Arts Center, 310 San Pedro Blvd. N.E., $25,, proceeds benefit Sickle Cell Council of New Mexico. 52

PASATIEMPO I April 18-24, 2014

Arlen Asher and his quintet perform with jazz vocalist Patti Littlefield on Thursday, April 24, at Albuquerque’s Outpost Performance Space.

Chatter Sunday The ensemble performs music of Bach and Brahms, the spoken-word portion of the program follows with poet Bill O’Neill, 10:30 a.m. Sunday, April 20, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, Outpost Performance Space events Spoken-word artist Buddy Wakefield on tour, 7:30 p.m. Monday, April 21, $10 and $15; jazz vocalist Patti Littlefield and Santa Fe’s woodwind master Arlen Asher and his quintet, with Brian Bennett on piano, Michael Olivola on bass, and John Trentacosta on drums, 7:30 p.m. Thursday, April 24, $15 and $20; Outpost Performance Space, 210 Yale Blvd. S.E., 505-268-0044. American Indian Week: Pueblo Days Native dance performances, films, and art market, 9 a.m.-5 p.m. Thursday-Sunday, April 24-27, Indian Pueblo Cultural Center, 2401 12th St. N.W., by museum admission, 866-855-7902. Water Crisis in the West: Thinking Like a Watershed series Panel discussion with New Mexico ranchers, led by Santa Fe author and radio producer Jack Loeffler; 7 p.m. Thursday, April 24, KiMo Theatre, 423 Central Ave. N.W., no charge, visit for information.


Ana Castillo The author launches Give It To Me, 6 p.m. Saturday, April 19, Oviedo Carvings & Bronze Gallery, 961 NM 76, 505-351-2280.


Northern New Mexico College Center for the Arts Gallery 921 N. Paseo de Oñate, 505-747-2295. Raku Pottery: An NNMC Educational Exhibit, works by Fine Arts Department students, through April.


Quotes: The Authors Speak Series Santa Fe santero Charles M. Carrillo discusses his work, 7 p.m. Thursday, April 24, Upstairs Rotunda, Mesa Public Library, 2400 Central Ave., no charge, 505-662-8254.


Gaucho Blue Fine Art 14148 NM 75, 575-587-1076. Creation/ Migration: Honoring Our Ancestors, group show, reception 3-7 p.m. Saturday, April 19, through May 26.


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, Arthur Bell Auditorium, Harwood Museum of Art, 238 Ledoux St.,$25,, 575-758-9826. Tinariwen Musicians from the Sahara Desert region of northern Mali, 7 p.m. Tuesday, April 22, Taos Mesa Brewing, 20 ABC Mesa Rd., El Prado, 575-758-1900, $23,


Móntez Gallery 132 NM 75, 505-689-1082. 25th anniversary Easter show, featuring Santa Fe jewelers María Baca and Lawrence Baca, and santeros Frank Zamora and Andrea Fresquez-Baros, 10 a.m.-5 p.m. Sunday, April 20.

▶ People who need people Donations/Volunteers

American Cancer Society Training offered in support of the Cancer Resource Center at Christus St. Vincent

Cancer Center; various shifts available during business hours Mondays-Fridays; call Geraldine Esquivel for details, 505-463-0308. Fight Illiteracy Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at, or call 505-428-1353. Food for Santa Fe Help with packing and distributing groceries 6-8 a.m. Wednesdays and Thursdays, 505-471-1187 or 505-603-6600. The Hospice Center Assist in the office entering data for the volunteer program for a limited number of hours either weekly or biweekly; basic computer skills required; call Mary Ann at 505-988-2211. Many Mothers Assist new mothers and families, raise funds, plan events, become a board member, and more; requirements and details available online at; call 505-983-5984 for information or to schedule an interview. People for Native Ecosystems Join the feeding team for prairie dogs two-three hours weekly; call Pat Carlton at 505-988-1596. 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. Santa Fe Humane Society and Animal Shelter Dogs need individuals to take them on daily walks; all shifts available, call Katherine at 505-983-4309, Ext. 128. St. Elizabeth Shelter Help with meal preparation at residential facilities and emergency shelters; other duties also available; contact Rosario, 505-982-6611, Ext. 108, volunteer@

▶ Under 21 UNDER 21

Battle of the Bands 6-10 p.m. Friday, April 18, Warehouse 21, 1614 Paseo de Peralta. $5 at the door, 18 and under no charge, 505-989-4423. YouthxYouthFest Art show and jazz night, 5 p.m. Saturday, April 19, Warehouse 21, 1614 Paseo de Peralta. no charge, 505-989-4423. 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, 7-9 p.m. Thursday, April 24, Warehouse 21, 1614 Paseo de Peralta, $10, 505-820-7112, opening night, runs through April 27.

▶ Pasa Kids Santa Fe Children’s Museum Earth Day celebration 1-4 p.m. Saturday, April 19, 1050 Old Pecos Trail, by museum admission,, 505-989-8359. Children’s Story Hour Readings from picture books for children up to age 5; 10:45-11:30 a.m. weekly on Wednesdays and Thursdays, Collected Works Bookstore, 202 Galisteo St. no charge, 505-988-4226. Bee Hive Kids Books events Storytime for ages 3-5, 10:30 a.m. Wednesday, April 23, 328 Montezuma Ave., no charge, 505-780-8051. ◀

In the wings MUSIC

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,, 505-988-1234. The Dandy Warhols Power-pop rockers, 7:30 p.m. Tuesday, April 29, Santa Fe Sol Stage & Grill, $27 in advance, 505-988-1234,, $35 at the door. Perla Batalla Singer/songwriter, 7:30 p.m. Monday, May 5, the Lensic, $15-$35, 505-988-1234, Regina Carter The violinist celebrates the release of her CD Southern Comfort, 7:30 p.m. Thursday and Friday, May 8-9, Outpost Performance Space, 210 Yale Blvd. S.E., Albuquerque, $30, students $25, 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, The Met at the Lensic The HD broadcast series continues with Rossini’s La Cenerentola, 11 a.m. and 6 p.m. Saturday, May 10, the Lensic, $22 and $28, 505-988-1234, 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, 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, 201 Yale Blvd. S.E., Albuquerque, $20, student discounts available, 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, 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, Santa Fe Symphony Beethoven’s Ninth wraps up the 30th anniversary season, 7:30 p.m. Saturday, May 17, the Lensic, $22-$76, 505-988-1234, 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, Outpost Performance Space gala Funk and jazz saxophonist Maceo Parker, 6:30 p.m. Friday, May 23, Outpost Performance Space, 210 Yale Blvd. S.E., Albuquerque, $150, Austin Piazzolla Quintet Tango ensemble, 7:30 p.m. Saturday, May 24, Gig Performance Space, 1808-H Second St., $20 at the door,

Ingrid Laubrock and Tom Rainey Saxophonist and percussionist, 8 p.m. Thursday, May 29, Gig Performance Space, 1808-H Second St., $20 at the door, The Soulshine Tour Michael Franti & Spearhead, SOJA, Brett Dennen, and Trevor Hall, 6 p.m. Saturday, July 5, The Downs of Santa Fe, 27475 W. Frontage Rd., $44 and $61, kids $12,, 505-988-1234, and 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, and Henry Butler with Steven Bernstein & The Hot 9, tickets TBA, schedule available online at


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,

UPCOMING EVENTS 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, 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, One Woman Dancing 2014 Julie Brette Adams, 8 p.m. Friday and Saturday, 2 p.m. Sunday, May 9-11, Santa Fe Playhouse, 142 E. De Vargas St., $20, discounts available, 505-988-4262. 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,


Second Annual Comfort Food Classic Eight local chefs prepare lasagna dishes in support of the nonprofit Gerard’s House,

1-3 p.m. Sunday, April 27, La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., $50 in advance at Santa Fe Film Festival 2014 International documentaries, shorts, feature films, and accompanying events; hosted at Jean Cocteau Cinema and CCA Cinematheque; Thursday-Sunday, May 1-4, visit, or call 505-988-7414 for available details. Europe Day in Santa Fe Council on International Relations and World Affairs Councils of America host a dinner and a screening of Philippe Lioret’s 2009 film Welcome, 5-9 p.m. Sunday, May 4, and a panel discussion and luncheon featuring Ambassador of Portugal Nuno Brito, 10 a.m.-3:30 p.m. Monday, May 5, Bishop’s Lodge Ranch Resort & Spa, 1297 Bishops Lodge Rd., dinner and movie $35, panel discussion and luncheon $50, both days $75, 505-982-4931, Lannan Foundation events Author Sandra Steingraber discusses the relationship between environmental factors and cancer with GRITtv host Laura Flanders, 7 p.m. Wednesday, May 7; Irish novelist Colm Tóibín in conversation with Michael Silverblatt, 7 p.m. Wednesday, May 21; the Lensic, $6, discounts available, 505-988-1234, 2014 IAIA Pow Wow Gourd dancing 10-11 a.m. Saturday, May 10, grand entry 11 a.m.; dancing contests continue to 7 p.m., Institute of American Indian Arts, 83 Avan Nu Po Rd., no charge, 505-424-2300. 2014 Mother’s Day Tour Historic Santa Fe Foundation hosts it’s annual event, 1-4 p.m. Sunday, May 11, School for Advanced Research, 660 Garcia St., $5 at the gate, 505-983-2567.

The Dandy Warhols perform on April 29, at Santa Fe Sol Stage & Grill.



AT THE GALLERIES 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 Sunday, April 20. Monroe Gallery of Photography 112 Don Gaspar Ave., 505-992-0800. When Cool Was King, photojournalistic works, through Sunday, April 20. Santa Fe Arts Commission Community Gallery 201 W. Marcy St., 505-955-6705. Art Is Core: Third Annual ArtWorks Works!, Santa Fe Public School students showcase, through Wednesday, April 23. Opal, site-specific installation by Nancy Judd, through May. Santa Fe Botanical Garden 715 Camino Lejo, Museum Hill, 505-471-9103. Birds in the Garden, installation by ceramicist Christy Hengst, through Wednesday, April 23. Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111. Bits and Pieces, works by Karina Hean, Catherine Gangloff, and Michel Déjean, through Saturday, April 19.


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, Muñoz-Waxman Gallery, through May • Enveloping Space: Walk, Trace, Think, Jane Lackey’s immersive site-specific installation, Spector-Ripps Project Space, through May. Open Thursdays-Sundays; 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; Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1777. BFA Student Exhibit, traditional and contemporary showcase of works, 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; 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 jewelry • 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;


PASATIEMPO I April 18-24, 2014

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; Santa Fe Children’s Museum 1050 Old Pecos Trail, 505-989-8359. Interactive exhibits. Closed Mondays and Tuesdays through May; SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. Feast: Radical Hospitality in Contemporary Art, through May 18. Closed Mondays-Wednesdays; Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. Contemporary and historic Native American art. Open daily;


Ken Price (1935-2012): Taos Talking Pictures, in the Harwood Museum of Art exhibit Slow and Steady Wins the Race, Works on Paper 1962-2010, 238 Ledoux St., Taos.

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. 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-colonial-period re-creation. Closed Mondays; 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; 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. Closed Mondays; 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;

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; Holocaust and Intolerance Museum of New Mexico 616 Central Ave. S.W., 505-247-0606. Exhibits on overcoming intolerance and prejudice. Closed Sundays and Mondays; 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 the 19 pueblos. Weekend Native dance performances; 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. Closed Sundays and Mondays; maxwellmuseum. 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; 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; 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;


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;


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; 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. 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;


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; 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; 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; open daily. La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. One of the few Northern New Mexico-style, late-Spanishcolonial-period “great houses” remaining in the American Southwest. Built in 1804 by Severino Martin. Open daily; 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; 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, through Sept. 21. Housed in the studio and home that Fechin built for his family between 1927 and 1933. Closed Mondays;


A peek at what’s showing around town

Gloria Graham: The Blue Hand, 2009, photograph. David Richard Gallery (544 S. Guadalupe St.) presents a series of photographs by Gloria Graham. She shoots ephemeral, abstract images of the cast shadows of her sketches and notes, photographed outdoors in afternoon light, capturing an array of hues. There is a reception on Friday, April 18, at 5 p.m. Call 505-983-9555.

Rusty Scruby: Happy Meal, 2012, photographic reconstruction. Altered, an exhibition of work by Rusty Scruby, Tracy Krumm, and Ann Weiner, opens at Turner Carroll Gallery (725 Canyon Road) on Monday, April 21. Scruby creates photographic reconstructions by cutting up photos and weaving them together into images that appear pixilated. Krumm explores handicrafts such as knitting and crocheting using industrial materials and fashioning them into hanging sculptures. Weiner addresses themes of memory and ephemerality in her lenticular photographs. There is a 5 p.m. reception for the exhibition on April 25. Call 505-986-9800.

Georgia O’Keeffe: Pink Ornamental Banana, 1939, oil on canvas. Georgia O’Keeffe and Ansel Adams: The Hawai’i Pictures continues at the Georgia O’Keeffe Museum (217 Johnson St.). The exhibition includes paintings O’Keeffe made in Hawaii over a two-month stay in 1939 while working on illustrations for the Hawaiian Pineapple Company (now the Dole Food Company). Adams’ photographs were part of a series on national parks for the Department of the Interior in 1948 and later images were shot in 1957 for the Bishop National Bank of Hawai’i (now the First Hawaiian Bank). The exhibit is on view through Sept. 14. Entrance is by museum admission. Call 505-946-1000.

Jamie Hamilton: Baby Net, 2013, hand-woven net and metal. The fifth annual Spring Thaw exhibit continues at Chiaroscuro Contemporary Art (702½ Canyon Road) through April 26. The show includes new work in a variety of media by local artists Jamie Hamilton, David Hoptman, Carl Moore, and Leah Siegal. Call 505-992-0711.

Mary Sloane: Rose Table, 2013, archival pigment print. Diario Oaxaca is an exhibition of photographs by film and video producer and director Mary Sloane. Her images capture details of daily life in Oaxaca, Mexico. The show opens with a reception at 5 p.m. on Friday, April 18, at Flying Fish Gallery (821 Canyon Road) Call 505-577-4747.



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Pasatiempo, April 18, 2014  

Pasatiempo, April 18, 2014