Pasatiempo, August 16, 2013 by The New Mexican

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F IN A L E

“A Swirl of Silliness... in an engaging, colorful production.” New Mexican

W EEK!

photo by Ken Howard

She’s the Ultimate Cougar

THE

GRAND DUCHESS

Prepare for lots of laughter and fun as Susan Graham portrays a sexy, spoiled aristocrat with an eye for a young cadet at the local military academy. Thereʼs just one problem: Heʼs already engaged.

OF GEROLSTEIN

THIS MEANS WAR! 8:00 PM: AUGUST 21, 24

BEST AVAILABILITY: AUGUST 24

O F F E N B A C H

Love Unmasked

THE MARRIAGE OF FIGARO 8:00 PM: AUGUST 20, 23

MOZART

Only The Heart Knows

L A DONNA DEL L AGO

ROSSINI

PER FOR MANCE ADDE D! 8:00 PM: AUGUST 19 Ask about special Family Night prices.

All That Blooms Fades

L A T R AV I A T A

VERDI

8:00 PM: AUGUST 16, 22

The Love that Dared

OSCAR

WORLD PREMIERE

THEODORE MORRISON

8:00 PM: AUGUST 17 photo by Kate Russell

TICKETS START AT $30!

• Arrive Early with a Tailgate Supper • Enjoy the Sunset & Stunning Mountain Views • Free Prelude Talks on the Evening's Opera • Instant Translation Screen at Your Seat • Backstage Tours (Monday - Saturday mornings)

PASATIEMPO I August 16 - 22, 2013

SAVE 40%

if you are a New Mexico resident and first-time Opera buyer.* Call 505-986-5900 for details or to purchase. *Restrictions apply

505-986-5900

•

www.SantaFeOpera.org

LAURA SHEPPHERD ATELIER

15 year anniversary sale! 20 to 75% off both Summer & Winter for the entire month of August!

Close out Bridal Cocktail & Long Dresses Silk Separates & Velvets Hats & Sweaters Leather Gloves and so much more!

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Come celebrate with us! 65 w. marcy street santa fe, nm 87501 505.986.1444 laurasheppherd.com like us on

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THE SANTA FE NEW MEXICAN

August 16 - 22, 2013

www.pasatiempomagazine.com

On the cOver 60 a rose is a rose is a coyote Chiaroscuro Contemporary Art’s Contemporary Native Group Show honors the work of Harry Fonseca (1946-2006) with examples of several series he made throughout his career. Included are images of Coyote and Rose, myth-based trickster figures that the artist updated for a contemporary audience. Fonseca was a tireless experimenter, and his work changed dramatically over the years, ranging between figurative pieces and nonobjective abstraction. On the cover is Fonseca’s 1988 Rose on the Half Shell #11; courtesy Chiaroscuro Contemporary Art.

mOving images

BOOKs 16 in Other Words Woke Up Lonely 42 shared menagerie A Swarm, A Flock, A Host 48 max evans Animal Stories

interPlanetarY eXPlOratiOn 22 motoring on mars Steven Squyres

Deceptive Practice The Hunt Museum Hours Shouting Secrets Europa Report Pasa Pics

calenDar

mUsic anD PerFOrmance 26 30 34 36 38 41

80 82 84 86 88 90

listen Up Lucy Shelton classically inclined Chick Corea the Bard returns Shakespeare in Santa Fe Pasa tempos CD Reviews terrell’s tune-Up The wild bunch Onstage Tiempo Libre

97 Pasa Week

anD 14 star codes 94 restaurant review: amaya

native art 46 62 66 70 72 74 76

You must remember hiss Snakes in Native art set in stone Zuni fetishes indigenous influences Native Vanguard ecstatic realities Shonto Begay Darkroom days Will Wilson second skin Marla Allison mimbres only Painted pottery

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

Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 e. marcy st. santa Fe, nm 87501. editorial: 505-986-3019. Fax: 505-820-0803. e-mail: pasa@sfnewmexican.com PasatiemPO eDitOr — Kristina melcher 986-3044, kmelcher@sfnewmexican.com

Indian Market, Lincoln Avenue, Santa Fe, New Mexico, 1953, photo by nat n. Dodge;

courtesy Palace of the governors Photo archives (nmhm/Dca), negative no. 106536

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

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

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

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associate art Director — lori Johnson 986-3046, ljohnson@sfnewmexican.com

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

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staFF Writers michael abatemarco 986-3048, mabatemarco@sfnewmexican.com James m. Keller 986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 986-3039, billk@sfnewmexican.com Paul Weideman 986-3043, pweideman@sfnewmexican.com

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cOntriBUtOrs loren Bienvenu, laurel gladden, Peg goldstein, robert Ker, Jennifer levin, James mcgrath morris, robert nott, adele Oliveira, Jonathan richards, heather roan-robbins, David J. salazar, casey sanchez, michael Wade simpson, roger snodgrass, steve terrell, hollis Walker, Khristaan D. villela

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PrODUctiOn Dan gomez Pre-Press Manager

The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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aDvertising DirectOr Tamara Hand 986-3007

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marKeting DirectOr Monica Taylor 995-3824

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art DePartment DirectOr Scott Fowler 995-3836

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graPhic Designers Rick Artiaga, Dale Deforest, Elspeth Hilbert

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aDvertising sales Julee clear 995-3825 mike Flores 995-3840 cristina iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 art trujillo 995-3852

Ginny Sohn Publisher

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

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PASATIEMPOMAGAZINE.COM

Peyote Bird Designs 11th Annual Tent Sale

Seriously... You’ve NEVER been to an opera at The Santa Fe Opera? HURRY, before it’s too late!

• The open-air theater provides remarkable views, with incredible singing, costumes and sets, along with an amazing orchestra • Arrive early with a tailgate supper and enjoy the stunning sunset and mountain views before the performance • You’ll understand every moment of the story with an instant translation screen at your seat (choose Spanish or English) • Learn why so many locals love going to The Santa Fe Opera every season

Hurry as the season ends Saturday, August 24! Discover the Magic in Your Own Backyard... with 40% SAVINGS on your first opera order.* Call today to order! 505-986-5900 (not available online)

* Offer is good for first-time opera buyers with a valid New Mexico ID. Other restrictions apply.

PASATIEMPO I August 16 - 22, 2013

www.SantaFeOpera.org

Indian Market

Saturday, August 17th and

Sunday, August 18th 9 am to 5 pm

Look for our tents at the NW corner of Paseo de Peralta & 414 Old Taos Hwy Santa Fe, NM 505-986-4900 www.peyotebird.com

indian market weekend

saturday & sunday august 17 & 18 10:30 am–3:30 pm Critical Indigenous Photographic Exchange 2013 For the second year in a row, Will Wilson (Diné) will set up a working portrait studio, using an old-fashioned largeformat camera and the historic wet-plate collodion process. The public is invited to observe.

coming up

GallEry Talks mondays, 12:15 pm

Free with regular museum admission. august 19: John Flax, Founding Artistic Director, Theater Grottesco. august 26: Santa Fe Mayor David Coss.

lECTurE Friday, august 23, 5:30–6:30 pm

Video artist Peter sarkisian talks about his recent exhibition. St. Francis Auditorium, free. (Sunday, August 18 is the last day to view the exhibition.)

new mexico MuseuM of Art 107 w. palace ave | on the plaza in santa fe | 505.476.5072 | nmartmuseum.org |

Will Wilson, CritiCal indigenous PhotograPhiC exChange (CPix), Sandra, 2012.

• You won’t find any chandeliers or red carpets… just an authentic and special New Mexico experience

what’s happening

It’s easy for locals to take advantage of a 40% SAVINGS offer on your first opera.*

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First Ultherapy to arrive in New Mexico! Learn how to receive a free Ulthera brow treatment and Juvederm filler 50% off!

Sterling Aesthetics and Lily Love MD announce the first Ultherapy to arrive in New Mexico

Call us for a complimentary consultation 505-428-0402 Sterling Aesthetics And Lily Love, MD 1651 Galisteo St. Suite 6, Santa Fe

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Trust us with all your Indian Market purchases - whether you would like us to pack & ship them home for you, or would just like some professional packaging supplies to keep them safe during travels!

MAKE OFFER SALE Thank you to our clients for making our August auction a success. We do however have remaining lots that are still available.

223 N. Guadalupe Santa Fe, NM 87501 (505)974-982-0974 www.T heUPSStoreLocal.com/1750

About our Pack & Ship Guarantee* If we pack your item and ship it via UPS®and that item is damaged or lost in transit, you’ll be reimbursed. Certain restrictions apply, visit the store for complete details.

PASATIEMPO I August 16 - 22, 2013

We also offer the following products and services: ✴ B&W and Color Copies ✴ Private Mailbox Rental ✴ Fax Service ✴ Notary - Etc.

William Acheff Zia Pot 1820-1830 Oil on canvas 20 by 18 inches Estimate; $20,000 to $24,000

View artworks at our gallery or online at www.altermann.com. Gallery Hours: Monday - Friday 9:00 a.m. - 5:00 p.m. Saturday 10:00 a.m. - 4:00 p.m. 345 Camino del monte Sol, Santa Fe, nm 87501 (505) 983-1590

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Artist reception 6pm FridayAug.16 Artists Winston and Carlos Eagle will be in attendance Friday and Saturday.

hec.sfcc.edu

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On the Plaza at 84 East San Francisco Street, Santa Fe, NM 87501 505.986.5015 | 505.603.0191 TsaliNezGallery@yahoo.com | www.tsalinezgallery.com

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Greer Garson Theatre presents

SILVER SUN 656 Canyon Road Santa Fe, NM 983-8743

Meet the Artists Friday, August 16th, 4-7 PM

Shane Hendren

Navajo - Contemporary Multi-Metal Works featuring

Rare Grasshopper Turquoise

Gary Custer

Navajo - Traditional Tufa Cast Works

Lena Boone

Zuni - Fetish Carvings

Mariel Lynch Caballo Belts

Music by the Silver Strings Pueblo Food

Starting Here, Starting now

Lyrics by Richard Marlby Jr., Music by David Shire Directed by Dallett Norris

Aug. 23–24, 30–31, 2013, 7pm | Aug. 25 & Sep. 1, 2013, 2pm The 2013–14 Greer Garson Theatre season kicks off with the musical revue Starting Here, Starting Now directed by Guest Artist Dallett Norris with Lyrics by Richard Marlby, Jr. and music by David Shire. Starting Here, Starting Now takes a bold journey through the maze of modern relationships with its heart firmly on its sleeve. Each song is an impeccably crafted story, original, engaging and bursting with character.

In the Weckesser Studio Theatre

(located inside the Greer Garson Theatre) NOTE: Fri. & Sat. performances TIME: 7pm | Sun. Matinees: 2pm FOR TICKETS call the Tickets Santa Fe Box Office: 505-988-1234 or www.ticketssantafe.org

SANTA FE University of Art and Design

PASATIEMPO I August 16 - 22, 2013

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Summer Dinner Specials reservations recommended open daily for lunch and dinner patio dining with views of the mountains guacamole prepared at your table handmade corn tortillas exit 176 Cuyamungue, Highway 84-285 5 minutes North of the Opera, Santa Fe, NM Tel: 505 455 7000

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SFCA

STAR CODES

Heather Roan Robbins

The Santa Fe Concert Association presents

Festival of

Dance

Fruit ripens on the branch, and the fruits of our labor ripen in our lives this last week with the sun in Leo. Next week, as the sun enters Virgo, look for early hints of crops to come, the result of what we’ve planted in our garden of love or work. This week the astrological mood is full and magical with the sun and Mercury in creative, extroverted Leo. These two are balanced by the deeper feelings of Venus and Mars in more introverted Cancer and Virgo. A summerlong trine of Neptune, Saturn, and Jupiter in intuitive, emotional water signs may tempt us to drift in fantasy but calls us to see our whole life as a creative spiritual practice. People tend to be lousy with details, but we can see the global picture. Venus enters Libra and encourages us to value one another’s company. The weekend is strategic, efficient, and oddly competitive under a waxing Capricorn moon. Early next week, the full moon in Aquarius asks us to shine with all our gifts and potential. It also precipitates some great theoretical brainstorming if we don’t get caught in political wrangling, though it can bring up tension between our need for self-expression and the needs of the group. As the week progresses, a restless streak grows as Jupiter squares Uranus. It makes us itchy to change and brings a rebellious, irritable response to anything that gets in our way. Savor this last week of Leo before the sun enters Virgo on Thursday and the season of work is upon us. Friday, Aug. 16: Interrupt us, please. People want to explore and have short attention spans as Mercury challenges Venus under a restless Sagittarius moon. We may need to review what we feel and why. Rumblings and competitive social jockeying pick up tonight, but we can turn to mutually supportive challenges instead. Saturday, Aug. 17: Step around ego issues and strangely competitive undertones. Deal with real, heartfelt feelings just below the surface as the moon conjuncts Pluto. Tonight is fortuitous, if serious; take a chance to improve relations and make important new connections.

Stars of American Ballet Principals and Soloists of NY City Ballet and American Ballet Theatre

August 23 & 24, 2013 7:30pm Two different programs Balanchine, Robbins, and more! Lensic Performing Arts Center

Tickets Santa Fe at the Lensic: 505-988-1234 | Tickets $20- $75 Santa Fe Concert Association: 505-984-8759 | www.santafeconcerts.org Thanks to the following sponsors:

Sunday, Aug. 18: The morning brings out our control issues. Everyone tends to have a different view of the schedule as the Capricorn moon opposes Mars, so maintain a sense of humor. Tonight, don’t hog the limelight; the conversations scintillate when we give and take. Monday, Aug. 19: Practice lovingkindness early and late, and work around a rough patch midday when we’re urged to overwork. Later, as the Aquarius moon squares Saturn, drop the judgments. Ask for the truth, but be respectful of people. Tonight is interesting, unsettled, and wordy. Tuesday, Aug. 20: Let the inner light shine, and respect this light within others. Help with some worry or concern at midday, and don’t use it as an excuse to be manipulative as Mercury challenges Pluto. Make the effort to understand and experience a breakthrough during tonight’s full moon. Wednesday, Aug. 21: Self-care and kindness are essential; we’re all feeling a little raw under today’s Pisces moon. Jupiter squares Uranus and asks us to adjust and respond when we’d rather stay in and tend to our sensitivities. Painful memories may come up; lay them to rest. Thursday, Aug. 22: Our nervous and electrical systems can feel overloaded today as Mercury confronts Uranus. We tend to respond emotionally to challenging information and have too much or too little confidence. Tonight, reflect on the summer and let the good memories sink in. ◀ www.roanrobbins.com

The Santa Fe Concert Association 324 Paseo de Peralta, Santa Fe, New Mexico 87501

PASATIEMPO I August 16 -22, 2013

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PASATIEMPOMAGAZINE.COM

In Other wOrds book reviews Woke Up Lonely by Fiona Maazel, Graywolf Press, 328 pages Is he David Koresh or Dr. Phil? That’s the national security question hanging over Thurlow Dan, the accidental leader of Helix, “a weirdo cult whose galvanizing and inexhaustible resource was loneliness in America.” In this dark comedy spoofing family therapy and homeland security, author Fiona Maazel has crafted a novel that baldly reveals our national obsessions — terrorism, loneliness, and our estrangement from ex-spouses — at least as they are depicted on CNN and the Oprah Winfrey Network. Thurlow has fashioned himself not so much as a cult leader as the well-meaning helmsman of a therapeutic movement out to quash all forms of loneliness. In this alternate America, Helix has built a membership well into the tens of thousands, with rounds of speed dating, collective affirmations, and motivational speeches whose tenets seem culled from remaindered self-help books and Stephen Stills’ “Love the One You’re With.” Thurlow, however, is clueless that his movement has splintered into insurrectionist cells. He tours Pyongyang — how could he resist an overture from the regime governing the world’s most isolated people? — blithely unaware that he has wandered into the cross hairs of American intelligence. That Helix has endured so long without federal incident has everything to do with the government spook tasked with its surveillance — Thurlow’s ex-wife, Esme. Her deliberately botched spying is an act of stymied love, the national security equivalent of stashing unsigned divorce papers in a desk drawer. Despite leading an anti-loneliness movement, Thurlow remains fixated on reuniting with his ex-wife and daughter, a family he broke up with his nearly pathological need to consort with prostitutes. The estranged pair are brought together when Esme’s clueless recon team, disguised as midlevel bureaucrats from the Department of the Interior, is taken hostage by Helix security. Esme recoils in horror, assured that her intelligence career is over, while Thurlow tackles the crisis with all the cunning and charisma of an out-of-season Santa Claus. As tanks roll in near his Cincinnati headquarters, he fuddles around believing he can convince his “guests” (his term for the hostages) to aid him in producing a promotional Helix video that will end the standoff and bolster the group’s membership. He even ponders whether to give up the hostages in exchange for seeing his ex-wife and daughter — and for a package of hard-to-find German cookies. However bonkers the cult hostage crisis plot gets, the real narrative of Woke Up Lonely is a saga of heartbreak powered by a grotesque and uproarious take on how none of us turn out to be the adults, spouses, or parents our younger selves imagined we could be. As a portrait of subversive movements and intelligence agents, it’s a long way from the work of say, Camus, Conrad, or even le Carré, who sought to portray the motivations of alienated anti-state actors whose ideals and values cast them far from the reaches of mainstream society. The leaders and followers of Helix aren’t dissatisfied with society or in upheaval against a broken social contract. They have simply been spurned one too many times on match.com or have watched in quiet desperation as their birthday packages to estranged children get returned to sender. Woke Up Lonely is more of a piece with television shows like The Sopranos and Dexter, from which we learn that Mafiosi and murderers are just like us, with their neuroses, fragmented families, and bumbling senses of self. Sure, a mass therapeutic movement hounded by the feds sounds a bit absurd. Yet it’s not inconceivable — just ask any long-suffering Chinese member of Falun Gong. If there’s a fault with Woke Up Lonely, it may lie in its defanged and curiously apolitical depiction of the two main characters, who have spent much of their adult lives either deep inside a cult or working within the bowels of the national security state. As Maazel makes clear, whatever laws or societal norms Esme and Thurlow may have transgressed, their real lives can be grasped not in their careers or political fates but in their failed attempt at building a family. Plot hysterics aside, the book is a rather realistic take on American middle-class divorce, where the relationship frequently takes on a duration and a complexity that far overshadow the pair’s original matrimonial union. Read it now, at your summer leisure, before the inevitable screen adaptation into a Wes Anderson movie. — Casey Sanchez 16

PASATIEMPO I August 16 -22, 2013

SubtextS Epistolary revelations When reading Cindy Zimmermann’s A Woman of Interest: A Memoir in Letters (WIS Global), an account of the tragic events that overturned her life, it is difficult to avoid the question one learns not to ask in present-day English classes: What is the writer’s motivation here? The author’s troubles began with her family’s fall from an affluent lifestyle, which led to her husband’s descent into drinking and a drawnout divorce made official the same day he was murdered in 2008. Given the family’s history of turmoil, detectives deemed Zimmermann a person of interest in the case, but she was soon absolved of suspicion. For the next several years, however, her life was defined by a seemingly endless series of messy family disputes and lawsuits. The book lays out the whole story in the form of actual letters she wrote to a friend. A number of things may have motivated Zimmermann to publish these letters: self-therapy, the desire to explain what happened in her own words after years of sensational press coverage, or even (most cynically) the opportunity to benefit financially from a series of traumatic experiences. Rather than trying to pinpoint the author’s motives, a more interesting consideration might be what would cause someone to pick up the book. Reading it is partaking in an act of layered voyeurism — not only are we getting an inside look at a real-life thriller, but we are doing so through the intimate and usually forbidden medium of letters not addressed to us. One way to relieve some of the uneasiness that comes from delving so deeply into a stranger’s life (as well as employing her personal tragedy as a means of passing time) would be to meet the author herself. Zimmermann reads and signs her work at 5 p.m. on Tuesday, Aug. 20, at Garcia Street Books (376 Garcia St., 986-0151). For anyone interested in how one woman coped with a situation that seemed like it couldn’t get worse but then did, repeatedly, the event offers the intimacy of hearing the story in person. — Loren Bienvenu

Native American Placenames of the Southwest: A Handbook for Travelers by William Bright, edited by Alice Anderton and Sean O’Neill, University of Oklahoma Press, 143 pages Languages, like the people that speak them, die. Like people, languages leave behind meaningful mementos and curiosities that persist long after they’re buried. Most definitive and beautiful of these linguistic remnants are the names given places for reasons often long forgotten. Native American Placenames of the Southwest: A Handbook for Travelers deals in lost origins. It returns meaning to names we use daily. Why is Nambé Nambé? Look at the hills in the area. The word, from the Pueblo language Tewa, means “roundish earth.” Anthropologist and linguist William Bright published Native American Placenames of the United States in 2004. His Placenames of the Southwest, a “shortening and adaptation, for a general readership” focused on an area particularly rich in Native place names. The book was unfinished at the time of Bright’s death in 2006. Linguist and Comanche language instructor Alice Anderton and Sean O’Neill, associate professor of linguistics at the University of Oklahoma, finished the task, preserving Bright’s intent: to give travelers a resource to use as they go. The book is comprehensive — we couldn’t find one town with a Native-derived named listed on the state-issued transportation map of New Mexico that wasn’t addressed. It is often humorously descriptive. Nageezi, in northwest New Mexico, takes its name from a Navajo word that means “the one that rolls around,” or a squash. The names often reflect the collision of cultures in the Southwest. Quelites, referring to some leaf vegetables and herbs, is from the Spanish word quelite, which was taken from the Aztec word quiltil, designating an edible plant. Dakai Well in McKinley County is “perhaps” from the Navajo word ndaakai, meaning “‘they wander around,’ referring to Spanish Americans.” Some names, such as Delaware, were forced upon tribes and traveled with them during resettlement — an Oklahoma creek and town are named not for the state but for the people who were made to move there. Bright’s definition of the Southwest — including the states of Arizona, New Mexico, Texas, and Oklahoma — might be disputed as either incomplete or too generous. Where are Colorado and Southern California? Why include Oklahoma — or Texas, which is often lumped into the South? Reasons related to the book’s publisher aside, the inclusion of Oklahoma does add a wealth of Native-derived monikers, including that of the state itself, a Choctaw word meaning Native people — even if the Choctaw came to Oklahoma by forced march. In addition to purely Native language words, the names spring from Indian words translated into Spanish or English. Texas, taken from the Caddo word táysa, meaning friend, has passed through Spanish and English pronunciations. Other place names come from Indian namesakes, such as Tecumseh, Oklahoma, named for the leader of the Shawnee Confederacy who sided with the British during the War of 1812. Some entries leave one wishing for more information. If Cuyamungue is an English rewrite of the Tewa k’uyemuye, meaning “where they threw down the stones,” don’t you want to know why they were throwing those stones? Some of the ironies here must be deduced. Maricopa, the name of an Arizona county that is home to a notoriously anti-immigrant sheriff, comes from a Yuman word, modified by the Spanish, that means “people,” as in all people. — Bill Kohlhaase more book reviews on Page 20

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William Shakespeare’s Star Wars: Verily, a New Hope by Ian Doescher, Quirk Books, 174 pages “In time so long ago begins our play,/In star-crossed galaxy far, far away.” So ends the prologue to Ian Doescher’s new translation of the script for Star Wars Episode IV: A New Hope — a translation not into another language, but into another English form: iambic pentameter. Doescher elevates the already lofty Star Wars story line by using Shakespeare’s meter of choice and sprinkling in a heavy handful of common Shakespearean quotes, references, and characters, giving nerds across the galaxy plenty of reasons to rejoice. As a scholar with two degrees from Yale and a Ph.D. in theology, the author has a predictably firm grasp on the rhythm and feel of iambic pentameter (the meter consists of 10 beats per line, alternating between unstressed and stressed beats). His direct references to Shakespeare plays are numerous and most often appear in the lines of Luke Skywalker. We get Julius Caesar: “Friends, rebels, starfighters, lend me your ears;” Henry V: “Once more unto the trench, dear friends, once more!”; and a whole lot of Hamlet: “Alas, poor stormtrooper, I knew ye not” (Skywalker announces to a stormtrooper’s helmet). Substitutions like the helmet for Yorick’s skull often make less sense after a closer reading. How similar is the heroic Skywalker’s pity for a soldier he recently killed to the depressed Hamlet’s reflections upon the nature of death itself? Doescher’s intention seems mainly to give the reader the gratification of identifying a highbrow reference in the context of a popculture backdrop. As Doescher points out in the book’s afterword, the mash-up of Lucas and Shakespeare is not necessarily far-fetched. The similarities are primarily structural: Lucas has been explicit about adopting Joseph Campbell’s theory of the archetypal hero’s journey to give his work its epic story arc. That theory draws directly on some of Shakespeare’s story lines, in addition to Greek and Roman classical tradition and world religion. Like Doescher, Shakespeare often borrowed existing heroes for his works rather than inventing his own, including Macbeth and King Lear. However, part of his genius lies in the subversion of these archetypes. One reason Shakespeare’s Hamlet, and not variants like the so-called Ur-Hamlet (an earlier play that was popular in Elizabethan England before Shakespeare wrote his more-celebrated version), continues to be the subject of countless works of scholarship every year is that Shakespeare developed the protagonist. While earlier Hamlets followed the traditional hero’s role that informed Campbell’s theory — reclaiming their rightful throne from a usurper through might and cunning — Shakespeare’s Hamlet is plagued by doubt and inaction, traits that the character himself recognizes as hardly heroic, and ones that offer a deeper analysis of him and the play. This type of complexity is lacking in Doescher’s work (and that of Lucas), but if the joy in reading Shakespeare comes from its rarely equaled depth, the joy from reading Doescher comes from its entertainment value. The book does not strive to out-Shakespeare Shakespeare or out-Lucas Lucas so much as to pay tribute to them. To this effect, Doescher does a good job of maintaining the main personality traits of Lucas’ characters while subtly tweaking them to fit into a Renaissance rubric (like having R2-D2 and C-3PO serve as a sort of comic Rosencrantz and Guildenstern). Doescher has stated that he hopes the book encourages young people to overcome any Shakespeare-phobia by providing them with something fun and accessible. Since the book reads fluidly and is close to a page-turner, even for those familiar with the Star Wars plotline, it seems likely that he will succeed in that regard. — Loren Bienvenu

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Photos this page AP Photo/pool/Los Angeles Times, Wally Skalij; opposite, courtesy NASA/JPL

There were time pressures, skeptics, near disasters, potential disasters, and outright disasters. Historically, the odds were two to three against a successful landing.

In the control room at NASAâ€™s Jet Propulsion Laboratory, Steven Squyres reacts to the first signal from Mars Rover Spirit after it landed on Jan. 3, 2004; opposite, Rover illustration

PASATIEMPO I ????????? ??-??, 2013

Roger Snodgrass I For The New Mexican

IN OPPENHEIMER’S FOOTSTEPS Named for the scientific director of the Manhattan Project, the Oppenheimer Memorial Lecture is a regional event. The lecture’s sponsor, the J. Robert Oppenheimer Memorial Committee, announces its college scholarships for outstanding high school students from Los Alamos, Pojoaque, and Santa Fe on the evening of the lecture. Many Nobel laureates have been among

Steven Squyres expounds on Spirit and Opportunity aunched in summer 2003, two plucky science laboratories on wheels, one named Spirit and the other Opportunity, traveled about 300 million miles through space, one after the other, and landed safely in a complex parachute-and-air-bag descent on opposite sides of Mars a few weeks apart. In early 2004, the twin rovers began their searches for traces of water and hints of life on the Red Planet. One touched down in what was likely once a lake in a giant impact crater. The other arrived at what looked like a former hot springs along the planet’s equator. How a bunch of highly motivated people avoided the pitfalls that jinxed previous Mars landings and what we have learned so far from Spirit and Opportunity’s expedition are the subjects of a talk by Steven Squyres, the principal scientist for the Mars Exploration Rovers. Squyres delivers the 43rd Oppenheimer Memorial Lecture in Los Alamos on Monday, Aug. 19. Squyres is frequently asked which of the rovers he likes best. “I love ’em both — can’t pick a favorite,” he said recently from Washington, D.C., where he has served as chairman of NASA’s Advisory Council since 2011. Squyres’ talk borrows its title from his 2005 book Roving Mars: Spirit, Opportunity, and the Exploration of the Red Planet. “We built the two rovers as identically as possible, but even when they were babies back on Earth, they had their quirks,” Squyres said. “Once we got to Mars, they landed at such different places and were used in such different ways that different things broke down, and they sort of developed different personalities.” In Spirit’s location, there is evidence of heat and violence: volcanic explosions, steam vents, and geysers. “It was a place where water flowed through the rocks and changed the chemistry, an environment very suitable for some archetypes of microbes,” Squyres said. Opportunity arrived in a place where very acidic groundwater once seeped out, evaporated, and left salts and other minerals behind. Both places would have been suitable for some forms of life, he noted, with quite different forms in each spot. “Opportunity made most of its big discoveries in the first six weeks. I mean, the really big stuff happened right at the beginning. Spirit had to work for years, had to climb a mountain on Mars, before its discoveries caught up with, and in some ways perhaps surpassed, Opportunity.” Like many bright kids who grow up to be space scientists, Squyres describes himself as a geek. He had “a good old laboratory” at home when he was 8 and did all the “crazy experiments” that kids do. On television he watched the Mercury, Gemini, and Apollo astronauts approach and then land on the moon and return. At the same time, he felt a passion for exploration — for ocean voyages, mountaineering, and polar expeditions. “You take all those things together, and they led me down the path that I was on. I wanted to find a career that allowed me to do science out in the mountains, out in the field, out in the wilderness, but I also wanted to explore something that no one had ever done. But there weren’t any spots left on Earth — maybe still a few under the sea. So I turned to other planets to satisfy my craving for exploration.” Squyres earned a doctorate in astronomy from Cornell University in 1981. He has analyzed imaging data from Voyager’s encounters with Jupiter and Saturn, worked as a radar investigator on the Magellan mission to Venus, and played a key role in other missions, including NASA’s Near Earth Asteroid Rendezvous with the asteroid Eros in 2000.

the previous lecturers. They include Paul Nurse, a biologist and president of the Royal Society, who gave his talk in 2011. Ahmed H. Zewail won the Nobel Prize in Chemistry in 1999 and spoke in 2010. Frank Wilczek, who spoke in 2004, was awarded the Nobel Prize in Physics later that year. Last year, astronomer Alexei Filippenko, a professor at the University of California, Berkeley, gave a standing-room-only talk on dark energy and discoveries that had earned the Nobel Prize in Physics the previous year for leaders of the two teams with which he collaborated. Not only scientists are invited to participate in this series. Martin Sherwin spoke in 2008. He was co-author, with Kai Bird, of the Oppenheimer biography “American Prometheus,” which won both the National Book Critics Circle Award (2005) and a Pulitzer Prize (2006). Physicists I.I. Rabi and Murray Gell-Mann and philosopher of medicine Lewis Thomas are among many other notable figures who have spoken in the series. Oppenheimer Committee co-chair Larry Deaven recalled attending the first lecture, in 1972, given by George F. Kennan, a leading thinker on Soviet containment during the emergence of the Cold War. “Georgia O’Keeffe attended one [lecture],” Deaven said. “That was Chen Yang in 1981.” Chen Ning Yang, a Chinese-born American physicist, shared the 1957 Nobel Prize in Physics. Next year’s speaker will be Harold Varmus, a co-recipient of the 1989 Nobel Prize in Physiology or Medicine and current director of the National Cancer Institute.

continued on Page 24

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Steven Squyres, continued from Page 23

Rover Opportunity captured a view of outcroppings and dunes alongside Mars’ Endeavor Crater on April 28, 2010.

In Spirit’s location there is evidence of heat and violence: volcanic explosions, steam vents, and geysers. Opportunity arrived in a place where very acidic groundwater once seeped out, evaporated, and left salts and other minerals behind. Both places would have been suitable for some forms of life. In the late 1980s, Squyres came up with an idea that would consume much of his next 25 years. “I spent 10 years, from ’87 to ’97, writing proposals to NASA to try to do what eventually became Spirit and Opportunity. Finally, after 10 years, on our fourth try, we finally got our chance. And then came the years of gearing up and checking things out.” There were time pressures, skeptics, near disasters, potential disasters, and outright disasters. Historically, the odds were two to three against a successful landing. “When we designed these things, we had no idea what scientific problems we were going to find,” Squyres said. “We had some guesses, most of which turned out to be wrong. Sometimes it takes a lot of creativity and a certain amount of improvisation, and I’ll try to relate some of that story in my talk.” Spirit and Opportunity are still out there. The golf-cart-sized robots were both designed for a 90-sol mission (a sol, or one Martian day, is 37 minutes longer than a day on Earth), and both vehicles vastly exceeded their expectations. But after about 2,000 sols, according to Jet Propulsion Laboratory logs, Spirit began experiencing a series of breakdowns. Since the end of 2009, it has been immobile, having lost functionality in two of its wheels. It has been silent since March 22, 2010. In its six years of activity, Spirit traveled a total of 4.8 miles. Opportunity, on the other hand, is still driving and communicating. The surviving twin is on its way to Solander Point, on the edge of the Endeavor Crater. In nine and a half years, it has covered almost 24 miles. It is still making discoveries on the Red Planet. How much longer will it go? “We threw away the warranty on this thing years ago,” Squyres said. “I’m going to be the last guy to turn out the lights when that rover dies.” Along with his continuing work on Opportunity, Squyres is involved on a daily basis with the latest rover, a much larger and solitary mobile scientific laboratory named Curiosity, which launched in 2012 and celebrated its first anniversary on Mars on July 31. ◀

details ▼ Steven Squyres delivers the 43rd Oppenheimer Memorial Lecture ▼ 7:30 p.m. Monday, Aug. 19 ▼ Smith Memorial Auditorium, 1300 Diamond Drive, Los Alamos ▼ No charge ▼ Reception follows at Fuller Lodge, 2132 Central Ave., Los Alamos

PASATIEMPO I August 16 -22, 2013

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LISTEN UP

James M. Keller

Sounds like collaboration

During these summer months, the headquarters for solo singing hereabouts is at the opera house a few miles north of town, but quite a bit of vocalizing is also going on within city limits. The recital scene has stepped up in the past couple of years thanks to the summer series put in place by the Santa Fe Concert Association, which provides selected singers from Santa Fe Opera a forum in which to display a different side of their artistry by performing lieder and art songs. Those concerts got going this week — we’ll discuss them in next week’s column — and the Concert Association’s artistic director, Joseph Illick, has leapt to point out that they are being presented by his organization with the collaboration of Santa Fe Opera. A prelude to that series took place on Aug. 4, when soprano Christine Brewer appeared in a recital at the Lensic Performing Arts Center, assisted by Illick as pianist. That performance was presented by Santa Fe Opera, which noted in the program “the collaborative support of the Santa Fe Concert Association.” All that collaboration seems newsworthy in a town where mutual support among performing-arts organizations is as scarce as bird dung in a cuckoo clock. We should see more of it (the collaboration, that is).

Nothing else in the history of music is quite like ‘Pierrot lunaire,’ which is now 101 years old and still sounds avant-garde.

Anyway, Brewer’s recital was designed to fill the gap some people perceived when Santa Fe Opera decided against trying to mount a Wagner opera during this bicentennial of his birth. Apart from his operas, there’s not much music by Wagner that is very interesting. One exception, however, is his WesendonckLieder, a set of five songs on poems by Mathilde Wesendonck, with whom the composer enjoyed at least a passionate friendship and quite likely something more. The composition of the songs was coeval to his work on Tristan und Isolde. Wagner went so far as to refer to two of the numbers, “Im Treibhaus” and “Träume,” as studies for Tristan und Isolde, and those songs do allude quite specifically to music that shows up in the opera. Brewer sang them with security and robust tone; and by robust I mean not just with amplitude and carrying power but also with a luxurious sound rather than just a lot of brass. Illick continued the show by performing with his accustomed fluency two of Liszt’s solo-piano transcriptions of Wagner favorites, the “Spinning Song” from Der fliegende Holländer and the “Liebestod” from Tristan und Isolde, thereby intensifying the Tristan theme. A second birthday boy this year is Benjamin Britten — it’s his centennial — so he also figured in this tribute concert. Brewer sang a group of his Cabaret Songs to texts by W.H. Auden, a set that came across as forced and hollow, as is its wont, and then four of the same composer’s arrangements of well-known folk songs from the British Isles. All in all, it was a slender offering for a song recital, and the chief interest was Brewer’s voice itself rather than any musical insights it enabled her to achieve. There followed a pair of encores, of which the first was as welcome as it was inevitable: the actual vocal version of the “Liebestod,” delivered in magisterial fashion.

PASATIEMPO I August 16 -22, 2013

Lucy Shelton

he Santa Fe Chamber Music Festival also spotlighted singing on a couple of its recent concerts. On Aug. 1, baritone Matthew Worth was joined by pianist Shai Wosner in Schumann’s song-cycle Dichterliebe. I admired Wosner’s work a great deal — even the devilish accompaniment to “Das ist ein Flöten und Geigen” came across with characterful shapeliness — but I did not find that Worth displayed the breadth requisite for deeply effective lieder singing. On the whole he seems a high baritone, and that, combined with his quick vibrato, might possibly make a better effect in French song repertoire. He did darken his tone for a couple of the Schumann songs, but in those cases his lower register did not sound well connected to what seemed his more natural, higher voice placement. Although he took the acceptable editorial option to replace a few high notes with lower ones in the fourth song (the delicate “Wenn ich in deine Augen seh”), he did belt out the high A in “Ich grolle nicht.” He has been well trained to sing legato, and that is a laudable accomplishment. But the expressive components of his delivery seem always to be overlaid on that unvarying smoothness; the attack, sustaining, and release of the tone varied hardly at all, even though he might disguise that sameness of articulation through “dramatic” enunciation of occasional words. When all is said and done, I did not find him an expressive singer from a strictly vocal point of view — and without that, Dichterliebe was not about to reach its sublime heights. On Aug. 4 and 5 (I heard the latter concert), the Santa Fe Chamber Music Festival presented its pull-out-all-the-stops program for the summer, mustering large forces of personnel for the Dixtuor of 1906 (for 10 winds) by George Enescu and for Schoenberg’s chamber arrangement (for 10 players plus a singer) of Mahler’s Lieder eines fahrenden Gesellen (Songs of a Wayfarer) before concluding continued on Page 28

c ur r e nt e x h ib it ion

Georgia O’Keeffe in New Mexico:

Architecture, KAtsiNAM, ANd the LANd

Georgia O’Keeffe, Black Cross with Stars and Blue, 1929. Oil on canvas, 40 x 30 inches. private Collection © Georgia O’Keeffe Museum

M ay 1 7 – S e p t e M b e r 1 1 , 2 O 1 3

SFCA Festival

The Santa Fe Concert Association presents

Song

Stars of the Santa Fe Opera in intimate one-hour recitals, followed by meet-the-artist champagne receptions catered by Whole Foods Market.

Paul Appleby, tenor

Jake Heggie, pianist & composer

Michael Fabiano, tenor

This beauTiful exhibiTion tells the little-known story of how the new Mexico landscape, and O’Keeffe’s introduction to Hispanic and indigenous art and architecture, inspired a significant creative shift in her painting. in addition to O’Keeffe’s iconic landscapes, it includes newly discovered paintings, and the work of Hopi artists ramona Sakiestewa and dan namingha.

Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and

Heidi Stober, soprano

the Land was organized by the Georgia O’Keeffe Museum. this exhibition and related programming were made possible in part

Susanne Mentzer, mezzo-soprano

William Burden, tenor

by a generous grant from the burnett Foundation. additional

Paul Appleby | August 11, 2013 4:00pm Michael Fabiano | Wed, August 14, 2013 4:00pm Jake Heggie & Friends | Sunday, August 18, 2013 4:00pm

support was provided by american express, the Healy Foundation, Shiprock Gallery, Hotel Santa Fe, the City of Santa Fe arts Commission 1% Lodger’s tax Funding. partiaLLy Funded by tHe City OF Santa Fe artS COMMiSSiOn and tHe 1% LOdGerS’ tax.

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Listen Up, continued from Page 26 with Schoenberg’s modernist classic Pierrot lunaire. Lawrence Foster conducted all of the pieces, beginning with an amorphous rendition of the Enescu. The work’s orchestration certainly presents challenges. The mediumand low-pitched contingent of two clarinets, English horn, two bassoons, and two horns can easily coalesce into a muddy mass. These are offset by only three higher-pitched instruments — two flutes and one oboe — and for some reason Enescu often has his flutes playing toward the bottom of their range. Still, the piece has never before struck me as so entirely lacking in brilliance as it did here. Not infrequently, the writing involves extended, meandering phrases somewhat reminiscent of Richard Strauss. But where Strauss doles out such lines in a way that helps the ear follow them within a texture, Enescu just has everybody noodling simultaneously in garbled, writhing counterpoint. The performance did have the admirable quality of growing more interesting with each of the three succeeding movements, such that it traced a path from dullest to duller to merely dull. The instrumental work was more laudable in the Mahler-Schoenberg cycle, which followed, but Worth was again the vocal soloist, and again he came across as assiduous but not strongly equipped for the challenge presented.

rilliance, however, lay in store after the intermission with Lucy Shelton’s astonishing rendition of Pierrot lunaire. Nothing else in the history of music is quite like Pierrot lunaire, which is now 101 years old and still sounds avant-garde. When he wrote it, Schoenberg was more than a decade away from figuring out his famous 12-tone system, but he had nonetheless put traditional tonal organization behind him and was working out his ideas in an atonal context that freed his music from the type of logic that had previously kept composers at least somewhat in check. The work consists of 21 poems by Albert Giraud in German translation — three groups of seven each — and they are not all sweetness and light. One them starts, “In the gleaming skull of Cassander,/Whose shrieks pierce the air,/Pierrot bores with hypocritical kindness/and a cranium drill,” after which he presses tobacco into said skull, inserts the stem of his pipe, and “Leisurely puffs and inhales/His genuine Turkish tobacco/From the gleaming skull of Cassander.” Pierrot does all sorts of interesting things in the course of these 21 poems, and Shelton had figured out about a thousand ways to make every moment captivating. She has enjoyed a long career as a champion of modern composers, often singing in what you would call a normal classical voice. But Schoenberg explicitly calls for something other than a normal classical voice, instead instructing the vocalist to deliver her part in a Sprechgesang that inhabits a no man’s land between speaking and singing, drawing from the techniques of both to yield something that is neither. That opened the door to a vast array of vocal sounds, from simple speaking to simple singing, from hissing to mewing to shrieking, and — at the end of the seventh poem — creaking away in a prolonged exhalation of vocal fry that would do honor to any linguistically hip teenage girl. Shelton looked great, wearing a black-and-white patterned dress that might have come from a summer collection breezily designed by Victor Vasarely, and she took possession of a platform that set her a step above the conductor and five players (all of whom were seated). Basically, she came across as a crazy person, often sharing her texts intimately with the audience as if they were stage-whispered secrets, but just as capable of erupting without warning in dangerous outbursts. In some performances of this work, the soloist adopts a distinct voice or approach for each of the 21 numbers, but Shelton took the more complicated tack of embracing the piece as a tripartite entity (with well-deserved breaks between the three groups), which ultimately led to greater drama: anything could happen at any moment. For all its apparent spontaneity, one never doubted how much work had gone into this interpretation, which was so convincing in its expressionist logic that its details cannot have been left to chance. Shelton was pretty clearly the engine behind this performance, but her instrumentalist colleagues rose to support her vividly: Joshua Smith (flute and piccolo), Carol McGonnell (clarinet and bass clarinet), Soovin Kim (violin and viola), Peter Stumpf (cello), and pianist Wosner, with Foster keeping everyone on track. The audience seemed captivated throughout, and at least a few dazzled listeners must have staggered out pondering the obvious: Schoenberg was no Enescu. ◀

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Bill Kohlhaase I The New Mexican

CLASSICALLY INCLINED Pianist-composer

knows Miles,Mozart

PASATIEMPO I ????????? ??-??, 2013

Courtesy Chick Corea Productions

CHICK COREA

Ida Kavafian

Courtesy Music From Angel Fire

alling pianist-composer Chick Corea one of the most recognized jazz musicians of the last 50 years tells only half the story. Corea, who began playing piano at age 4, hasn’t limited himself to a single music since he began taking piano lessons at the age of 8 in Boston with concert pianist Salvatore Sullo. Before that, Corea had been exposed to a variety of music in his home. His father, a jazz trumpeter, encouraged his son to play a number of instruments, including drums, and Corea took a particular liking to the sounds of jazz-funk pianist Horace Silver. His first jobs were with the Afro-Cuban bands of Mongo Santamaria and Willie Bobo, influences that continue to surface in his music today. He went on to work with Blue Mitchell, Stan Getz, Herbie Mann and Sarah Vaughan. But his first recordings, notably the 1968 landmark Now He Sings, Now He Sobs, aren’t limited to Latin-influenced jazz or jazz funk. They display a sophisticated sense of composition that integrates a number of genres. As noted music producer and critic Michael Cuscuna writes in his notes to the CD issue of the reco rding, the music held a lyricism that reflected the French impressionists. Later, influences of 20th-century and new-music composers surfaced in Corea’s early ’70s avant-garde work with saxophonist Anthony Braxton, percussionist Barry Altschul, and bassist Dave Holland. Even as he won a huge following through his electric-keyboard and synthesizer play with Miles Davis and with his own group Return to Forever, Corea showed a willingness to embrace classical traditions through orchestration and in his solo piano pieces, which contain the sort of figures and decoration one might attach to the classical styles of Haydn and Mozart. But even these descriptions fall short. More than one critic has pointed out similarities to Bartok in Corea’s excellent Piano Improvisations recordings of 1971 (issued in two volumes) and his wonderful 1983 recording Children’s Songs. These miniature pieces set the stage for the larger works to follow. While Corea’s wide-ranging influences might seem to indicate a lack of direction, they come together in his compositions to form a personal and identifiable style. “I’m often asked about what others consider my diversity of tastes,“ Corea said in a 2010 interview. “Actually, the simple, most truthful and direct answer is, I never think about it. I follow my interests and find that it leads me to trying to understand other cultures and the artists that create within them. Often, rather than seeing another way of music as only a ‘curiosity’, I want to understand it more intimately — and that leads me to studying the music of and participating with the musicians of that culture.” Miles Davis put it succinctly after Corea joined his band in 1968. “[Corea] can play anything he wants to play, just like me. He’s a music lover.” In the last two decades, Corea has obscured the lines between classical and jazz composition further. He re-orchestrated what’s probably his best known composition — “Spain” — for orchestra and recorded it, along with his Mozart-influenced Piano Concerto No. 1, with the London Philharmonic. In 2006, he performed Mozart’s Piano Concerto No. 24 in C Minor and premiered his Piano Concerto No. 2, The Continents, in the Spirit of Mozart, with the Bayerische Kammerphilharmonie in Vienna. (This outing is now available on a Deutsche Grammaphon release, The Continents: Concerto for Jazz Quintet & Chamber Orchestra). While Corea mixes jazz and classical traditions, his music doesn’t seem to have two distinct sides but sounds all of one thing. Recently, he’s worked with the continued on Page 32

AMONG THE ANGELS

Fred Sherry

Music From Angel Fire, running through Sept. 1 in the cities of Angel Fire, Taos, Raton, and Las Vegas, fires up its first week with Mozart, Schubert, Vivaldi, and Piazzolla, among others — with a bit of jazz thrown in. Ticket prices vary, and concert packages are available. There is no charge for open rehearsals, at 1 p.m. Friday, Aug. 16, and Wednesday, Aug. 21, at the Angel Fire Community Center. For tickets and information see www.musicfromangelfire.org and call 575-377-3233 or 888-377-3300. Below is a list of highlights from the first week of the festival. 7 p.m. Friday, Aug. 16: The Harlem Quartet performs Chick Corea’s “The Adventures of Hippocrates.” Artist in residence Corea also performs solo piano with vocalist Gayle Moran Corea. The program includes the Mozart Trio in C Major for Piano and Strings, K. 548, with Anne-Marie McDermott at the keyboard. Angel Fire Community Center (15 CS Ranch Road). 7 p.m. Saturday, Aug. 17: Corea again plays solo piano with an appearance from vocalist Gayle Moran Corea. The Harlem Quartet performs Mozart’s Quintet in G Minor for Strings, K. 516. Anne-Marie McDermott (piano), Ida Kavafian (violin), and Peter Wiley (cello) perform Mozart’s Trio in G Major for Piano and Strings, K. 564. Taos Center for the Arts (145 Paseo del Pueblo Norte). 7 p.m. Sunday, Aug. 18: “Spring” and “Summer” from Vivaldi’s “The Four Seasons” intertwine with “Fall” and “Winter” from Astor Piazzolla’s “The Four Seasons of Buenos Aires,” arranged for strings and harpsichord by Leonid Desyatnikov. United Church of Angel Fire (40 W. Ridge Road).

7 p.m. Wednesday, Aug. 21: The world premiere of Chick Corea”s “Not Serious Music” for piano, clarinet, violin, and cello with the composer at the keyboard. Also scheduled is Corea’s “Addendum” for piano, violin, and cello. Richard Stoltzman, Ida Kavafian, Theodore Arm, Steven Tenenbom, and Fred Sherry perform Mozart’s Quintet in A Major for Clarinet and Strings, K. 581; the Harlem Quartet performs Joaquín Turina’s “La Oración del Torero,” Op. 34. Angel Fire Community Center.

Richard Stoltzman PASATIEMPOMAGAZINE.COM

Lisa Marie Mazzuco

7 p.m. Tuesday, Aug. 20: Schubert’s Quartet in A Minor for Strings, D. 804, Op. 29, “Rosamunde”; the Harlem Quartet with cellist Fred Sherry plays Schubert’s Quintet in C Major for Strings, D. 956. Schuler Theater (131 N. Second St., Raton).

Chick Corea, continued from Page 31 Collected Works Bookstore and Cornerstones Community Partnerships is pleased to invite you to a special evening featuring author

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PASATIEMPO I August 16 -22, 2013

Harlem Quartet, notably on a piece for string quartet entitled The Adventures of Hippocrates. He also includes the quartet in a more jazz-inflected composition, “Mozart Goes Dancing.” Corea is slated to premiere Not Serious Music for piano, clarinet, violin, and cello at Music From Angel Fire on Wednesday, Aug. 21. He’ll be among friends — violinist Ida Kavafian and cellist Fred Sherry appeared on Corea’s 1976 date The Leprechaun as well as on his 1985 Septet recording for string quartet, piano, flute and French horn. And Corea has written a piece for clarinetist Richard Stoltzman and marimba player Mika Yoshida entitled “Marika Groove.” Pasatiempo: What composers were you exposed to as a young piano student and which, over the years, did you favor? Chick Corea: My good teacher Mr. Sullo kindly showed me into Mozart and Bach’s world. He also showed me a little bit of Chopin and a few other legendary gentlemen of that era. It was my first exposure to classical music. I remember mostly enjoying watching him play — he had a lot of fun when he played. My favorites through the years have been Scarlatti, Mozart, Scriabin, and Bartok. More recently Henri Dutilleux. But that is only a short list. Pasa: As a composer, you don’t seem to acknowledge category, whether jazz, classical, Latin, or fusion. What are you conscious of (or not conscious of) as you move between what audiences would consider classical or composed music and jazz, with its improvisational component? Corea: I have always most enjoyed composing music — and so I have come to use the piano as a way to play my compositions. Composers such as Horace Silver, Thelonious Monk, and Duke Ellington were role models for me. I always thought that if the great European classical composers had had more contact with the African and Spanish folk elements in music, they would have thrived even more. Of course there was the matter of communication over great distances. The ways that styles of music are categorized has never been of much use to me. I have learned to stay close to the streams of creativity that most attract my interest, no matter how they’re labeled. Pasatiempo: You’ve composed for orchestra and various chamber groups. What do you favor when it comes to orchestration? What are your influences there? Corea: The orchestrations of Bartok and Stravinsky were the first “classical” orchestrations that really grabbed my attention when I was young. They sounded like jazz to me. I consider it a great skill that I would like to improve upon to be able to make a large orchestra sound so fluent and beautiful. I most enjoy composing for my own bands and ensembles — ones that I will be a part of, playing piano or keyboards. I like taking it through the whole process of composing, rehearsing, recording, and then performing the music on tour many times. I then feel I’ve made a good connection with my music to the public. Every format is enjoyable — and depends mainly on the musicians I’m playing with, whether a duet or a large group. Pasa: You’re familiar with the musicians who’ll be performing the piece you’re premiering at Angel Fire. Is it true that you wrote with them in mind? How did that affect the music, both in what you wrote for the individual musicians as well as for the feel of the piece in general? Corea: Ida Kavafian, Fred Sherry, and Richard Stoltzman are all old friends of mine — all of whom I have the highest respect and admiration for as adventurous musicians. My first attempt to write for strings was on the Leprechaun recording. My wife Gayle sang on my arrangement of her song “Soft and Gentle” and introduced me to Ida and Fred. We have since shared many memorable tours and performances together. I’ve always admired Richard’s magical clarinet playing, and we have had several opportunities to perform together. So this opportunity to have Ida, Fred, and Richard play my composition is very exciting for me. And I certainly wrote the piece with them in mind. Pasa: Are you moving more toward being a classically connected composer now? It seems that there’s a trend in the direction in the last 15 years. Has it been conscious or just the direction the music has taken you? Corea: As I said, my main focus is on the musicians I enjoy playing with, whatever style of music. I do best when I don’t consider musical style while I’m writing — only effects and results are important to me. I do love to compose and will always try to find new combinations and ways to create. I’m looking forward to performing with my friends. ◀

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as you like it

James M. Keller I The New Mexican

Snatch’d out of the jaws of death

Pericles

Shakespeare in Santa Fe returns

All’s Well That Ends Well

King Lear

the two gentlemen of verona

Twelfth Night

ou could stage a graveyard scene with all the theater companies that have come and gone over the years in Santa Fe. Shakespeare in Santa Fe lasted longer than most, and during the 16 years of its existence, from 1987 until its demise in 2003, it earned the affection of locals by presenting a steady stream of the Bard’s plays, both popular and obscure. Longtime Santa Feans fondly recall planning picnics to enjoy in conjunction with the troupe’s performances, first in the Amelia White Park on Old Santa Fe Trail and then on the campus of St. John’s College. For a decade the organization was helmed by its co-founder Rachel Kelly, but she withdrew in 2002, citing a desire to spend more time with her family while also acknowledging fractious relations with her board of directors and the substantial deficit that had piled up. The organization soldiered on after she left, changing its name to Santa Fe Shakespeare, but the challenges were too great. The red ink proved persistent, and vendors were eyeing unpaid invoices with increasing impatience. Ongoing friction with St. John’s College, which donated the performing grounds, may have served as the coup de grâce. At the end of July 2003, the group breathed its last, and in its grave rain’d many a tear. 34

PASATIEMPO I August 16 -22, 2013

henry viii

But the realm of Shakespeare is littered with surprising twists and turns. Consider the play of Pericles, Prince of Tyre (which, in truth, you probably have not considered lately). The prince’s wife, thought to have died, is stuffed into a coffin and dumped into the sea; the coffin washes ashore and is brought to a nobleman who is not quick to trust the appearance of death: “Death may usurp on nature many hours,/And yet the fire of life kindle again/The o’erpress’d spirits.” Shakespeare in Santa Fe now reaches a similar pass in its own drama. Its death, it seems, proves to have been uncertain. This weekend the group returns, reverting to its original name, to present three evenings — Friday to Sunday, Aug. 16 to 18 — again al fresco on the St. John’s campus. The group will perform not on a constructed stage but rather on a natural one: a grassy hillock above a fish pond, under a willow tree. Seats will accommodate 300 spectators, but, in a departure from times past, the set-up will not allow attendees to spread out blankets for simultaneous picknicking and Shakespearing. Another change from the olden days is that the performances will not be free, although admission is being held to a relatively modest $20 for general seating, and $12 for students.

Some familiar names are behind this new venture, beginning with Kelly. She is co-producing the event with John F. Andrews, a Shakespeare scholar and president of the Shakespeare Guild, an American organization that has accrued an impressive record of promoting enterprises relating to the Bard in both America and Great Britain since it was founded in 1987 in Washington, D.C. Andrews and the Shakespeare Guild were the motivating forces behind Sir Derek Jacobi’s visit to the Lensic Performing Arts Center to present a truncated take on The Tempest in 2011. “When my wife, Janet, and I moved from Washington to Santa Fe five-and-a-half years ago,” Andrews said, “almost immediately people started telling us about this wonderful Shakespeare in Santa Fe series. I met Rachel fairly early on, and she expressed an interest in reviving it in some fashion. It has taken us a while to do that, but the idea is to build on what the company did back in its glory days and see what comes of it. We might end up deciding that the future could focus on public Shakespeare conversations, or staged readings, or productions of complete plays.” Kelly added: “Every week for the past 10 years I get stopped, and people ask, ‘When is it coming back?’ The community hasn’t let go of it, and we hadn’t either.” To test the waters, Shakespeare in Santa Fe is presenting a piece, about an hour and 20 minutes long, titled All for Your Delight, that phrase being lifted from A Midsummer Night’s Dream. The words are all Shakespeare’s, assembled from various of his works by Nagle Jackson, who also directs the show. “It is a selection of scenes,” Jackson explained, “but one scene blends into the next, so there’s a feeling of continuity. For example, a bit from As You Like It segues right into the Pericles storm scene, with a bit of the King Lear storm scene worked in as well. But the main mood is light and comedic. I’ve directed or produced or acted in all the plays of the Shakespeare canon except I think four, so for me it was a question of thinking through this whole body of work and picking out scenes that are accessible without viewers having to know the entire plot of a play. For real Shakespeare aficionados, it will be like a game, spotting which plays these sections are from.” A hint to attendees who want to prepare: in addition to the works already mentioned, your reading list ought to include The Two Gentlemen of Verona, Twelfth Night, All’s Well That Ends Well, Henry VI (Part 2), and Henry VIII — the last of which, Jackson noted, almost never gets produced. “Oh,” he added as if startled, “how could I forget? It’s one of my favorite sections, the beautiful description of music from The Merchant of Venice: ‘How sweet the moonlight sleeps upon this bank,’ with that lovely, lovely line ‘Still quiring to the young-eyed cherubins,’ which gives me goose bumps every time I hear it.” Formerly the artistic director of the Milwaukee Repertory Theater and the McCarter Theatre in Princeton, New Jersey, Jackson directed six of the Bard’s plays for Shakespeare in Santa Fe from 1997 to 2002. In this production he’ll oversee five actors. Three of them will be familiar to the company’s former audiences: Mario Cabrera, founder of Main Stage Theatre in Dallas; Kent Kirkpatrick, who teaches in the film program at Santa Fe University of Art and Design; and Scott Harrison, who founded Santa Fe’s Ironweed Productions. New to the company are Barbara Hatch, who is managing director of Theater Grottesco, and Porsha Shaw, a student of acting at Santa Fe University of Art and Design. Another familiar face will be music director Mary Kimball Outten, who (as guitarist and singer) will lead a small ensemble in Shakespeare songs to serve as transitions between some of the scenes. This will be Shakespeare on a shoestring, with very basic costumes and lighting. “It’s not a full Shakespeare play,” Kelly said, “but it is a creative Shakespeare-based piece. It recalls our wonderful past but is reinvented for what we are now. We decided to jump in and do what we can do now. We want to see what it feels like, how it’s perceived in the community, what we feel we can realistically accomplish. It’s sticking the toe in the water. We’ll see where it takes us.” ◀

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details ▼ All for Your Delight, scenes from Shakespeare’s plays, presented by Shakespeare in Santa Fe & the Shakespeare Guild ▼ 7:30 p.m. Friday-Sunday, Aug. 16-18; music begins at 6:30 p.m. (6 p.m. Aug. 16 opening gala) ▼ St. John’s College campus, 1160 Camino de Cruz Blanca ▼ $20, $12 for students ($100 gala); at the gate & Tickets Santa Fe at the Lensic (988-1234, wwwticketssantafe.org); call 231-0190 for information

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album reviews

AlunAGeorGe Anne-MArie Body Music (Vagrant) McDerMott Mozart Piano Concertos (Bridge) Pop music of the bubble-gum Pianist Anne-Marie McDermott — who variety used to come from the biggest participates in Mozart’s final piano trio at producers, who pumped out songs the Santa Fe Chamber Music Festival on with that perfect sheen for radio or Monday, Aug. 19 — has just released an department stores. Generally, the engaging CD of three of the composer’s further you wandered from the major piano concertos presented not quite as you labels’ largest investments, the more would expect them. A practical musician, artists you would find on the fringe, Mozart endorsed the idea that in some of his railing against the those expenconcertos a string quartet might substitute for a full orchestra. He sive ubiquitous songs. That used to be “indie.” Nowadays, the specifically advertised that his piano concertos of 1782-1783 “can consolidation of record labels, the collapse of album sales, and the be performed with full orchestra including wind instruments, or only plummeting cost of recording software have tweaked the equation: a Quattro, that is with 2 violins, 1 viola and violoncello.” McDermott there’s suddenly a whole lot of “indie” music that sounds like the pop offers two of these concertos — the high-spirited one in C Major music of yesterday, and young people are taking to Tumblr for their fix of (K. 415) and the more urbane one in A Major (K. 414) — assisted with the stuff. AlunaGeorge is a UK duo consisting of singer Aluna Francis and brio by the Calder Quartet plus double bassist David J. Grossman. Here too producer George Reid. The two make dance-pop that isn’t as tightly comis the still-more-sophisticated Concerto in E-flat Major (K. 449), pressed as what you might find on the radio — instead, it possesses which Mozart entered in his catalog in 1784 with the notation an airy blend of choppy backbeats and digital squiggles that owe a that its wind parts were ad libitum. McDermott and the string debt to hip-hop producers like Timbaland. AlunaGeorge made contingent are well matched, offering playing that is extrowaves last year with “You Know You Like It,” a hook-laden verted, inviting, conveyed with subtly sculpted technique, song that thankfully resurfaces on this stellar debut album. affecting in the slow movements, buoyant and often witty There’s some filler here, but the sound is sensational and At one moment, in the fast ones. Mozart aficionados may miss the wind really shines, with a stretch of songs that includes the parts, for which the composer is renowned, but these staccato chorus of “Diver,” the chopped-up vocals and Cristina Pato takes settings offer different pleasures, charting an unusual 8-bit sound effects of “Lost & Found,” and the mall-pop sonic course with one foot planted in orchestral writing giddiness of “Best Be Believing.” This is the best pop music off with a piercing solo and the other in chamber music. — James M. Keller that you won’t hear on the radio this year. — Robert Ker

that borders on the of free jazz.

CristinA PAto Migrations (sunnyside) Gently feral cries strummed harp and the wild, raw cry of the gaita, or Galician bagpipe, open “Muiñeira for Cristina,” and Cristina Pato plays the pipes in her own way. At one moment, she keeps pace with the others’ plinking and drumming in a traditional vein, and then she takes off with a piercing solo that borders on the feral cries of free jazz. A New Yorker since 2005, Pato has made music with Yo-Yo Ma and Paquito D’Rivera, among others. Migrations features her quartet — with accordionist Victor Prieto, bassist Edward Perez, and drummer Eric Doob. On Miles Davis’ “Blue in Green,” she’s back on the gaita, playing some dazzling, soaring (and possibly disturbing) slurs. “Dindi” includes guests on violin and cello. Pato plays piano and sings the beautifully jazzy melody; her vocals are both tasty and tonally precise. For “Jota de Pontevedra,” Perez creates a spectral mood with furious arco playing and glissandi, while Pato engages in some stratospheric expressions. “Rosiña” is a lovely vocal piece with Xan Padrón accompanying on bouzouki and Pato playing flute in the break. Two songs zig into world music — bagpipe with tabla on “Remain Alert” — and zag into passion — a busy metallic percussion behind Pato’s musical shouts on “Pandeirada Bestia.” The set closes energetically with “Mala Entraña Ou O Pasodobre de Paderne,” including a second gaita player and a second accordionist. Can you imagine? — Paul Weideman

PASATIEMPO I August 16 -22, 2013

tHe ruBens The Rubens (Warner Bros.) The Rubens join fellow Australian groups Jet and The Vines as alternative/ indie/pop bands that have made it to the international stage. They label their sound “alternative rock” — a somewhat gutsy decision these days, since that genre has been on a collision course with “adult contemporary” for the last 20 years. Neither alternative nor indie pretends to maintain its original connotation of being outside the mainstream, as further evidenced by The Rubens signing with Warner Bros. earlier this year. The titanic major label is now rereleasing the band’s already gold-certified debut album. It’s packed with songs designed to whitewash emotion and make you feel good about feeling sad (or feel sad if you happen to already feel good). The Rubens achieve this by embracing the elements of rock music that have fallen out of fashion: melodic hooks, charmingly doleful vocals, catchy and/or moody lyrics, riffy guitars, and the occasional string and horn orchestration. Lead singer Sam Margin sounds like he has listened to his fair share of Chris Cornell on the album closer “Paddy,” when he laments: “I must admit, I momentarily miss the good old days.” If he is referencing the heyday of alternative rock, then perhaps this album is an effort to recapitalize on the elements of that genre that happened to extinguish its novelty. — Loren Bienvenu

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TERRELL’S TUNE-UP Steve Terrell

The wild bunch

The savagery continues. Barrence Whitfield & the Savages, Boston’s — perhaps the world’s — greatest R & B/punk-rock band, is officially a going concern, and their new album, Dig Thy Savage Soul, shows they’re still going strong. After being apart for 25 years or so, wild man Whitfield reunited with the core of the original Savages to jump-start the group. With guitarist Peter Greenberg (a resident of Taos for the past several years) and bassist Phil Lenker (like Greenberg, a veteran of Boston garage-punk giants Lyres), the Savages made their “comeback” debut in New Mexico in September 2010 (with shows in Taos, Santa Fe, and Albuquerque). Soon afterward they toured Europe and rereleased an expanded version of their early-’80s self-titled first album and their first new record together in a quarter century, Savage Kings. Now they’re back for more — and on one of my favorite labels, Bloodshot Records, no less. Dig Thy Savage Soul shows that Savage Kings was no fluke. Whitfield’s voice is still in fine form — whether he’s singing or screaming — the band is as tight as ever, and the material is inspired. Most of the songs are written by various Savages (including several by Greenberg and Taos crony and Manby’s Head bandmate Michael Mooney). The album kicks off with “The Corner Man,” with its “love is like a boxing ring” theme, a pounding beat, and an urgent guitar riff. “You know she’s got a Sunday punch/You know you’ve got to face the feint/Kiss her hand or kiss the canvas/And love her through the standing eight.” (Later in the song the phrase “kiss her hand” is slightly altered.) On “Sugar” Whitfield sings, “If you wanna beat me/That’s OK/ ’Cause I’m already beat up anyway. ... If you wanna slap me/That’s just fine/ ’Cause you know I’ll hardly feel it after one more glass of wine.”

My favorite on this album (and there are so many good tunes, this one is likely to change) is “Hangman’s Token,” one of the Greenfield/Mooney tunes. It starts off with a guitar riff virtually identical to the main hook of “Come Back Bird,” a forgotten garage-band classic by The Chevelle V (and recorded just a few years ago by Manby’s Head). It’s probably the only track that even comes close to having any political content. “Now some folks appear so helpless, not a penny to their name/Get accused by them in power/ It’s a lowdown dirty shame/See that rich man in his mansion/While the poor folks live in tents/See they’re only there for the blamin,’ and it just doesn’t make no sense.”

Barrence Whitfield’s voice is still in fine form — whether he’s singing or screaming — the band is as tight as ever, and the material is inspired. Another standout is the minor-key soul workout “I’m Sad About It.” I’ve read a couple of reviews that compare Whitfield on this cut to Screamin’ Jay Hawkins. I’ll buy that. Some of Whitfield’s most accomplished screaming is here. The album ends with an old Jerry “Boogie” McCain song called “Turn Your Damper Down.” But there’s no indication that either Whitfield or his Savages intend to follow that advice. Once again they’ve made a near-perfect album for those of us who like a little garage rock in our soul music or a lot of soul in our garage. Get thy savage soul to www.barrencewhitfieldsavages.com. Also recommended: The South Side of Soul Street: The Minaret Soul Singles, 1967-1976. Minaret was founded in the early 1960s in Nashville as a country and rock ’n’ roll label. A few years later a man from Valparaiso, Florida, named Finley Duncan bought the label. Duncan’s résumé — he owned a nightclub and a company that supplied jukeboxes and cigarette machines and served as a county chairman for the Democratic Party — might make him sound like a villain from some Burt Reynolds hicksploitation movie, but he’s the hero of this story. He decided to take Minaret in a soul direction. By 1969 he partnered with Nashville producer Shelby Singleton to build Playground Recording Studio in Valparaiso, where most of the songs on this album were ▼

PASATIEMPO I August 16 -22, 2013

recorded. (The earliest ones were done at a variety of studios, including Muscle Shoals Sound Studio in Alabama.) And yikes, what recordings! I hadn’t heard of any of the artists on this two-disc set — Big John Hamilton, Genie Brooks, Willie Cobbs, Doris Allen, Willie Gable, Johnny Dynamite, or Leroy Lloyd & The Dukes. Nearly every one of these tracks could proudly have been played on the radio right alongside of the great soul hits of the mid to late ’60s. And in fact, a lot of them should have been hits. About half the songs here are by Hamilton, a South Carolina native who played with Etta James and Hank Ballard before coming to Minaret. While the liner notes emphasize what a nice guy and responsible family man he was, on “Big Bad John” (no, not the Jimmy Dean hit) he portrays himself as Stagger Lee reincarnated. “You know I walked in my room with my Colt .45/I saw my baby sitting with this guy/I shot him once, I shot her twice/I don’t give a ... if they’re dead or alive.” (I love how back then you could brag about killing people as long as you didn’t use the word “damn.”) Hamilton also does a slow soul take on “Before the Next Teardrop Falls” (recorded years before Freddy Fender made it a national hit) and a rousing cover of Buddy Miles’ “Them Changes” with Doris Allen. Allen is responsible for one of the stranger songs here, “Kiss Yourself for Me.” She sings to a faraway lover, “Make believe you’re in my arms just like you used to be/Walk up to your mirror and kiss yourself for me.” Genie Brooks provides the title song, “South Side of Soul Street,” which is clearly inspired by Wilson Pickett’s “Funky Broadway,” while Gable Reed’s “Who’s Been Warming My Oven” has echoes of Joe Tex. “Patty cake, patty cake, baker man/Groundhog’s gonna be his mailman,” Gable threatens here. This isn’t the only Minaret track that refers to children’s rhymes. Willie Gable playfully reworks “Row, Row, Row Your Boat” into something soulful and sexy. The other Gable song on this album, “Eternally,” features an electric sitar, an instrument that had a short shelf life, though I think it deserves revival. “Blue Diamonds,” by a band called Double Soul, is a slow, sultry soul ballad, while Willie Cobbs’ “Don’t Worry About Me” and Hamilton’s “Lift Me Up” are straight-up blues. Things apparently slowed down drastically for Minaret after 1970. Only four sides after that year appear on this album. The glory days of Southern soul were gone, and the age of disco was approaching. But these sounds are immortal, and these musicians deserve wider recognition. I’m grateful to Omnivore Recordings for digging up this beautiful, if overlooked, music. Visit www.omnivorerecordings.com/ south-side-of-soul-street. ◀

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PASATIEMPO I August 16 - 22, 2013

ON STAGE Flying fluegel: Dmitri Matheny

Fluegelhorn, the trumpet’s fat, soft-spoken cousin, is the ideal instrument for intimate ballads. But it’s also an instrument of strength, as both Freddie Hubbard and Chuck Mangione have demonstrated. Fluegelhornist Dmitri Matheny, a protégé of the great trumpeterfluegelhornist Art Farmer, will show just that when he performs as part of the Santa Fe Music Collective Café Jazz Series on Thursday, Aug. 22. Matheny’s been a fixture on the San Francisco jazz scene since the 1990s and has recorded a handful of discs for the California-based Monarch label. Like Farmer, he can flex muscles on his instrument of choice when playing bop or giving the up-tempo treatment to the American songbook. He’ll team with pianist Bert Dalton, bassist Milo Jaramillo, and drummer John Trentacosta. The show starts at 7 p.m. at Museum Hill Café, 710 Camino Lejo. The cost is $20, with a $10 food and drink minimum. Call 983-6820 or visit www.santafemusiccollective.org — B.K

Songs of sand and sun: David Berkeley

David Berkeley is constantly on the move. Not only has the singersongwriter lived in six states over the last six years, but he is also a traveling musician who has toured with Ben Folds, Billy Bragg, and Rufus Wainwright. Arriving in Santa Fe last year, Berkeley was immediately inspired by his surroundings and had soon written an entire record of songs about his new environs. The Fire in My Head, a thoughtful and literary ode to the high desert, was recorded at Jono Manson’s studio over the course of a mere two days. To celebrate the album’s recent release (and the unusual fact that he still lives here), Berkeley showcases the music with guitarist/collaborator Bill Titus at the Center for Contemporary Art’s Muñoz Waxman Gallery (1050 Old Pecos Trail, 982-1338) on Thursday, Aug. 22. The talented Will Courtney, another songsmith Santa Fe is fortunate to have recently acquired, opens the 8 p.m. show (doors open at 7:30 p.m.). Tickets are $15 at the door; $12 for students. — L.B.

THIS WEEK

Forsaking the whale: Jake Heggie & friends

The San Francisco-based composer Jake Heggie has gained notice particularly through his operas Dead Man Walking (2000) and Moby-Dick (2010). Dead Man Walking has by now received more than 200 performances, and Moby-Dick will be telecast this November on PBS’s Great Performances series. Although he has written a number of instrumental works, most of his output has been vocal. He has been particularly prolific in the area of art songs, which are regularly performed by the large circle of singercolleagues who have found his voice-friendly mode of writing unusually congenial. Jake Heggie He often accompanies these pieces in performance, as he will when the Santa Fe Concert Association hosts a recital of his songs at 4 p.m. on Sunday, Aug. 18, at the Scottish Rite Center (463 Paseo de Peralta). Joining him on this occasion are three fine singers who figure on this summer’s roster at Santa Fe Opera: soprano Heidi Stober, mezzo-soprano Susanne Mentzer, and tenor William Burden. Tickets ($40) are available through Tickets Santa Fe at the Lensic (988-1234, www.ticketssantafe.org). — J.M.K.

Bach meets mambo: Tiempo Libre

The seven-piece Miami-based Cuban timba band Tiempo Libre made a statement on their 2009 Grammy-nominated recording Bach in Havana. Even the most stately classical music figure, fitted with an Afro-Cuban beat, can bring salsa dancers to their feet. Tiempo Libre opened last year’s concert here with a sample from the Kyrie of Bach’s Mass in B Minor and followed it up with a backbeat version of “Guantanamera.” When they appear at 8 p.m. on Friday, Aug. 16, at the Lensic Performing Arts Center (211 W. San Francisco St.) as part of the Santa Fe Chamber Music Festival, be prepared for pop-influenced dance tunes with occasional ventures into their mambo-meets-the-oldmasters playbook. Tickets, $12 to $42, are available by calling 988-1234 and from www.ticketssantafe.org. — B.K. PASATIEMPOMAGAZINE.COM

Michael Abatemarco I The New Mexican

What has four arms... Mark Doty and Darren Waterston’s shared menagerie

estiaries have been a source of fascination from at least as early as the time of Aristotle. Early naturalists gathered their bestiaries in compendiums presented with a holistic approach to the subject matter. The books contained not just information gathered from empirical observation but also the lore surrounding animals — the myths, legends, and beliefs about them. Italian naturalist Ulisse Aldrovandi’s 1640 publication Serpentum et Draconum Historiae, for example, was a natural history of snakes and dragons. “The bestiary was this long tradition of moralizing allegory where the animal kingdom provided a description of the human condition and human folly,” said Darren Waterston, artist and collaborator with poet Mark Doty on the book A Swarm, a Flock, a Host: A Compendium of Creatures. “We wanted to stay with that but make it a little bit more mysterious, more subversive.” There are no dragons in A Swarm, a Flock, a Host, although Waterston’s shadowy representations do at times take on the appearance of chimeras. What you find, instead, is an observant, introspective reflection on animals in their natural state through a simple, reductive use of language and art. “Animals have

Poems and images from the book A Swarm A Flock, A Host by poet Mark Doty and artist Darren Waterston; courtesy Prestel

PASATIEMPO I August 16 -22, 2013

always been a major presence in my work as companion spirits that offer us something different than the company of other people,” Doty told Pasatiempo. “Our bonds with them are very mysterious, very compelling. I think that’s true with lots of poets, because poetry is very drawn to silence. Animals are not silent, but they don’t use words. So where there is no language, poetry wants to move in and supply or create language. That silence that animals bring to us is something that seems to invite the poet.” The book project began when the Fine Arts Museums of San Francisco invited Waterston to participate in an exhibition involving printed art portfolios. “I had been interested in doing a bestiary for a long time,” he said. “A bestiary has a literary and graphic form. I’ve always been interested in encyclopedic books that categorize natural phenomena. The bestiary plays between these representations of something exquisitely beautiful and something very horrific. I’m interested in this juxtaposition of beauty and deformity. It’s an ongoing paradox in my work. continued on Page 44

The bestiary plays between these representations of something exquisitely beautiful and something very horrific. â€” Darren Waterston

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A Swarm, a Flock, a Host, continued from Page 42

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PASATIEMPO I August 16 -22, 2013

So the next step was determining who to collaborate with. For at least 15 years I have been a huge fan of Mark’s writing.” When artist met poet, they quickly established a rapport that fueled the development of the project. “I’ve never had the genuine back and forth,” Doty said. “I did not know Darren’s work before I met him and was immediately drawn to it. He gave me a sheaf of drawings, and I began to scribble out some lines, very rough material, which I showed him. He was excited and showed me more visuals, and back and forth we went. The process seemed to lead us deeper and deeper into the material. I had no idea where this was going except that we were making a bestiary. But I couldn’t quite imagine the outcome. There was a remarkable moment when I wrote a poem about finding a deer’s body in the garden. I showed it to Darren, and he came back with a drawing that was so much an emblem of how I felt about that experience. At that point it’s as if our project just gelled. It moved to a new level and just completed itself in a way.” The project culminated in an exhibition, Darren Waterston: A Compendium of Creatures, on view through December in the Reva and David Logan Gallery of Illustrated Books at the Fine Arts Museums of San Francisco’s Legion of Honor. “It was such an incredible project for me,” Waterston said. “So often, artists and poets are working in such isolation. Our disciplines require this almost monastic, solitary, creative process. When you have opportunities to truly collaborate with another artist from a whole other discipline, you’re coming at it from such different structures. It’s very intimate when someone else is right in there with your own process. We had an amazing time doing it. Our friendship was born out of it.” Doty’s poetry is not a description of the animal forms rendered by Waterston. Nor do Waterston’s silhouettes serve as illustrations for the poems. The words, which are sometimes autobiographical, capture moments that are human, seeming to express a man’s thoughtful reflections on the natural world around him. Lines such as “The woodpecker wears on his forehead a bit of the original flame so that he might not forget the conflagration in which the world began” encompass empirical observation and imaginative fancy. The imagery called up by the poem impresses itself on the reader to the extent that we may never again see the plume of a woodpecker without thinking of that infernal moment of creation. With a few exceptions, Waterston renders animals in action: hunting, jumping, flying, playing. Occasionally he shows them perched one on top of the other in a tableau. The monochromatic imagery is stark and goes with the brevity of Doty’s poems, but there are details. They are painted realistically, if only in silhouette. As much as the material in the book expresses wonder at the animal world, it also stresses that animals are guided by instinct and the drive for survival, and that animals can be dangerous. “In a certain way, I kept bringing a darker underbelly of imagery that was animals and creatures in some sort of state of flux or transition, somewhat menacing at times,” Waterston said. “There’s this kind of surrendering of the limits of their bodies in a way. Sometimes there’s this feeling they’re dissolving or fusing with another animal. I was bringing all this in visually, and Mark brought this darkness and lightness. I had the shadowy stuff going on, and he would intervene with these sublime moments in prose. Very poignant observations, very charged observations of seemingly mundane things that become miraculous in some way. We were conscious of trying to create this tension between these two approaches.” Doty and Waterston have no immediate plans for a future collaboration, but they remain open to the idea after working together on A Swarm, a Flock, a Host. “I think we both feel that the final products don’t belong to either one of us,” Doty said. “They belong to a sort of third party, as if we created another artist between the two of us.” ◀ “A Swarm, a Flock, a Host: A Compendium of Creatures” by Mark Doty and Darren Waterston is published by Prestel/Random House.

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You must remember hiss The snake in Native art

Hollis Walker I For The New Mexican

ust as Judeo-Christian mythology identifies the snake — in the tale of the Garden of Eden — as a source of forbidden knowledge and symbolic of evil, Native cultures have their own conceptions of the snake as an icon. Among Native peoples of the Southwest, the snake is most strongly associated with lightning (because of its form as it moves) and water, according to Dody Fugate, longtime assistant curator for research collections at the Museum of Indian Arts and Culture’s Laboratory of Anthropology. “There are snakes in Navajo sand paintings, and we have the Avanyu, who is a snake or eel or water monster, depending on how you look at him, who shows up in Native pottery all the way down to Mexico.” The Avanyu is a plumed serpent and a familiar icon of Puebloan ceramics, particularly in the renowned 20th-century black-on-black pottery of Maria Martinez of San Ildefonso Pueblo. Snakes also appear in basketry, jewelry, weavings, easel paintings, and dress kilts in MIAC’s collection. “It’s all related to rain,” Fugate said. The Hopi Snake Dance — which Fugate has witnessed at Second Mesa in Arizona — is a living cultural example. “In the Hopi Snake Dance, religious people dance around with live snakes in their mouths, followed by other people who stroke the snakes with feathers to calm them. It’s an old, old dance. It’s essentially a prayer for rain.” Snakes are also related to water because “they are able to go down into the holes in the earth, to talk the water in the springs into coming up to the surface, and [the snake] flows up with the water in the spring.” In the daily life of Native peoples, Fugate said, “snakes are liminal creatures that can be both good and bad. You want to associate with them and you don’t.” Fugate recalled working at a national monument years ago when a snake took up residence in a bathroom. The Navajo workers did not want to go into the bathroom. “They didn’t want to disturb the snake.” When a ranger killed the snake, the workers were deeply disturbed. “We had to have a medicine man come cleanse the space.” Various Southwestern tribes, including the Hopi, have societies or clans that revere the snake, and those people may be particularly offended by the mistreatment of a snake. Ryan Rice, chief curator at the Museum of Contemporary Native Arts, said he doesn’t often see images of snakes in contemporary Native art, but one work came to mind. For a recent museum exhibition, Iroquois artist Merrill Johnson created an installation called Shhhhhh that incorporated a snake form. In the piece, a stuffed rabbit walking across a velvet blanket held a stethoscope to the blanket, under which was a snakelike shape. The snake suggested our fear of the unknown, Rice said. Rice, who is Mohawk, said his tribe has been compared to the rattlesnake by other tribes because “we strike but we warn you first.” He said there are rattlesnakes in Mohawk territory — now upstate New York and Canada — but they are rare. Some Puebloan artists, particularly ceramists, continue to represent snakes in their work. Tammy Garcia of Santa Clara Pueblo is one of them. The Avanyu appears in her clay pottery, bronze plaques, and glass pots. Though Garcia’s imagery is decidedly contemporary in form, her Avanyu incorporates classic elements used by early-20th-century Pueblo potters: a tongue that zigzags into an arrow, representing lightning, and a curled plume ending in the form of a trident. Tony Chavarria, curator of ethnology at the Laboratory of Anthropology, is a native of Santa Clara Pueblo. He noted that the tribal seal of the pueblo features the Avanyu — which technically is not a snake but more of a magical creature, he pointed out. In the Pueblo world, snakes generally are seen as helpful, such as when they eat mice and thus protect the crops, but also dangerous, as in the case of rattlesnakes, Chavarria said. Native people treat snakes with respect and caution. For those who are members of earth-based clans, the animals that live on the earth — such as snakes, lizards, and turtles — are seen as relatives, a part of their clan, Chavarria said. “The thing about the snake, especially in Pueblo art, is that it’s another fellow creature of the earth, and like ourselves, it has positive and negative aspects. It’s a matter of trying to live in balance with it. It’s a part of creation as well. You’ve just got to watch when you’re treading on their home.” ◀

PASATIEMPO I August 16 -22, 2013

Snake lore

In the 1920s and ’30s, anthropologist Elsie Clews Parsons recorded many Tewa legends at the Northern New Mexico pueblos and at Hopi. The stories were preserved in the book Tewa Tales (first published in 1926). Snakes appear in several of the legends. Parsons noted that the snake often had a punitive function in the tales, which usually contained moral lessons. Here is a condensed version of one of the stories. The envious Corn Girls Once at Ohkay Owingeh, a smart girl named Sweet Corn Girl won Olivella Flower Boy to be her husband. But other girls were jealous. So one day the Blue Corn Girls tricked Sweet Corn Girl and turned her into a fox, thinking they could win over Olivella Flower Boy. Sweet Corn Girl/Fox tried to make Olivella Flower Boy recognize her, but he could not. He was so sad that his Sweet Corn Girl had disappeared that he lay down and could not get up. The Blue Corn Girls could not win him over after all. Sweet Corn Girl/Fox was so sad that she decided she must leave, and during her travels she was caught in the trap of a fox hunter. He heard her crying and, suspecting the truth, took off her fox fur and found Sweet Corn Girl underneath. Sweet Corn Girl related to him what had happened, and he told her how to exact revenge on the Blue Corn Girls using their own trick. But instead of turning them into foxes, she turned them into snakes, telling them, “Somebody may love you, but if nobody loves you, you will go around on the ground when it is hot and when it is cold.” Then Sweet Corn Girl went home to Olivella Flower Boy. “Those snakes, those blue ones, are the Blue Corn Girls,” the narrator told Parsons. “That is what happened to Sweet Corn Girl.” — H.W.

Top, Tohono O’odham: tray, circa 1935; image courtesy Museum of Indian Arts & Culture, Laboratory of Anthropology Bottom, Maria and Julian Martinez: black-on-black jar, circa 1930; image courtesy MIAC, Laboratory of Anthropology Opposite page, Tammy Garcia: Avanyu, circa 2004, bronze tile; courtesy Blue Rain Gallery

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COLLECTEDTAILS

James McGrath Morris I For The New Mexican the close of World War II, years before he would become an acclaimed Western writer, Max Evans was a young cowboy freshly discharged from the U.S. Army, and his service had included landing on the beaches of Normandy. Working a ranch near Des Moines, New Mexico, he had to do day labor for neighboring ranchers to make ends meet. One day on his way to a job he took a shortcut across a ridge. When his horse stopped at the top, Evans looked down and spotted an old cow, all alone, heading toward water in a dirt catchment. My God, he thought, she is going to have a calf! The cow looked up — not toward Evans but in the direction of another rise, on which stood a mother coyote and four pups. “I knew what was going to happen,” Evans said, “and I couldn’t stay for it.” For years Evans thought about this moment. “It bothered me and excited me,” he said. One night, after he had become a successful author and was living in Taos, Evans recounted the episode to a former cowboy over drinks in La Fonda de Taos. “Dang, if he had not seen a thing similar,” he said. Evans went straight home to his house on Ledoux Street, not far from the saloon, and climbed to his attic, which doubled as a painting studio and writing office. In the morning, Evans came back down the stairs. He had written straight through the night, crafting a fictitious account of a cow’s battle to defend her newborn calf from coyotes, creating with his imagination the ending to the story. His wife was drinking coffee with her best friend. “Max, are you all right?” the friend asked. “You’re as

PASATIEMPO I August 16 -22, 2013

pale as a ghost.” He held up his manuscript and said, “I guess all my blood is on these pages.” Sitting in the living room of his Albuquerque home many years later, Evans reflected on the work, which he called “The One-Eyed Sky” and which went on to become his most-reprinted short story. “Clichéd or not clichéd, I realized an ultimate truth. I had put everything I had in that story,” Evans said. “It’s about life and death, the essence of it. The total essence of life and death, right there. Survival. Life, death, and survival. All three of those, the mainsprings of all life. And there it was before my eyes.” In September, University of Oklahoma Press publishes an anthology of 26 Evans pieces, including fiction and nonfiction. Entitled Animal Stories: A Lifetime Collection, it is illustrated with line drawings by Springer, New Mexico, artist Keith Walters. When Evans selected the stories for the collection, there was no question in his mind that the “The One-Eyed Sky” would be among them. “After all these years it seems the thing is becoming — forgive me for using this popular word now — my signature story.” Born in 1924 in Ropes, about 60 miles over the New Mexico border into Texas, Evans took up work as a cowboy when he was 11 years old, after convincing his father to let him take a bus north to Lamy in search of a ranch job. When he reached Lamy, he told the barkeep at the Legal Tender Saloon that he was looking for work punching cows. The man, who according to Evans was unsurprised by an 11-year-old job seeker, said that on Saturday cowboys would be coming in to get drunk, and one of them might hire him. Until then, the bartender said, Evans could sleep on the cot in the back room. Each morning until Saturday, the man bought the young boy breakfast in the Harvey House. “My God,

I’m better off than I have ever been in my life,” Evans recalled thinking. “I ought to stay right here.” Evans eventually worked as a cowboy in Lamy and then later on his own place near Des Moines. At the ranch where he picked up day work, the rancher’s wife, known to cowboys as “Mother Young,” had inherited a small set of books by Honoré de Balzac. Evans, who had been taught to read by his mother, discovered the books. At night, reading by the light of a coal-oil lamp, he became entranced by the work of the 19th-century French novelist and playwright, known for his realistic style. “No matter how hard the day was, I couldn’t resist old Balzac.” Evans took up painting for reasons he still cannot explain today, although he knew he was different from his fellow cowboys when it came to art. “I would walk into a place with someone, and I couldn’t help but look at whatever pictures were on the wall,” he said. So he gave up cowboying and moved to Taos to join that city’s art world. His approach was unorthodox. He would take his canvases off the easel when they were still wet and carry them into saloons, grocery stores, and any other establishment with an open door. “In a town with world-recognized artists, now here is a little amateur cowboy walking around there with wet paintings. And doggone it! I started selling them and pretty soon making a living.” It was a timely success, as Evans had recently married. “So we could pay our bills, we could eat, we could go out to dinner once in a while, I could buy books and I could read all the Balzac I wanted to. Life was great. And I will be damned if I didn’t get obsessed with writing.” Evans began with nonfiction, finding it easier to sell, but eventually turned to Balzac’s craft. It worked out on a scale he couldn’t have imagined. In 1958 he

MAX EVANS’ANIMAL STORIES

published his first book. His second one arrived in 1959, and he hit the literary jackpot in 1960 with the publication of The Rounders. Hollywood came calling. Director Burt Kennedy turned that book into a movie starring Henry Fonda and Glenn Ford. Shortly thereafter, director Sam Peckinpah optioned Evans’ next novel, The Hi-Lo Country. It took a circuitous route to the screen, finally materializing 14 years after Peckinpah’s death in 1984 as a Martin Scorseseproduced film starring Woody Harrelson and Penélope Cruz. Evans went on to pen another two dozen books. Evans turns 89 later this month. He is glad to recollect the adventures of his life with the enthusiasm of a man who bought a winning lottery ticket. Except for the inevitable physical slowness that comes with age and complaints of painful hands, Evans is just like the Western-bred protagonists of his tales. He still coiffs his hair, now a dark gray, into a study curl above his forehead that renders feeble the ones sported by young men these days. And despite more than four decades of city living, Evans retains the habit of calling the state’s river the “Río Grandee” and the nighttime marauder a “coyot.” He believes the collection of animal stories is his penultimate work and that the last book will be a recollection of the years of friendship with Sam Peckinpah that grew out of a night of drinking in Los Angeles when the director acquired the rights to The Hi-Lo Country. The collection covers a 62-year career of churning out stories and novellas that began with a 1950 short story — “The Call,” an unearthly tale of an old man’s nighttime trek into a canyon. Looking over his prodigious output, Evans realized that all of his writing included animals. So he made a decision. “I’ll go

back and do my animal stories,” he said. “That’s what I loved the most.” The result is a 415-page book, comprising 14 stories and novellas and 12 nonfiction pieces, in which animals play varying roles, from center stage to cameo appearances. “Yes, animals, with their beauty and magic, are deeply ingrained in all of my writing — and in all my living,” Evans writes in his introduction to the book. “I give thanks daily for the food and revelations I’ve received from the creatures so precious to us all.” According to Evans, John Sinor, a noted columnist working out of San Diego, once said, “No one could get inside the head of an animal like old Max Evans.” Evans said, “I thought that was the greatest tribute I have ever received and still do.” To read an Evans story in this collection is to sit around a campfire in a long-lost world without radio, television, and other modern forms of entertainment. The tales are slow paced, often meandering a bit, and laced with nuggets of witticisms and dry humor. His settings are drawn with a painterly eye, and his dialogues are dotted with “cain’t” and “ain’t” and “git.” Evans’ style is best displayed in a 30-page short story called “Once a Cowboy,” which features a rescue from sure death in a steer-roping mishap, a wild drinking escapade to El Paso, a brush with the law, and a tender moment with an old cowboy in a nursing home. It contains all the hallmarks of an Evans tale: a life-anddeath encounter, women with more sense then men, clashes with modernity, and the paramount importance of loyalty among friends. It also exemplifies his love of the folksy metaphor: a memory as “clear as spring water,” a hard-to-call-up event from the past no “closer than a coyote howling in the next county,” a smile so sweet “you’d think she’d just swallowed a

chocolate bar,” and barmaid’s “milk glands” that “were a half gallon apiece.” Quaint, corny at times, and out of place in a Tweeting world, Evans’ tales retain a kind of timeless essence. Their honesty and lack of pretension harks back to a time when telling stories was entertainment. Old Balzac would certainly be proud. ◀ “Animal Stories: A Lifetime Collection” by Max Evans and illustrated by Keith Walters is published by University of Oklahoma Press. Images courtesy the publisher.

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Cross Cultures

hiaroscuro Contemporary Art’s Contemporary Native Group Show combines work by Yatika Starr Fields and Rose B. Simpson with that of an older generation of artists represented by Fritz Scholder, Rick Bartow, and Harry Fonseca. Including the work of Fonseca, who died of a brain tumor in 2006 (Chiaroscuro represents Fonseca’s estate), with that of younger artists honors continuing traditions and innovations in contemporary art while also venerating the not-too-distant past. Headwater, a solo exhibition of paintings by Emmi Whitehorse, runs concurrent with the group show. Fonseca’s work is marked by tireless experimentation in style and subject, from figurative, narrative depictions of his characters Coyote and Rose, to minimalist stripe paintings reminiscent of Agnes Martin’s grids, to abstractions inspired by petroglyphs. At times throughout his career he returned to themes and motifs that reflected Native heritage, in particular his Nisenan Maidu ancestry. Fonseca lived and worked in Santa Fe beginning in the early 1990s and was raised in California. He was born near Sacramento, where prospectors came in search of gold during the mid-19th-century gold rush. As more and more eager gold seekers flooded the region, thousands of Native peoples were driven from their lands, forced onto reservations or missions, or killed by white militias. Thousands died of disease and starvation. Fonseca referenced

this bloody history in a 1990s series of abstract gold-leaf works on paper called The Discovery of Gold and Souls in California. Several images from that series incorporate the cross, emblematic of Christianity and — perhaps more specifically in the context of the contentious history alluded to in the work — crucifixion. Gold and Souls #8, one of a few images from the series on exhibit at Chiaroscuro, depicts a black cross on a field of gold, splattered with red suggesting blood. The Discovery of Gold and Souls in California is worlds away in terms of subject matter from series Fonseca made in the 1970s and ’80s that depict the adventures of Coyote and his consort Rose, two trickster figures that draw from the heritage of many Western Native tribes, including the Maidu. The importance of Coyote as a timeless, disruptive force, undermining staid convention and getting into trouble, is suggested by Fonseca’s use of contemporary dress. The trickster is a figure for all time, not just of times past. Chiaroscuro shows several works on paper with Coyote, Rose, or both, including one of Coyote in the guise of a koshare, a sacred clown of the Pueblo peoples. Fonseca’s depiction of Coyote as a koshare implies a cultural similarity between the figures, who both teach by example, albeit in a roundabout way. Wrapped up in the quirky, often humorous Coyote and Rose imagery are jabs at longstanding icons from art history. One example, Rose on the Half Shell #II,

Harry Fonseca merged Native and contemporary traditions 60

PASATIEMPO I August 16 -22, 2013

Harry Fonseca: left, Last Tango in Santa Fe, acrylic on paper; right, St. Francis of Assisi, 1999, mixed media on canvas; opposite page, left, Stone Poem #75, 1992, acrylic on canvas; right, Gold and Souls #8, 1992, mixed media on paper

places Rose in the slightly modest pose much copied from Sandro Botticelli’s The Birth of Venus. In some ways, Coyote and Rose represent the duality of male and female. And one can’t help but wonder if Fonseca, by placing Coyote in such settings as San Francisco’s Mission District or as an artist at his easel, embraced Coyote as an alter ego or a stand-in for himself. In the 1990s Fonseca worked on a series titled Stone Poems based on Paleo-Indian petroglyph designs found in the Coso Range of eastern California. In these works, Fonseca merged abstract and figurative imagery, often composed of one or more large central figures surrounded by repeated motifs: spirals, for instance, or crosses. Stone Poem #75 is an example. Fonseca’s use of speckled paint and line leans toward gestural abstraction or action painting but adds a granular appearance to the overall composition. Three figures in the painting overlap with crosses and spirals. That overlapping and the dark sections of the canvas add a sense of depth, as though the viewer could move through the figures into space, as if the petroglyph designs themselves were etched on the cosmos. The imagery and manner in which the figures are rendered represents a merging of a contemporary painting style with Native heritage. Fonseca’s transitions from figurative to abstract imagery are never total or complete. He seems instead to move back and forth between them and to blend them. St. Francis, a second series of works produced in the 1990s, was composed similarly to Stone Poems. In St. Francis of Assisi, one painting from the series, the central, reductive shape of the saint, painted in somber brown, stands amid a random pattern

of crosses. The crosses take on different associations than they might in Stone Poems, which were derived from pre-contact designs. Saint Francis exists in the paintings as negative space, an incorporeal spirit whose essential blankness is an open invitation to project our own spiritual ideals. Wispy, cloudlike patches of white add to the ephemeral feeling of the painting. Examples from Stone Poems and the St. Francis series are included in the exhibit. At first glance, later paintings such as Blue, Gold, and White (Stripes), a minimalist stripe painting from 2002 with bands of color arranged horizontally, would seem a radical departure from earlier work like the Stone Poems or The Discovery of Gold in California. But several of the Stone Poems and St. Francis paintings were also rendered using a limited color palette, with combinations like black, white, and red, and Fonseca’s use of gold paint and gold leaf is continued from the earlier series. As dramatically different from each other as each body of work is — and Chiaroscuro’s selection is designed to present the range of his styles and transitions — a consistent pulse runs through them: an interest in piercing the veils that separate past and present, and indigenous and Western artistic traditions, making them permeable to one another. ◀

details ▼ Contemporary Native Group Show ▼ Opening reception 5 p.m. Friday, Aug. 16; through Sept. 14 ▼ Chiaroscuro Contemporary Art, 702 ½ Canyon Road, 992-0711

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The Animal in the Stone Tradition meets artistic evolution in fetish carving Bill Kohlhaase I The New Mexican

bat, an eagle, and a beaver, all carved of stone and each no bigger than a child’s closed hand, stand on a display case at the back of Keshi, a downtown store specializing in Zuni arts. Their carver, Mike Yatsayte, brings out more figures that he has brought from Zuni Pueblo: sheep, badgers, hummingbirds. “It was the beaver, the storyteller,” he said, “that got my foot in the door as a carver.” Yatsayte’s story involves a long journey. He learned his craft from an uncle, noted carver Kent Banteah, and others and went on to shows at Phoenix and Tucson museums and to competitions at the pueblo. The flat, finely etched tail of the beaver is something of a trademark for him. Another is his experimentation. One of his works, a standing bear cut from serpentine stone, is perched on a skateboard. Fetishes, small animals carved of stone and said to possess certain spiritual powers, have been traditional talismans of belief for the Zuni people in the 1,300-some years since they first settled at Zuni Pueblo in western New Mexico — and most likely before. Other Native American cultures have fetish traditions, but none are as prevalent or important as those of the Zuni. The English term fetish, despite its contemporary connotations, has been used to describe the small carvings since 1883, when anthropologist Frank Hamilton Cushing published “Zuni Fetiches” in the Second Annual Report of the Bureau of Ethnology. It was around that time that these small figurines became items of artistic and cultural interest outside Native American populations. That interest, at first anthropological, grew slowly during its first hundred years before exploding in the 1980s. Since then, the tradition of fetish carving ving has become both an artistic and an economic force among the Zuni, even as it retains its traditional importance to Zuni spiritual beliefs. “The main reason people collect fetishes is due to aesthetics and a fascination with the culture,” said Kent McManis, author of Zuni Fetishes & Carvings (Río Nuevo Publishers), a comprehensive guide to the craft and culture, as well as to the artists. “There is also a general religious or wellness aspect, some belief of the bear as healer, in a New Age way.” Proof that fetishes are a source of spiritual

meaning for non-Natives can be found in Hal Zinna Bennett’s book Zuni Fetishes: Using Native American Sacred Objects for Meditation, Reflection and Insight. Bennett’s book takes broad and unverified assumptions about the religious significance of Zuni fetishes and applies them to modern quasi-spiritual and self-improvement practices. Any curio shop that sells fetishes will have information, sometimes contradictory, as to what powers different fetishes hold. It is said that bears aid healing and spark courage, mountain lions encourage perseverance, and beavers are industrious and dedicated to family. These connections may hint at traditional Zuni religious beliefs or may have nothing to do with them. In fact, the traditional powers of fetishes ascribed by the Zuni are difficult to understand. They involve circles of relationships; the compass points north, south, east, and west; and the concepts of above and below. They are grouped in categories of healing and hunting. Any meanings beyond that? “I never show or talk about the uses of religious fetishes because that’s for the Zuni to do,” said McManis, who sells fetishes at his Grey Dog Trading Company in Tucson. “It’s a culturally sensitive area, and frankly we non-Natives don’t know much about it.” McManis is quick to point out the differences between fetishes done for artistic and commercial reasons and those that have true spiritual importance to the Zuni. “There’s generally a different look to fetishes used for religious purposes,” he explained. “They tend to be less detailed, to look more like the stone they come from.” The main difference is that religious fetishes held by the Zuni are blessed in ceremonies conducted by medicine men. Until they are, they’re not much different than those one finds for sale. In a medicine bag, Yatsayte carries a bear that has been blessed at a ceremony, ceremony but he is reticent to say why. “What it means depends on you,” he said. Fetish carving, like other traditional crafts, now makes up a big part of Zuni economic activity. The economic roots can be found in trade with the Navajos, who believed fetishes would help protect their flocks. Collecting fetishes became popular among cultural anthropologists about the time of

Top, Marnella Kucate: Lavender Bobcat

Inset, Brian Yatsattie: Snake; images courtesy Keshi

PASATIEMPO I August 16 -22, 2013

continued on Page 64

Melvin Sandoval: Fox

Lena Boone: Bear

Dee Edaakie: Mountain Lion

Ray Tsalate: Lola the Frog

Daniel Chattin: Corn Maiden

Troy Sice: Bear with Bird

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Fetishes, continued from Page 62 Cushing’s study and enjoyed slow growth as first trains and then automobiles brought tourists to the Southwest. Tiny fetishes, often strung in necklaces and bracelets, served as souvenirs, much like charm bracelets. In the 1930s, carver Leekya Deyuse and others began to refine the art form. The value of Deyuse’s carvings today demonstrates the collecting and investment aspects of the craft. In his book, McManis writes that the pueblo had as few as 40 carvers at one time. After celebrities and secular spiritualists discovered fetishes in the 1980s, the numbers jumped. McManis told Pasatiempo that the pueblo now has about 700 carvers, although not all of them are active. Their methods may be different than those of their ancestors — Yatsayte calls his grinding wheel “the carver’s edge” — and the final product may be more intricate and realistic, but the spirit to create, driven by financial survival, is stronger than ever. Daryl Shack is part of a new generation of carvers. He said he learned his craft “backward,” working with the hardest stone first before moving into other, softer rock. His mother, a jewelry maker, trained him in finish work. This was also backward, he said; he knew how to polish, shine, and bring a piece to completion without knowing how to start. “I made my first piece around the age of 14 or 15,” he explained. “But I was so busy with school and the [Zuni] dance troupe, I didn’t have time to concentrate on anything else.” But when it came time to find a source of income, he sat down and thought of all the things he could do. Animals had always attracted him. “I didn’t know the different types of rock other than the Picasso marble that was abundant. I didn’t know all that went into carving. Using that hard rock was a mixed blessing. It made me work very hard.” He didn’t try to sell his first batch of carvings. When he began using softer rock, he found that the shapes came more easily. “Those first pieces — it was hard to have the animal inside break through. And I had a lot to learn about fetishes: the history, the tradition. It was all around me.” He took the first batch he was happy with, all bears, to a local dealer but was turned away. “He looked at them and said, ‘Another bear carver.’ I stood there embarrassed, a little sheepish. He said, ‘Daryl, I know 200 bear carvers. What are you going to do to make yours different?’ ” Shack went home and found the answer right in front of him, on his mother’s jewelry work table. “I saw all these bits of turquoise, coral, abalone, mother of pearl, right there. And suddenly I thought, I’ll make my bundles different, more colorful than anyone else.” Offering bundles, small gifts bound to the fetish, often consist of arrowheads or pieces of turquoise. Shack’s are valued for their size, shape, and number of pieces. They set his work, with its fine hand-polishing, apart. At Keshi, you can see a standing serpentine bear of gray, green, and black bearing a multicolored bundle balanced on an arrow point. Not all of his works have a well-polished sheen. A buff-colored sandstone bison with black horns has a rough surface that suggests the animal’s shaggy coat. It’s topped with a contrasting bundle of red coral and blue turquoise. Shack says marketing his creations wasn’t easy until he found Keshi. But he hasn’t stopped there. He’s one of the few carvers who sells his fetishes on eBay. Even as fetish art for commercial sale becomes more detailed and varied — Yatsayte’s black dolphins are popular with buyers — some earlier forms are returning. Salvador Romero from Cochiti Pueblo, one of the few nonZuni artists displayed at Keshi, favors soft edges and shapes that only suggest the animals they represent. Often the creatures, especially the bears, clutch something, like a fish or a heart. His figures are a distillation of what artists say is the first step in creating a fetish: finding the animal in the stone. ◀ Keshi, The Zuni Connection (227 Don Gaspar Ave., 989-8728) has receptions for its fetish carvers at 11 a.m. and 2 p.m. on Saturday, Aug. 17, and at 11 a.m. on Sunday, Aug. 18.

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We were given carte blanche with brushes and materials, pretty much asked to do whatever we wanted to do. We were given very little art instruction.We were basically told to paint our hearts out. - - - Alfred Young Man

Above, Anita Fields: Cloud House, 2013, clay; right, N. Scott Momaday: Doll in Cradleboard (detail), acrylic on paper opposite page, Ramona Sakiestewa: Equinox 4, 2011, mixed media

PASATIEMPO I August 16 -22, 2013

Paul Weideman I The New Mexican

INDIGENOUS INFLUENCES

There is no question that Anita Fields was turned on by her time at the Institute of American Indian Arts. It was 40 years ago, but the school’s dynamic atmosphere is right at the surface of her memories. “Because of the time period, the world at that time, it was a very explosive kind of energy, the creative energy that young people have and artists have, and exploring all of the possibilities. Everything was offered to us, and there were all these different areas you could explore.” Fields’ artistic expressions are varied, but there are some strong threads running through her portfolio. One is her series of clay human figurines decorated with dots, stripes, crosses, plant forms, clouds, stars, and squiggles. The pieces may appear in sets or as part of larger tableaux with other items, but they often have similar characteristics: a subtly feminine quality, no arms, and enhanced ear forms. “A lot of my work is about the human spirit and how we react to the environment around us,” the Osage artist said from her home in Oklahoma. “I’ve been making those sorts of figures for a very long time. It’s interesting to see how they evolve.” She laughed when asked about the lack of arms. “People ask me why they don’t have arms. It’s an ancient form. Some of them do have arms, but I just don’t see the need. I think of it as a form, a structure, that holds important things about yourself. The things on the heads are just adornment, so it’s about how we adorn ourselves.” A set of three of Fields’ figurines is featured in the group exhibition Native Vanguard: Contemporary Masters, which is up through Aug. 23 at Zane Bennett Contemporary Art. Another of her works has an element of Osage ribbon work, one of the artistic traditions of the Osage people. “There are two houses with little figures, and the windows are images of Osage ribbon work transferred onto linen. I do refer back to that, because again it’s interesting how fabric and adornment define us culturally and individually.” Fields chose clay as her primary medium as a student at IAIA, which she attended from 1972 to 1974. “There were so many people from different tribes exploring all of the different ways to express. It was wonderful. There was direction, of course, but it was such an opportunity to make a declaration, which is so vital to being an artist.” The creative milieu at IAIA saw a significant shift during the previous decade, when Alfred Young Man was a student. “We did a lot of exchanges of ideas and talking and being very serious for young artists at that time about what we were doing,” said Young Man, who gives a lecture and takes part in a panel discussion in conjunction with Native Vanguard. “There were very few large-scale works, and we started doing 6-by-8-foot paintings. Of course we had the good fortune to have people in the maintenance department help us stretch our canvases. We were given carte blanche with brushes and materials, pretty much asked to do whatever we wanted to do. We were given very little art instruction. We were basically told to paint our hearts out.” Young Man is a professor emeritus of Native American studies at the University of Lethbridge in Alberta, Canada. He is a Cree, born and raised on the Blackfeet Indian Reservation in Montana, and he earned a Ph.D. in anthropology at Rutgers University. He is currently doing research for a book that tells “the true story” of the 1960s Indian art movement at IAIA. “Many of us are still around: Kevin Red Star, Billy

Warsoldier, Earl Eder, Robert Shorty, B.J. Goodluck, the people who can carry it forward. “We were long down the road to creating that style of art that IAIA has since become known for and which [author] Jamake Highwater came along and put Fritz Scholder at the head of the helm of, so to speak, even though he didn’t arrive until later. People usually have that story backward, that he came in and influenced us. He was an Abstract Expressionist doing stripes, and he really was turned around by what he saw being done there. Throughout the years the alumni have seen him constantly given the credit for that.” Young Man was initially influenced at IAIA by Kevin Red Star and Earl Eder. Eder had a rock ’n’ roll band with Red Star, T.C. Cannon, and Young Man. “T.C. was a very good guitar player and singer, and his early paintings were very powerful works,” Young Man recalled. After his time at IAIA, he studied at the Slade School of Fine Art, University College London, earning a diploma in art and design. He was there from 1968 to 1972, and during that time he “practically lived in the art galleries and museums of London,” according to The Buckskin Ceiling: A Native Perspective on Native Art Politics, an abridged version of Young Man’s doctoral thesis that was published last year by the University of Manitoba’s Aboriginal Issues Press. Many people wanted to become acquainted with this “real Red Indian” during his years in London, and he met musicians Stephen Stills and Jimi Hendrix and artists Henry Moore, Francis Bacon, Jim Dine, and Andy Warhol, among others. “It was amazing. I had only been to BIA [Bureau of Indian Affairs] boarding schools. I barely spoke English properly, and it was the first time I was really immersed in the white culture, and that’s the heart of the white culture! I had four wonderful years there, and when school was out in the summer if I couldn’t get a job I hitchhiked around Europe. I got as far as Istanbul.” Despite his positive experiences in Europe back then, Young Man is disgusted with Europeans’ apparent continuing fascination with the “primitive facade” long attached to Native Americans and with the persistent inability in Europe and elsewhere to appreciate Native contemporary art. “There’s a lot of money in that primitive facade. In Europe people like Rick Glazer-Danay are being exhibited alongside ancient Mayan sculptures. It’s really a bizarre situation. They should do a gigantic show that goes back to 20,000 years ago and comes up to the present. Once they do that, we’ll be able to advance. There is an exhibition — Indigenous Brilliance, I think it’s called — with a lot of contemporary Native art traveling around Europe right now. So it is changing, but only slowly.” Another peeve he addressed is the fact that some Indian artists don’t give their affiliations on their works. “That’s been around for a long time up here, since the late 1980s when Native artists didn’t want to be associated with their tribe or nation. They saw that as a ghetto-ization of who they were as artists. While I can concur with that, it also has the effect of making them anonymous. Nobody would dream of talking about Andy Warhol or Toulouse-Lautrec without talking about their cultural backgrounds. “I don’t blame the artists for wanting to be appreciated as artists at large, but why do they have to sacrifice so much for it?”

ANITA FIELDS,ALFRED YOUNG MAN,AND IAIA

continued on Page 68

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Native Vanguard, continued from Page 67

Anita Fields: Tripod Vessel, 2013, clay; far left, T.C. Cannon (1946-1978): Bombs & Circles, 1972, mixed media on paper

In Buckskin Ceiling, Young Man addresses disrespectful museum displays of Plains Indian horse-dance sticks, First Nations false-face masks, and other “curiosities,” as well as the return of culturally significant materials to tribes in conjunction with the Native American Graves Protection and Repatriation Act. Does NAGPRA apply to the world of Native fine art? “It’s something that a lot of Native artists are benefiting from today. If you and your family are connected to spiritual objects and that’s part of your history, you bet it’s good to have them back,” he responded. “Are there people who have lost that connection? Absolutely. The U.S. and Canadian governments have over the years done untold damage to Native people. “What we’re doing is we’re rebuilding our culture and trying to connect our artwork back to our people again. At the same time, we have to stretch ourselves out and be part of the larger world as well.” ◀

details ▼ Native Vanguard: Contemporary Masters; exhibit through Aug. 23 ▼ 2 p.m. Saturday, Aug. 17, Bunky Echo-Hawk painting performance 3 p.m. Saturday, Aug. 17, N. Scott Momaday lecture 2 p.m. Sunday, Aug. 18, Alfred Young Man lecture 3 p.m. Sunday, Aug. 18, “Contemporary American Indian Painters Movement,” panel discussion with Amber Dawn Bearrobe, Alfred Young Man, George Longfish & Armond Lara ▼ All events are at Zane Bennett Contemporary Art, 435 S. Guadalupe St., and are free. ▼ Call 982-8111 or visit www.zanebennettgallery.com.

PASATIEMPO I August 16 -22, 2013

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Hungry Mouth Festival A Benefit for St. Elizabeth Shelter

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Michael Abatemarco I The New Mexican

Artist Shonto Begay I grew up in the rhythm of late-night chants, songs, and of course, the creation of holy sand paintings. I think a lot of the vision is coming from that. It’s a very conscious application, a very conscious gesture.

would not be wholly accurate to say that Diné artist Shonto Begay rejects idyllic, romantic depictions of Native subjects — such as those that dominated painting of the 19th and early 20th centuries — in favor of showing harsher, more honest realities of contemporary reservation life. Begay brings Navajo history, autobiographical content, and social and political issues into his holistic vision, to be sure, but he also has an ecstatic reverence for nature, land, and people. Begay’s work reflects something of older painting styles, particularly social realism as seen in works by Thomas Hart Benton — some of whose pieces he first encountered as a child — and also of the paint treatment and palette of Oscar Berninghaus. Begay, a graduate of the Institute of American Indian Arts who began painting professionally in the early 1980s, avoids the Pop style that dominates, even today, much of the work of IAIA students. Mark Sublette Medicine Man Gallery presents an exhibit of new work by Begay, opening Indian Market weekend. “I work in this manner that’s sort of my own neo-Impressionism and set in my own unconventional reality,” Begay told Pasatiempo. “I paint with an impressionistic sensibility. I think it derives from the whole idea of reciting the chants, the ancient prayers. Every syllable of every word is recited to maintain the beauty. So, each stroke, each line, each color, dot, and dash — to me, those are syllables to the holy words 70

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I grew up with. I grew up in the rhythm of late-night chants, songs, and of course, the creation of holy sand paintings. I think a lot of the vision is coming from that. It’s a very conscious application, a very conscious gesture.” Begay was born to a traditional Diné family and belongs to the Bitter Water clan on his mother’s side and the Salt clan on his father’s. His father was a medicine man and his mother a weaver and sheep herder. Begay belonged to a generation of Native children who were forcibly removed by the federal government from their families to attend Bureau of Indian Affairs boarding schools. The program was intended to assimilate Native children into American society. They were discouraged from speaking their own language and practicing their own religion. The trauma and pain of the experience is something that Begay still turns to as subject matter for his work. “Painting is my own saving grace. In the brutal institution of the government boarding school, when I was growing up, this is how I survived, to be always removing myself from harsh reality and live in that world of beauty I have the power to create with my hand.” In boarding school, Begay worked in secret, away from prying eyes. “That made it even more special because it was very covert. At a young age, just being aware of the things that were taken away from us — your family, your culture, your language — forcibly, nine months out of the year, was very brutal. I think I honor that by

continuing with art, because a lot of young boys I grew up with did not have an outlet for the angst, and a lot of them did not survive. In fact, of the probably 15 boys I grew up with in boarding school, there’s only three of us alive today. I’m sort of documenting my life, my world, my pain, my joys. Also I’m honoring other people who did not make it.” The communal experience of boarding-school children, wrecked cars on the reservation, Native people harassed by the police, homelessness, hitchhikers — these are the realities Begay paints. He also paints landscapes and mystic, sun-dappled visions of people who have continued to live a traditional life in a contemporary context, all of them rendered in swirling compositions in which every element seems interconnected to the whole. Halo of the Elder’s Tree, Black Mesa Sunrise, and Grandfather’s Late Light, all included in the show, have a hallucinatory vividness. Always, it seems, a natural, brilliant light shines through his work, expressing the Navajo concept of hózhó, of harmony and balance, despite the sometimes grim subject matter. “I don’t want to do postcard-y stuff,” he said. “I just want it to speak for me and to me. I live in a time of cellphones and this time I try to document. But, at the same time, I know the pain that brought us here. Doing art has always been more than for financial gain or anything like that. It’s always been about staying alive.”

Today, Begay discusses his art and life with audiences of all ages at a variety of venues including schools. Inspirational talks and art demonstrations teach children the value of art as means of self-expression. “I think the whole thing of using the very act of painting, the very act of brush on canvas is a gift. Young people today, I talk to them, and a lot of them have already associated their gift, their talent with money, with financial gain. I tell them that this is not how I did it. They associate their work so early with fame and a five-year plan. I’ve always allowed the beautiful muse to dictate. I was never in a hurry. I just honor the intense, profound beauty of my life and of the area I grew up in.” ◀

details ▼ Shonto Begay: New Works ▼ Opening reception 2 p.m. Friday, Aug. 16; through Aug. 30 ▼ Mark Sublette Medicine Man Gallery, 602-A Canyon Road, 820-7451

Shonto Begay: Black Mesa Sunrise, 2013, acrylic on canvas

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Loren Bienvenu I For The New Mexican

DARKROOM DAYS

WILL WILSON’S 21ST-CENTURY TINT YPES

or many photographers, contrast is important on the level of each individual print or digital image, but for Navajo photographer Will Wilson, it is important in his entire body of work. His online portfolio emphasizes the texture and forms of the inanimate. Featured are very contemporary, extremely sharp black-and-white shots of circuit boards, flowers bled of their color, and other objects both modern and ancient. On the other end of the spectrum, he is known for making modernday tintypes through an elaborate 19th-century process known as wet-plate collodion. His ongoing collodion project, the Critical Indigenous Photographic Exchange, is one of human portraiture functioning as lived experience. To execute the project, Wilson sets up a large-format camera and a portable darkroom. The resulting personal and artistic interaction leaves his sitters with an actual tintype and leaves him with a digital scan of each antique-style and uniquely distorted image. He offers a reprise of the project during Indian Market weekend (Friday and Saturday, Aug. 17 and 18) at the New Mexico Museum of Art. Wilson explained the process and its implications to Pasatiempo from the Redford Conference Center at the Sundance Resort in Utah. He was there as a featured guest for Creative Change, an annual retreat that explores art as a reflection of social change and activism. Pasatiempo: It has been a year since you first showed the Critical Indigenous Photographic Exchange at the New Mexico Museum of Art. Have you taken the project elsewhere since? Will Wilson: Yes, it has a life of its own at this point and is keeping me busy. I’ve done it at a number of different places and more generally talked about the work and exhibited it. I did it at the Santa Fe Art Institute, the Denver Art Museum — I had a residency there in March and an exhibition. I just finished doing it at the Georgia O’Keeffe Museum in their Education Annex, and I did it at Photo L.A. There I met the head of the photography department at the University of South Australia. He loved to see the process and was very interested in starting up some vernacular historic processes in his department, so he brought me over to Australia to do a workshop with wet-plate collodion and platinum collodion. Pasa: Could you explain the wet-plate collodion process? Wilson: It’s a lot of different chemistries. It is involved, and it requires a number of different unique pieces of equipment, but it is also the thing that, you know, replaced the daguerreotype in the 1850s and spread worldwide really quickly, because it made it superconvenient and more or less easy to make images. It had to be a pretty forgiving process, if you think about people having covered wagons in the field and trying to do this. Pasa: Besides historical interest, what aesthetic factors draw you to the technique? Wilson: Well, there’s something unique about this supersharp beautiful image that you get. There is a lot of chance that goes into it. Depending on the strength of your silver or developer, you get different kinds of reactions and some weird development artifacts sometimes. It’s a hands-on, hand-crafted version of photography that takes you back to the physical. Pasa: Are you relying on period equipment or has it all been updated because of renewed interest? Wilson: It’s kind of a hybrid. I’m using a period lens. It’s 140 years old and has a nice unique signature, because they hadn’t really streamlined the glass-making or lens-making process at that point. Each lens from that period has its own characteristic. They are really sharp in the center and then quickly fall out of focus on the 72

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side. The emulsion I’m making is pretty close to the historic formula. I’m actually making my own 8 x 10 negatives on the spot and developing there. Once you pull it out of the silver nitrate, you have about a 10-minute window to go shoot the image and run back to the darkroom and process it. That emulsion is really slow. It’s probably the equivalent of ISO 2 or 3, or ASA 2 or 3. Pasa: Could you explain that? Wilson: Standard film speed starts at like 100. A modern digital camera is sensitive to 25,000 ISO or something. [For collodion processes] it means you have to have a sitter in shaded sunlight sit for anywhere from five to 20 seconds. I’m doing my portraiture indoors and using a lot of artificial strobe or flash to illuminate my subjects in a way that’s an update of the process. Pasa: Would you say more about the exchange process inherent to the experience? Wilson: I’m actually not keeping the object. I’m gifting it to my sitter in exchange for a high-resolution scan of the image. Some people I’ve photographed, they have no reference to physical photography — they’ve just grown up with digital. For the people who have, they haven’t been in a darkroom for a long time. There’s something magic about bringing people into the darkroom. I develop everything right there in front of them, and they get to watch the process. It’s the magic that happens when I put [the plate] in the fixer, and it takes away all the unused silver salt, and the image is transformed into this beautiful positive right in front of their eyes. It’s a miraculous thing. I can feel their joy and amazement. They’re standing right next to me, just like, “Whoa.” That never gets old. Pasa: How do you select your sitters? Wilson: Sometimes I work with the institution that is hosting the event, and I ask if there are any people they want to reach out to. I tell them a part of the project is to photograph Native American people today. I feel as an indigenous person I’m indigenizing the photographic exchange process. Pasa: How many portraits do you have in your project archive? Wilson: I think I have somewhere between 750 and 1,000. Pasa: And every session you probably have to answer the same questions I’m asking, right? Wilson: [Laughing] Yeah, I definitely feel like a tour guide into the history of photography on some level. Pasa: You’re also an educator and former visiting professor at IAIA [Institute of American Indian Arts] and Oberlin, among other places. What kind of ideas about photography do you try to instill in your students? Wilson: I love teaching and sharing my knowledge. I think one of the central things in my thinking about image-making is that it is potentially very powerful. I’m not saying every image you make has to be this completely thought-out, invested object. But each image can actually create reality in some ways. If you really invest the time and the vision, it is potentially powerful — just to keep that in mind and care about the craft. There’s definitely something to be said about developing a love of process, and I think with the chemical or physical stuff, it is easier to instill a desire to really care about that process. ◀

details ▼ Will Wilson: Critical Indigenous Photographic Exchange ▼ 10:30 a.m. to 3:30 p.m. Saturday & Sunday, Aug. 17 & 18 (portraits by invitation only) ▼ East Sculpture Garden, New Mexico Museum of Art, 107 W. Palace Ave., 476-5072 ▼ No charge

Will Wilson: Sandra, 20122013, digital scan from a contemporary tintype; from the Critical Indigenous Photographic Exchange project

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second skin

Michael Abatemarco I The New Mexican

Humans and animals converge in marla allison’s new works

otems — revered objects or animals with spiritual significance for a group — are not normally associated with Pueblo people. So Laguna Pueblo’s Marla Allison, one of two artists in the exhibition Totem and the Animal Within at Legends Santa Fe, was at first hesitant about the show’s title. “The gallery ran the idea by me, and I thought, well, I’m Pueblo,” Allison told Pasatiempo. “We don’t have totems. We have clans. So the whole idea of adding ‘the Animal Within’ was a little more workable for me. I couldn’t change it to Totems and Clans. I wanted it to sound good.” Totem and the Animal Within includes Allison’s paintings and glass sculptures by Robert “Spooner” Marcus. In a new series of powerful nudes, Allison uses themes not seen in her earlier work, which often drew on her Laguna culture and heritage. Here she takes the idea of a totem and presents it in intimate and provocative portraits of women pulling off the skins of animals. “It’s one of my first career series. I’ve never done a true series before. It’s partially nudes but also ideas that are a little deeper in thought. I’m pretty excited to be debuting it. It’s not a subject I’ve ever worked with before. Well, kind of on purpose. Pueblo life is very modest, and the art world is so open. I definitely took some tact with how to do it. The animals in the series are mainly animals from the Southwest area. There’s a stronger connection to those and the people here. This was my way of painting that spiritual connection to the animals that’s not offensive to the belief systems here. Certain things are meant to be kept sacred. I’m not diving too much into the traditional, ceremonial ideas but keeping it as more ethereal, or as a delicate version of the idea behind the connection between animal and human. I’ve been working on this idea for a number of years now, and I could finally figure out how I could put them together.” The power of Allison’s dark and mysterious compositions is heightened by her use of black, blues, and reds and by her hard-edged, angular details. The imagery in the new series calls to mind a number of associations. In the painting The Fox, for example, a figure appears to be pulling the skin of a fox over her head. The action could be a release or a kind of rebirth. Alternately, the fox skin could be a costume or a mask, suggesting play or even deception. The Fox might also represent a deeper connection between human and animal or the animal instinct within. The animals in Allison’s works do suggest, though not overtly, dances associated with Pueblo

PASATIEMPO I August 16 -22, 2013

ceremonials. “The Pueblo clan animals are the animals of the Southwest,” Allison said. “There’s the antelope clan, there’s the deer clan, there’s the rabbit clan, and stuff like that. That’s definitely Pueblo. Hopis have kind of a connection like that, and Zuni, Isleta. It’s a hard subject to paint, especially for a Pueblo woman. You can put certain things out there, and certain things you can’t because it’s crossing a line. To keep it in the realm of what’s visually acceptable, I run everything by my elders or my parents, grandmothers.” Although much of Allison’s paintings are figurative, her earlier work, some of which is on exhibit, is rendered in abstraction. Images of potters, bread makers, and desert animals and designs taken from Pueblo pottery are refracted by mosaic patterns. Other older work incorporates depictions of traditional Pueblo life taken from old photographs. “Whenever you’re thinking of a memory, certain things get lost as time continues on. The main idea of painting older images, like pre-1900s-type people and outfits, it’s like some of the image fell through the cracks.” Allison has drawn on a number of different styles, such as realism, Pop art, and Cubism, merging them with her distinctive Southwestern imagery. “The style change is definitely something an artist does, trying out different ideas and challenging themselves to do different styles and keep the play and excitement in the art continuous. The squares — some people call it mosaic — that’s like capturing the moment of a memory. Honestly, I’m horrible at doing human pictures, but when I broke it into squares I could figure it out. Cubism is definitely my biggest influence. I’ve always found great excitement when seeing Paul Klee’s work and Gustav Klimt’s, how he used the brilliant gold color in his paintings. Another influence is Yayoi Kusama. The main one lately is Mark Rothko. The ideas he put into his paintings I know I can’t do personally. I mean, to do just a few colors on a canvas and make someone feel like they’re in a warm place, to give that essence in a single canvas or a room of canvases is admirable.” ◀

details ▼ Marla Allison and Robert “Spooner” Marcus: Totem and the Animal Within ▼ Opening reception 5 p.m. Friday, Aug. 16; through Sept. 16 ▼ Legends Santa Fe, 125 Lincoln Ave., 983-5639

Marla Allison: above, Pottery Makers, 2013, acrylic on canvas Left, The Hawk, 2013, acrylic on canvas Opposite page, top, The Doe, 2013, acrylic on canvas Opposite page, bottom, The Fox, 2013, acrylic on canvas

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Mimbres black-on-white bowl, oxidized variant, Style III (Middle), figurative style, three-headed turkey in the tondo, and kill hole. Complete. H, 8.6 cm; D(s), 21.1 x 19.7 cm. Cat. No. GP944; Arizona State Museum, University of Arizona; photographed by Helga Teiwes

Right, Mimbres black-on-white bowl with whales (or large fish) and snakes. Courtesy Michelle Hegmon

Paul Weideman I The New Mexican

Mimbres only 76

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black-on-white bowl from the Mimbres Classic period, about 950 years ago, is decorated with two whales (or perhaps giant fish) swimming into one another, somewhat like a yin-yang symbol. Between them in the swirling pattern are two serpents, one with a black body and the other with a crosshatched body. What could this design mean? Such questions are explored in Mimbres Lives and Landscapes (SAR Press, 2010), edited by Margaret C. Nelson and Michelle Hegmon. The pottery produced by the Mimbres people in what today is southwestern New Mexico is distinctive for its painted figures of animals — and occasionally humans. “Although other design traditions occasionally depicted animals, only Mimbres designs have creatures or sometimes humans as their single, central feature,” Hegmon writes in a chapter titled “Expressions in Black and White.” One class of Mimbres ceramic artifacts is the mortuary bowl; these bowls were placed over the faces of corpses in burial. They are recognizable because each one has a hole pecked into its center. “These are sometimes called ‘kill holes,’ and it may be that they symbolically ended the life of the pot or allowed the spirit of the buried person to leave,” she writes. Who were these people? In his 1977 classic Mimbres Painted Pottery, J.J. Brody opens with a reference to hundreds of small villages in southwestern New Mexico that were occupied from about 1000 to 1250. The interest in these people, a branch of the larger Mogollon culture, would be minimal but for “a remarkable kind of painted pottery” they produced.

Mimbres black-on-white bowl, Style III, figurative motif, showing a horned quadruped, possibly an antelope, in the tondo, and kill hole. Re-assembled, nearly complete (c. 98% present), minor losses at joins filled. H, 7.0 cm; D, 16.5 cm., Cat. No. GP936; Arizona State Museum, University of Arizona; photographed by Helga Teiwes

Left, Mimbres bowl featuring a “combination creature” having rabbit, fish, and bird traits; Thompson collection. Cat. #19926/11. Photographed by Blair Clark; Museum of Indian Arts & Culture/Laboratory of Anthropology, Santa Fe

The form reached its height from about 1000 to 1150, and the pottery of this era is known as Style III or Mimbres Classic. There is great variety in the depictions of animals and humans, but they’re usually shown either in “rotational symmetry,” like the whale/snake pot, or portrait style, with the creature simply facing the viewer. Mimbres potters depicted fish, quails, turkeys, deer, pronghorns, jackrabbits, swallows, caterpillars, bats, and owls and other raptors. The collection of known designs comprises “a fascinating combination of realism, abstraction, and fantasy.” They range from lifelike pictures almost like those you find in field guides to “biologically impossible combinations” like a rabbit with the tail of a rattlesnake. Whales, though extremely rare on Mimbres pots, can be a focus of interesting possibilities for anthropologists. Hegmon said the whale/snake pot may actually show a large freshwater fish. “But there is another Mimbres pot that absolutely has a whale, because it has a blowhole,” she told Pasatiempo. She knows of no other sea creatures — shellfish or lobsters or dolphins — on Mimbres pottery, but even if there is just the one whale, why was it painted? And who painted it? One possibility is that Mimbres people journeyed the 300 miles to the Gulf of California and saw whales. It is a reasonable assumption that this trip would have been undertaken by Mimbres men — and perhaps a Mimbres man painted the whale with the blowhole. While it is the women who make and paint ceramics in most of the potteryproducing societies of the Southwest, Hegmon and biological anthropologist

Wenda Trevathan wrote an article a few years ago suggesting that Mimbres men had painted pottery with birth scenes. The pots show infants facing forward (like the mothers) during birth, whereas human babies are usually born facing backward. The implication (which generated an “immediate and furious” response) was that men may have been less familiar with the birth process and so painted it inaccurately. The fish designs are also remarkable. “There are lots of fish on Mimbres pots, and there are very, very few fish bones in Mimbres middens [refuse sites],” Hegmon said. “There is a preliminary study that shows that there are no bowls with fish displayed on them that were buried with infants. The interpretation is that in some Pueblo cultures, including Zuni, fish are basically symbolic of souls and that infants don’t yet have souls. “There seem to be really strong links between Zuni and Mimbres. The fact that Mimbres don’t seem to have eaten fish and they don’t seem to have buried infants with fish designs is a pretty interesting link to Zuni as opposed to the other pueblos.” The Mimbres people, and the Mimbres painted pottery tradition, dissipated in the 13th century. Hegmon said that some of the people probably moved to smaller hamlets and some departed, including south into Mexico. And some Mimbres people were ancestors of the Zuni. continued on Page 78

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Mimbres black-on-white bowl. figurative style, bird in the tondo. Re-assembled; complete. Warped. H, 10.0 cm; D(s), 25.0 x 20.5 cm., Cat. No. GP4884; Arizona State Museum, University of Arizona; photographed by Jannelle Weakly

Mimbres pottery, continued from Page 77 The link, based on the importance of animals on ceramics, is supported by Dwight Lanmon, co-author of books on the pottery of Zuni, Acoma, Zia, and Santa Ana pueblos. “Animals, especially deer and birds, are very popular on Zuni ceramics,” he said. “The birds are rather stylized; they have more of a roadrunner look, with long, swirly tails, compared to birds on pots from Acoma, Laguna, and Zia. Also very common are deer on Zuni water jars and some bowls. And on drums you will see bears and mountain lions and also snakes.” So different animals were depicted on different sorts of objects, at least at Zuni. “The only medium we really have for Mimbres is pottery,” Hegmon said, “but when we see animals in rock art, they look similar to those on pottery designs. There’s the concept of pervasive style, the idea that if you’re putting the same designs on everything, those are the cases where the designs are symbolically charged, and that seems to work pretty well with Mimbres.” Investigations into the meanings behind pottery designs in living cultures are often limited because the designs have ceremonial significance and are kept secret from outsiders. Is that applicable in Mimbres pottery? “We have never been told not to try to understand the meanings, because the material is a thousand or so years old. There is also a book by Hopi painter Fred Kabotie [Designs From the Ancient Mimbreños With a Hopi Interpretation, 1949], and he reproduced Mimbres designs and told what they meant, from his perspective.” Another point Hegmon makes in Mimbres Lives and Landscapes is that the Mimbres people showed a wide variety in the types of housing they built. But

PASATIEMPO I August 16 -22, 2013

when it came to the forms and styles of their pottery, they were conformists — although not in the painted designs. “Yes, it’s like there’s a way of making a pot, but then as long as you did that, you could do all sorts of different things in the designs.” Curiously, there are very few plants painted on pots. Hegmon explores the idea that much of what is shown on pottery designs was also on the Mimbres menu. However, they ate plenty of corn but didn’t paint corn plants on their pots. In his book, Brody emphasizes that Mimbres paintings were the products of the artists’ imaginations. Some pots will convince you that the artists also had a good sense of humor. One painted design looks like a combination of an alligator, a rabbit, and a fish. Another stylized figure that Hegmon says is suggestive of a mule deer looks more like a kooky cartoon character. “And there is one that we know is from a good context [that is, it is an authentic Mimbres piece], and it has an enormous penis with people hanging onto it,” she said. That alligator-rabbit-fish conglomeration may actually be less about humor than about psychic metamorphosis. “There’s so much of the transformational idea in Pueblo cultures, the katsinas coming back as clouds and everything working in cyclical ways. It makes complete sense that these weird combinations depict transformations between states. “Another aspect of all this is that when we’ve done analyses of Mimbres animals, if we classify them using Western taxonomy, we don’t get far, but if you go by habitat you start to see patterns. And it looks like a lot of the transformations are between water and the ground or between the ground and the sky, but they don’t go from the water to the sky. “These people knew what they were painting. If they put a rattlesnake tail on a rabbit, they certainly knew what they were doing.” ◀

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tr rger/Au estenbe Theo W

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and h f o t h g i e l (a s of e l b a p a c r e mast ildlike h c g n i r i p s in t s o m e h t n awe in evef people) stoic o

PASATIEMPO I August 16 -22, 2013

Loren Bienvenu I For The New Mexican

Legends of legerdemain Al Flosso, Slydini, Cardini, Francis Carlyle, Roy Benson, Dai Vernon, and Charlie Miller are all surely household names — at least to a magician, particularly one practicing sleight of hand. Ricky Jay rounds out that list as its most contemporary member. When watching the documentary Deceptive Practice: The Mysteries and Mentors of Ricky Jay, by Molly Bernstein and Alan Edelstein, one is struck by Jay’s respect for those who came before him (he was mentored by both Vernon and Miller) and the similarities between serious students of magic and those of martial arts or musical disciplines. The film plays at The Screen for one night only (Thursday, Aug. 22) as part of the Santa Fe Jewish Film Festival, with Albuquerque magician Max Krause providing live entertainment beforehand. Jay was a prodigy — in the same mold as a young violin virtuoso. He began his studies under his grandfather’s tutelage at age 4 and was performing on television by 7 (we see footage of this young, confident Jay in the film). An avid and wellconnected amateur, his grandfather introduced him to some of the leading sleightof-hand artists of early-1950s New York, helping him form a few early mentorships. By Jay’s college years, he had developed enough proficiency to appear on The Tonight Show with Johnny Carson, but his transition to full-time magician required the support of several years of odd jobs. These included stints as a bartender, an encyclopedia salesman, a carnival barker, and, some speculate, a card shark (though Jay remains mum on the topic). He formed a friendship and working relationship with David Mamet in the 1980s, and Mamet has since produced many of Jay’s live shows and cast him in several films. Deceptive Practice provides the perfect combination of archival and performance footage as well as extensive commentary from Jay himself. When he speaks about the craft, he explicitly compares it to a martial art. He discusses practicing various card shuffles for up to 12 hours a day and refers to his former teacher Vernon as a guru. One of his memories sums up the relationship: he came upon Vernon sitting in a restaurant, intently observing the innumerable ways that men took off and put on their coats. Jay joined him in this exercise for the next several hours. Complementing the student-master mentality, another telling anecdote comes from Jay’s aikido instructor of recent years. The earnest sensei and former police officer begins his tale deadpan, but by the end, incredulity has spread across his face, exemplifying the power magic has to inspire childlike awe in even the most stoic of people. According to the instructor, members of his dojo were at a group dinner when Jay performed an impromptu act of deception: he snapped together two one-dollar bills, instantly combining them into a single two-dollar bill. Wanting to root out the effect’s mystery, the instructor and a few other students caught Jay off-guard a few days later while he was showering in the dojo’s locker room. They demanded a repeat demonstration on the spot. Jay obliged, naked. While some magicians rely on audiences who are willing to suspend their disbelief, Jay does not make it an option, including for audiences of the film. Regardless of perspective — whether seeing effects up close and personal or watching large theater productions — those who witness Jay’s work express a near-unanimous amazement, entirely devoid of the suspicion one sometimes feels after being tricked. On camera, Jay explains why his art is essentially an honest one. In contrast to cheating at cards, he says, sleight of hand is based on a principle of openness. His audiences expect to be deceived, and he even tells them beforehand what he plans to achieve.

Following in the footsteps of his mentors, Jay maintains strict secrecy concerning his techniques. He is almost as reluctant to discuss personal matters. The documentary avoids delving too deeply into these details, despite intimations of a tumultuous early family life that perhaps made him grow into an adult who wants to firmly control his and others’ realities while revealing little of himself. In contrast to Jay’s unwillingness to share his methodology with even his closest friends, magician Max Krause, whose performance precedes the screening of the documentary, hosts a weekly Tuesday-night session in Albuquerque where he and other practitioners watch instructional videos and discuss their craft. Like Jay, Krause began studying magic as a child. “I did my first paid performance at 15 in front of about 400 people at a talent show,” he said. “As payment, they bought all the props for me and let me keep them. Then I started doing kids’ parties, three to five a week, and did my first restaurant performance at 18. I’ve been doing private parties ever since — 31 years.” Krause established Max’s Magic Shop (3205 Central Ave. N.E., Albuquerque, 505-255-2303) in March of this year, when the owners of a previous magic shop at that location retired. Recently he renovated one room to serve as a 24-seat theater, and he performs there on weekend nights when not otherwise booked. Not strictly a sleight-of-hand artist, Krause incorporates many different types of illusion, as well as mentalism and comedy, into his performances. He considers himself to be “a cerebral-type performer,” meaning his shows are designed to create wonder in his audience members’ minds rather than before their eyes. While Jay is a noted antiquarian scholar, a collector of rare books, a historian of magic, an actor, and an author, Krause is a 21st-century innovator who has developed magic apps for smartphones and computers. He also creates and sells his ownline of effects. “I try to think way out of the box. I take classic methods and turn them upside down and put new twists on them.” Nevertheless, he is excited to showcase sleight of hand and cardbased magic inspired by the film during his upcoming Santa Fe performance. Reflecting on what makes Jay so expert at his craft, on why the master stands above the current generation of deceptive practitioners, Krause offered some insight: “True sleight of hand should be invisible. You shouldn’t see anything. If you’re truly trying to create a magic moment for someone, you want them to have absolutely no place to go. No nothing. The only way to achieve that is through years and years of practice, and finding out who you yourself are, your character, and what the story is. That’s something you see with Ricky Jay and his show; there’s a lot going on with the story, not just what he says but where he takes you.” ◀ “Deceptive Practice: The Mysteries and Mentors of Ricky Jay” shows at The Screen (Santa Fe University of Art & Design campus, 1600 St. Michael’s Drive, 473-6494) at 7 p.m. Thursday, Aug. 22. Max Krause performs magic before the film. Tickets are $12 in advance (see www.santafejff.com); $15 day of show.

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A kiss too far Jonathan Richards I For The New Mexican The Hunt, drama, rated R, in Danish with subtitles, Center for Contemporary Arts, 3.5 chiles Do children lie? It comes down to individual cases, of course, but as a general proposition, the answer is consonant with the old saw about the Catholicism of the Pope or the sanitary habits of bears in the woods. Children have imaginations, and sometimes those imaginations trump truth. But when it comes to a child’s allegations of pedophilia, the emotional stakes tilt the playing field, and adults are inclined to err on the side of protectiveness. Thomas Vinterberg, who in his great 1998 film The Celebration explored the dark corners of incestuous abuse, here takes a look at another side of the issue. Lucas (Mads Mikkelsen, A Royal Affair) is a good old Danish boy in a small Danish town where everyone knows everyone else. He drinks and hunts and bonds with his male friends (the manly tradition of the town’s annual deer hunt provides the film with its title, suggesting the deadly pursuit of an innocent creature). Everybody likes Lucas. He may be a bit more sensitive and thoughtful than his buddies, but he’s one of them, a man’s man. The opening scene even shows him capable of low-key heroics. He’s separated from his wife, who is giving him a hard time about custody of their teenage son, Marcus (Lasse Fogelstrøm). He lost his teaching job when the town’s school folded and is helping out at the local kindergarten. The kids love him. He’s willing to roll in the playground dirt and endure the roughhousing of the boys, and he’s patient and tender with a scraped knee or a hurt feeling. One of the kindergartners, Klara (Annika Wedderkopp) loves him a little too much. She’s the

PASATIEMPO I August 16 -22, 2013

Susse Wold and Annika Wedderkopp; below, Mads Mikkelsen

daughter of his best friend, Theo (Thomas Bo Larsen, a Vinterberg regular), and Lucas is practically a member of the family. Children can experience sexual feelings long before they are old enough to understand them, and when little Klara tries to kiss Lucas on the lips, he gently extricates himself and explains that she shouldn’t do that sort of thing. Klara feels rejected and broods. When her older brother shows her a fleeting glimpse of a pornographic image on his iPad, she folds that into her resentment and suggests to the kindergarten headmistress, Grethe (Susse Wold), that Lucas has exposed himself to her. Grethe is at first incredulous, but she quickly lets her fear overcome her judgment. She calls in an “expert” (never identified specifically — a social worker? A psychiatrist? A cop?) who interviews Klara, feeding her leading questions and suggestions, until he elicits the story line that they are looking for. The accusation, complete with a rush to judgment, spreads like cholera through a slum. Lucas has begun pulling his life together — he’s started a promising relationship with a fellow teacher, Nadja (Alexandra Rapaport), and Marcus wants to come live with him. But the brutal onslaught of the suspicion against him knocks the center out of his world. “May have” quickly becomes solidified as “did.” Other kindergartners, pressed by anxious parents, begin to come up with stories of sexual molestation, of being lured to a specially fitted room in Lucas’ basement and subjected to abuse. Friends, including Theo and his wife, shun him. Stores refuse him service. He’s not welcome in church. Even when a formal investigation fails to turn up any hard corroborating evidence, there’s no let-up in the community’s conviction that Lucas is a monster.

The only people unswervingly in his corner are Marcus and Marcus’ godfather (Lars Ranthe). As Klara, little Wedderkopp is startlingly good. Anna is not a malicious liar like the vengeful girl in Lillian Hellman’s The Children’s Hour. When she sees what is happening to her friend Lucas, she tries to recant, but the adults don’t want to hear it. Mikkelsen, who won best actor at Cannes for this performance, is fast establishing himself in the first rank of international stardom in roles like his sociopathic Dr. Lecter in NBC’s Hannibal and the Bond villain Le Chiffre in Casino Royale. This movie reinforces what a resourceful actor he is. We know from the outset that Lucas is innocent, and the way he bears the crushing weight of the town’s hatred and manages to maintain the square shoulders of his own self-knowledge shows powerful and devastating work by this great actor. Vinterberg reshaped the script to take advantage of Mikkelsen’s strengths, working against type. “He changed from being a Robert De Niro in The Deer Hunter man of few words tough guy,” Vinterberg told a Collider.com reporter. “I thought well, Mads is already a portion of that. He’s such a strong good looking man and a hero already that I thought let’s make him a little bit more of a Scandinavian, humbled, slightly castrated, good-hearted man.” Vinterberg, who co-wrote the screenplay with Tobias Lindholm (writer/director of A Hijacking), has been contemplating this story for years. After seeing The Celebration, a psychiatrist neighbor brought him a folder of cases showing the way false accusations of child molestation can take hold, and Vinterberg worked with real case studies and transcripts in developing The Hunt. The film glosses over some of the drama of the story’s resolution, but otherwise it maintains a steady, terrible drumbeat of the horrifyingly credible wreck of the life of an innocent man. ◀

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Life guard Michael Abatemarco I The New Mexican

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Museum Hours, drama, not rated, in English and German with subtitles, The Screen, 3 chiles One thing about being a guard in a museum is that sometimes the day’s pace can be excruciatingly slow, particularly when there are few visitors. Some guards invent games in their heads. They while away the hours looking for similar details in various paintings. Some imagine what visitors look like naked. There’s nothing prurient about it, though — it’s simply a way to endure the hours ticking by. Jem Cohen’s quiet, observant Museum Hours captures the introspective experience of a guard named Johann (Bobby Sommer) at Vienna’s Kunsthistorisches Museum as he befriends a patron named Anne (Mary Margaret O’Hara), who has recently arrived from Canada and is visiting a cousin in the hospital. The film moves at a slow pace and lingers on details of Vienna city life, facial expressions, and close-ups of paintings. The Kunsthistorisches is one of those encyclopedic museums that exhibit everything from Dutch still lifes to Egyptian relics, and we are treated to Johann’s perspective as he talks to Anne about famous works and gives her an off-the-beaten-track tour of Vienna. The latter scenes are interesting for the natural ease and honesty of the conversations. Even though Johann, who delivers most of the dialogue, has his back to the camera in a café sequence, there are no cuts, and our attention is drawn to Anne’s reactions. Cohen avoids sentimentality and romance — Johann and Anne’s acquaintance remains squarely in the realm of friendship. The subplot involving the sick cousin is superfluous; it lengthens a film that might already require great patience to sit through comfortably. Like a museum guard, you must be at ease with stillness and long sequences of dialogue interspersed with long sequences of silence to appreciate what Museum Hours has to offer. A memorable scene involves a docent leading a tour of the museum’s Bruegel room. Again, the dialogue is naturalistic, honest, and real, down to the minor disagreements between patrons and the docent. The museum-goers insist on the timelessness of Pieter Bruegel the Elder’s work, while the docent presents the viewpoint that Bruegel painted documentary snapshots reflecting his time. Lingering shots of details in the paintings and the docents’ observations of them offer a fascinating glimpse into the ways we look at art and how much we don’t see. But not Johann. He notices minutiae and delights at making new discoveries. By film’s end, he has developed a worldview tinged by the art he sees. This is really his story. Anne, by contrast, is far less developed. A late sequence draws a parallel between genre painting and modern life in Vienna. Johann’s perspective, honed by hours spent looking at art with an intimacy and appreciation that eludes most visitors, underscores a truth about the museum guard’s life: it can be tedious, but it’s not a bad job — not at all. ◀

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Mother knows best Jonathan Richards I For The New Mexican Shouting Secrets, family drama, not rated, Jean Cocteau Cinema, 3 chiles This is a good-hearted movie with plenty of flaws but enough strength and appeal that you’re inclined to forgive it its trespasses. The story involves a Native American family on an Apache reservation. When the mother has a stroke, family members — including a son who has abandoned reservation life for the bright lights of the Big Apple and become a celebrated writer — gather at the hospital to keep a vigil and try to mend their troubled, dysfunctional lives. The script began as the story of a middle-class white family, but Swiss director Korinna Sehringer, making her feature debut, couldn’t find the life in it until she hit on the idea of converting it to a Native American environment. She enlisted a couple of Native American screenwriters, Tvli Jacob and Steven Judd, to shape the new concept into authentic form. Maybe a bit of a cultural disconnect persisted. In an opening voice-over, the novelist son, Wesley, identifies the members of his family as they appear on screen. “That’s my bro, Tushka,” he says. “He was a base runner in high school, with dreams of playing in the NFL.” For those who, apparently like Sehringer, are not familiar with American sports terminology, base runner is a baseball term, and in the NFL, they play football. It’s hard to imagine how that got through rewrites and into the mouth of Chaske Spencer (the Twilight saga), the actor playing Wesley.

PASATIEMPO I August 16 -22, 2013

Matriarchal society: Gil Birmingham and Tantoo Cardinal

One of this movie’s great assets is its fine acting. Although she spends a comparatively short time on screen in conscious condition, the mother, June, is a pivotal figure, and it is up to the wonderful Tantoo Cardinal (Smoke Signals) to pour into a lightly written character the humor, love, and understanding that define her even as she lingers in a coma. As her husband and children come separately to sit at her bedside and pour out their troubles to her inert, tube-ridden form, they bounce their confessions and dilemmas off her and draw comfort from her indelible strength of character. Cardinal is matched by strong performances from most of the cast, especially Gil Birmingham (the Twilight saga, The Lone Ranger) as Cal, her wandering husband, a man of checkered morality but powerful authority. Another standout is Tyler Christopher (Into the West) as the failed athlete and husband Tushka, whose disappointment with life has led his eye to wander to a pretty high-school girl. In his opening rundown of the dramatis personae on the rez, Wesley introduces us to the stunning Caitlyn (Tonantzin Carmelo, of Into the West and the Chris Eyre-produced Imprint), whom he describes regretfully as “the one who got away.” When the camera pulls back to reveal a volleyballsized swelling in her belly, we figure she’s gotten away beyond recall; but things are not always as they seem. Wes is the prodigal son, and his return is not hailed with biblical rejoicing. He has gone off to New York, that soulless metropolis that stands in chilling counterpoint to the down-home values he left behind. He’s living with an Anglo model in a

glittering high-rise. He has been gone nine years, with scarcely a visit home. He doesn’t call, he doesn’t write, and he doesn’t respond to his mother’s messages. And to make matters worse, his first novel, Shouting Secrets, is a thinly veiled account of the family to which he is now returning, and some of its members have a bone to pick. They needn’t worry about his second novel, though. In the six years since he started work on it, Wes has produced six pages. A page a year isn’t good enough for some people. “The publishing company wants their advance money back,” his agent tartly informs him on the phone. Some of the dialogue rings tinny in the ear, and some of the scenes seem written with a shovel. Pinti (Q’orianka Kilcher of The New World), the brothers’ younger sister, shows up at the hospital with a white boy named Brody (Connor Fox), whom she introduces as her boyfriend. A little later a friend of the family, an elderly medicine man (Rodney A. Grant), arrives in the waiting room. Brody asks, “Who’s he?” But then, outsider Brody is given to the inappropriate remark. He also asks Wes what it’s like to sleep with a model. Shouting Secrets may deal in cliché, but it’s mainstream cliché. There’s not much tritely Indian about it; it’s simply the human story of a family of troubled, flawed individuals trying to find its way in the face of a terrible tragedy. Sehringer keeps a mostly steady hand on the tiller, the cinematography by Markus Hürsh and Joseph White captures both the scruffiness of the village and the bleak majesty of the landscape, and the talented cast keeps it real. ◀

THE OUTCOMES FEEL GRATIFyINGLy GROUNDED IN SCIENCE RATHER THAN FANTASy” –jeannette Catsoulis, New York Times

”SOME OF THE MOST EVOCATIVE CINEMATIC POETRy SINCE KUBRICK’S 2001.

Photo by Ken Howard

”A WONDERING CONTEMPLATION OF OUR PLACE IN THE UNIVERSE.

SCENES OF UNUTTERABLE BEAUTy.”

–Tirdad Derakhshani, PhilaDelPhia iNquirer

FIN OR AL MA E NC E

”ONE

OF THE MOST SINCERE, SUSPENSEFUL AND FASCINATING SCIENCE FICTION MOVIES OF THE PAST FEW yEARS.” –Fearnet

F E A R. S A C R I F I C E. C O N T A C T.

E U R O PA R E P O R T EXCLUSIVE ENGAGEMENT

STARTS TODAy

Santa Fe Jean Cocteau Cinema (505) 466-5528

Photo by Ken Howard

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La Donna del Lago

ROSSINI

“Joyce DiDonato dazzles...” The New Mexican

“… in terms of vocal heroism … this show has no rival. Period.” Santa Fe Reporter

Due to overwhelming popularity, another performance was added! Discover this unforgettable masterpiece: Monday, August 19 at 8:00 pm Rossini’s most romantic work delivers all the glories of bel canto vocal style on full display. The magnificent mezzo-soprano Joyce DiDonato has won worldwide acclaim for her portrayal of Rossini heroines. trunk show with

designer Coreen Cordova in attendance Indian Market Weekend

Friday, Saturday, and Sunday from 11am–5pm Also: Musi Furs

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if you are a New Mexico resident and first-time Opera buyer.* Call 505-986-5900 for details or to purchase. *Restrictions apply

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movIng Images film reviews

Bad moon rising Robert Ker I For The New Mexican Europa Report, science fiction, rated PG-13, Jean Cocteau Cinema, 2.5 chiles The summer blockbuster season has grown into a special-effects arms race, with budgets regularly flirting with the $200 million mark and studios wrestling to see which city (or planet) they can reduce to rubble in the most dramatic fashion. Phalanxes of effects gurus and grunt laborers work long hours, hunched over computer keyboards creating expensive illusions they hope will convince audiences that their pixel-based spectacle is the most impressive yet. With releases like Star Trek: Into Darkness and Man of Steel arriving nearly every week, you might feel like you need to lie down after a trip to the movies. The world of Krypton that opens Man of Steel looks gorgeous; it’s a monument to creativity, vision, and technology. What that world doesn’t look is lived-in. We’re a long way from the science-fiction sets of the 1960s and 1970s, which were constructed by carpenters and look as if people spent time in them, as if the environment itself had a story behind it. Europa Report is a throwback to such cinema, and it’s a pleasure to see a science-fiction film that looks as if it were crafted by human hands. It’s a low-budget picture from Ecuadorian director Sebastián Cordero that primarily takes place on one claustrophobic spacecraft. The ship is on a mission to Europa, one of the moons of Jupiter, to search for signs of life. Cordero does what he can to make the film feel real. It was shot in less than three weeks on a Brooklyn soundstage and takes place on an actual set. The

PASATIEMPO I August 16 -22, 2013

In space, you can hear everyone scream: Anamaria Marinca

crude physicality of the space will remind viewers of the sci-fi movies of yesteryear, and as if to affirm that sensation, Cordero cheekily pumps a snippet of Strauss’ “The Blue Danube” — a piece that many will remember from Stanley Kubrick’s 2001: A Space Odyssey — in an early scene. Don’t expect the film to have much in common with Kubrick’s masterpiece beyond that, though. Whereas 2001 was a grand artistic statement, Europa Report eschews museum-level presentation for downand-dirty realism — wonderfully shot by 127 Hours director of photography Enrique Chediak — and takes the “found footage” approach popularized by The Blair Witch Project and recycled countless times since. The story hangs on the idea that a manned mission to Europa has gone horribly wrong, and NASA finally recovers the video footage and releases it to the public in documentary format. And so we get talking heads discussing the potential of the mission. We see the astronauts (played by

Daniel Wu, Anamaria Marinca, Sharlto Copley, and Michael Nyqvist, among others) full of optimism at the start of their journey. There are moments of joy and minor problems. As the voyage wears on, some become homesick. And then they get to Europa, where the triumph of their mission’s success — life was found — is soon overshadowed by the fact that that life isn’t friendly. From there, the plot plays out in the “10 Little Indians” format, in which the crew dies off one by one. This is a standard trope for thrillers, but it’s one that never really gets old. The icy setting may remind audiences of John Carpenter’s The Thing, and the existential dread and creeping isolation recalls H.P. Lovecraft’s horror fiction. There is no gore or violence whatsoever, but Cordero does manage to ratchet up the suspense with a combination of close-up shots from inside the astronauts’ helmets and sterile video of the victims’ helpless colleagues inside the ship. The crew members don’t realize that something is treating them as a hostile entity in a foreign environment. Often, what does them in is a series of no-win logistical situations. The antagonist itself is wisely obscured, for the most part, allowing audience members to see lights and hear sound effects and connect the dots using their imaginations. Computer-generated effects are used sparingly. This looks like a movie you could make with your friends if you had the resources and creativity. And that is its biggest charm. Europa Report doesn’t offer much that you haven’t seen before. Because of the structure, you know right from the beginning that nobody will survive the mission, which robs the film of its suspense. The characters are so thin that you have little in the way of rooting interest. They’re going to die, and you don’t really care about them, so the most you can do with this movie is enjoy the sheer craft on display. Fortunately, there’s a lot of that. ◀

Symphony

the

anta fe

...bringing great music to

life ™

SHOWCASE OF THE STARS Sun., September 8, 4:00 pm AT THE LENSIC

Liszt, Hungarian Rhapsody Rachmaninov, Piano Concerto No. 3 Saint-Saëns, Introduction and Rondo Capriccioso Saint-Saëns, Havanaise Sarasate, Zigeunerweisen VADYM KHOLODENKO Piano Gold Medalist of the 2013 Van Cliburn International Piano Competition

CHEE-YUN Violin “This is a talented instrumentalist, with the kind of high-gloss tone that pulls sensuously at the listener’s ear.” —New York Times

SFCA

The Santa Fe Concert Association presents

Opening Gala

Concert Heidi Melton, soprano

Brandon Jovanovich, tenor SFCA Orchestra Joseph Illick, conductor

All-Wagner Program Overture to The Flying Dutchman Duet from Lohengrin Overture to Tannhäuser Duet from Die Walküre

BENJAMIN ROUS Conductor

August 25, 2013

2013 Fellow of the Bruno Walter National Conductor Showcase

4:00pm Lensic Performing Arts Center

Call 505-983-1414 www.santafesymphony.org

Underwritten by eddie & Peaches Gilbert

Tickets Santa Fe at the Lensic: 505-988-1234 | $25, $45, $70, $95 Santa Fe Concert Association: 505-984-8759 | www.santafeconcerts.org Thanks to the following sponsors:

The Santa Fe Concert Association 324 Paseo de Peralta, Santa Fe, New Mexico 87501

PASATIEMPOMAGAZINE.COM

MOVING IMAGES pasa pics

— compiled by Robert Ker

THE HUnT When a little girl’s feelings are inadvertently hurt by a family friend who is her kindergarten teacher, she makes up a story of sexual abuse. Lucas (Mads Mikkelsen) is a popular local figure in his rural Danish community, but the accusation quickly takes on the weight of conviction, and he becomes a pariah. Mikkelsen won Best Actor at Cannes for his powerful portrayal of an innocent man savaged by the onslaught of local hysteria. Director Thomas Vinterberg, who in his 1998 The Celebration explored the darkness of child sexual abuse, here takes a look at another side of the issue. Rated R. 110 minutes. In Danish with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) See review, Page 82. JOBS Apple co-founder Steve Jobs was so beloved that he could be said to have followers rather than fans. It’s unclear whether his followers will take to having one of the dudes from Dude, Where’s My Car? (Ashton Kutcher) play him in this biopic. Rated PG-13. 125 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) In the future, plastic wrap dissolves your clothes: Sean Connery in Zardoz, screening on Tuesday, Aug. 20, at Center for Contemporary Arts in Santa Fe

opening this week THE BUTLER Forest Whitaker plays a White House butler who serves Eisenhower (Robin Williams), Kennedy ( James Marsden), Nixon ( John Cusack), Reagan (Alan Rickman), Johnson (Liev Schreiber) and more, while seeing decades of change sweep the country. Lee Daniels (Precious) directs. Oprah Winfrey co-stars. Rated PG-13. 132 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) COMPUTER CHESS Writer/director Andrew Bujalski’s latest feature was filmed in black and white with vintage tube-based video cameras, and the image swims and glistens unnaturally. The story is set in the early 1980s, in a nondescript hotel where a coterie of competing programmers have assembled to pit their clunky systems against one another on the chessboard. Thick glasses and wide collars abound along with defunct tech marques (Commodore, anyone?). What might initially be mistaken for a slow-moving documentary reveals itself to be a droll, occasionally surreal comedy. Among the notable characters is one Michael Papageorge (Myles Paige), an itinerant boor whose abrasive presence among the repressed, volelike programmers makes for an ongoing social gag. Bujalski nails the 8-bit ambience. Not rated. 92 minutes. The Screen, Santa Fe. ( Jeff Acker) 90

PASATIEMPO I August 16 -22, 2013

DECEPTivE PRaCTiCE: THE MySTERiES anD MEnTORS Of RiCky Jay Ricky Jay is the world’s leading sleight-of-hand artist. A child prodigy, Jay began studying magic at age 4 and performed on TV when he was 7. Now a world-class illusionist, he is also a leading scholar on the history of magic. Packed with the perfect combination of performance footage, archival gems, and commentary from Jay and others, the film is sure to please everyone who appreciates the artistry of magic on any level — in other words, all but the most severe curmudgeons. Albuquerque magician Max Krause performs a show before the screening, which is presented as part of the Santa Fe Jewish Film Festival. 7 p.m. Thursday, Aug. 22, only. Not rated. 89 minutes. The Screen, Santa Fe. (Loren Bienvenu) See story, Page 80. EUROPa REPORT In the midst of the exhausting special-effects arms race going on at the multiplex, it’s a pleasure to sit back and watch a science-fiction film that looks as if it were crafted by human hands. Ecuadorian director Sebastián Cordero’s low-budget movie — about a crew aboard a spaceship on a mission to one of Jupiter’s moons — does the trick, with its found-footage approach and nods to Kubrick and Lovecraft. The characters could be much stronger, the ending less telegraphed, but the lived-in sets and homespun effects give you much to savor. Rated PG-13. 90 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) See review, Page 88.

kiCk-aSS 2 Fans of comic-book scribe Mark Millar likely know what to expect from this sequel to the colorful, violent 2010 movie — both films are based on his average-bloke superhero funnybooks, and both star Aaron Taylor-Johnson, Chloë Grace Moretz, and Christopher Mintz-Plasse. Non-fans can probably glean what to expect from the title. Jim Carrey joins the cast. Rated R. 107 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE MORTaL inSTRUMEnTS: CiTy Of BOnES Another fantasy series that you probably haven’t heard of unless you’re 14 or a parent hits the big screen. The first book in the series centers on a girl (Lily Collins) who discovers she’s a Shadowhunter. The job has its drawbacks, such as fighting powerful demons. It also has its perks, such as hanging out with hunks ( Jamie Campbell Bower). Opens Wednesday, Aug. 21. Rated PG-13. 130 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) MUSEUM HOURS Working as a guard in a museum can be an intensely meditative and introspective experience. Befriending a patron named Anne (Mary Margaret O’Hara) gives Johann (Bobby Sommer), a guard at Vienna’s Kunsthistorisches Museum, an opportunity to reinvigorate his life while sharing insights into art and existence. Johann tours Vienna with Anne and gains a richer understanding of and appreciation for his city and the timeless spirit that animates it today, as it did in the time of Pieter Bruegel the Elder. Not rated. 107 minutes. In English and German with subtitles. The Screen, Santa Fe. (Michael Abatemarco) See review, Page 84.

PARANOIA Liam Hemsworth plays a blue-collar Brooklynite who takes a job as a corporate spy and enjoys the meteoric rise to wealth until he finds that he’s a pawn in a nasty game between rival CEOs (played by Gary Oldman and Harrison Ford). Rated PG-13. 106 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) RAPTURE-PALOOZA Anna Kendrick (Up in the Air) and Craig Robinson (Hot Tub Time Machine) are the leads in this end-times comedy. He’s the Antichrist, and she’s a teenager determined to stop him. Rob Corddry and John Francis Daley co-star. 11 p.m. Friday and Saturday, Aug. 16 and 17, only. Rated R. 85 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) SHOUTING SECRETS This is a goodhearted movie from Swiss director Korinna Sehringer with plenty of flaws but enough strength and appeal that you’re inclined to forgive it its trespasses. The story involves a family on an Apache reservation. When the mother has a stroke, family members — including a son who has abandoned reservation life for the bright lights of the Big Apple and become a celebrated writer — gather at the hospital to keep a vigil and try to mend their troubled, dysfunctional lives. One of this movie’s great assets is the fine acting from a talented, mostly Native American cast that includes Chaske Spencer, Gil Birmingham, Tyler Christopher, and the wonderful Tantoo Cardinal. Not rated. 88 minutes. Jean Cocteau Cinema, Santa Fe ( Jonathan Richards) See review, Page 86.

now in theaters THE ACT OF KILLING How many Americans were aware of the mass killings carried out in Indonesia after the military coup there in 1965? At the direction of the country’s new leaders, and with the complicity of Western governments, thugs and paramilitary groups slaughtered “communists,” which included intellectuals, labor leaders, and pretty much anybody the killers didn’t like. Joshua Oppenheimer has made an extraordinary documentary that expands the form. He interviews some of the killers, men who still hold positions of power. They jump at the chance to make a film-within-a-film reenacting their bloody deeds. It’s surreal, phantasmagorical, and utterly devastating. Not rated. 159 minutes. In English and Indonesian with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) BLACKFISH Forget The Conjuring. Gabriela Cowperthwaite’s eye-opening documentary, may be the spookiest,

most disturbing film of the summer. It focuses on the gruesome 2010 killing (which is not shown) of Dawn Brancheau, a senior SeaWorld trainer, by Tilikum, a 12,000-pound bull orca. Through interviews with former trainers, researchers, and scientists, the film reveals orcas to be intelligent animals with complex emotional and social lives. Experts argue that Tilikum acted out of frustration, not aggression, having been held in captivity since he was taken from his family at the age of 2. Despite his involvement in three deaths, Tilikum remains at SeaWorld. This is a film that everyone ought to see, despite its being terribly difficult to watch. Rated PG-13. 83 minutes. The Screen, Santa Fe. (Laurel Gladden) THE CONJURING Vera Farmiga plays a woman who can sense ghosts and travels the country with her husband (Patrick Wilson) in search of them. In this movie by James Wan (Saw), the couple find more than they anticipated in an old farmhouse with a freaky tree out front. Rated R. 111 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) DESPICABLE ME 2 The 2010 hit gets its sequel with this story about the exvillain Gru (voiced by Steve Carell), who is called out of retirement to track down a bad guy. The animation is a step up from the first film, and the plot is mercifully to the point. Unlike many family films, Despicable Me 2 is proudly a comedy, and it shelves the action, life lessons, and sentiment in favor of attempts at laughter. Whether or not it succeeds is up to the viewer, and the filmmakers hedge their bets by bringing slapstick for the kids and pop-culture references for the adults. Rated PG. 98 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) ELYSIUM Director Neill Blomkamp (District 9) presents a futuristic tale in which the wealthy live in a utopian space station called Elysium, while everyone else lives on the devastated Earth in what could be called “District 99%.” Matt Damon plays a man in an L.A. shantytown who fights back. The film is reminiscent of Paul Verhoeven’s satirical sci-fi films (Robocop) but without that B-movie sense of fun; it’s just obvious, ugly, overly violent, and deeply cynical, with nothing good to say about the human race. The special effects, however, are incredible; one could say it’s the best-looking movie about not being able to afford cancer treatment for your dying child that you’ll ever see. Rated R. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) FRUITVALE STATION This timely drama, which was one of the big winners at the 2013 Sundance Film Festival, details the final day of Oscar Grant (Michael B. Jordan), a 22-year-old African American who was shot by officers of the Bay Area’s public trans-

Kick-Ass 2

portation system on New Year’s Eve in 2008. Rated R. 85 minutes. Regal DeVargas, Santa Fe. (Not reviewed) GROWN UPS 2 Nobody can say Adam Sandler doesn’t look after his friends. Here, he helps old buddies like Chris Rock, Kevin James, David Spade, and many, many more earn a sweet payday for this indulgent, misogynistic, possibly scriptless string of poop, pee, and penis jokes. The sheer audacity of its awfulness is almost something that you have to see to believe, but that would involve seeing it. Don’t. Rated PG-13. 101 minutes. Regal Stadium 14, Santa Fe. (Robert Ker) THE HEAT With Bridesmaids, director Paul Feig put women in the traditionally male-dominated genre of the raunchy comedy. Now he does the same with the buddy-cop pic. Melissa McCarthy, who became a star with her frank character in Bridesmaids, plays the bad cop to Sandra Bullock’s good cop. The plot is mainly a vehicle to bring us from one McCarthy tirade to the next. That’s a wise decision: her sassy delivery and takeno-crap personality make her an audience favorite, and rightfully so. Rated R. 117 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE LONE RANGER The titular hero (Armie Hammer) and his faithful Comanche friend Tonto ( Johnny Depp) take on the railroad, the cavalry, bad guys led by a cannibalistic Butch Cavendish, and a host of other creeps in this fastmoving but curiously unexciting retelling of the classic tale. That the movie is terrible is disappointing, given that most of the creative talent was continued on Page 92

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MOVING IMAGES pasa pics

continued from Page 91

also involved with the successful and frequently entertaining Pirates of the Caribbean film franchise. Rated PG-13. 149 minutes. Regal DeVargas, Santa Fe. (Robert Nott) LOVE IS ALL YOU NEED Danish director Susanne Bier, who normally deals in bleaker material, has gone all soft and cuddly in this romantic comedy about two lost souls who unite, and in lesser hands the result would probably be insufferably cute. But Bier manages to keep this valentine on a very enjoyable track, helped by a fine cast led by Pierce Brosnan and Trine Dyrholm. Rated R. 110 minutes. In English, Danish, and Italian with subtitles. Regal DeVargas, Santa Fe. ( Jonathan Richards) NOW YOU SEE ME Woody Harrelson, Jesse Eisenberg, Morgan Freeman, Michael Caine, and Mark Ruffalo star in this entertaining fable about four illusionists who perform a trick in Las Vegas in which one of their audience members is “teleported” to Paris to rob a bank. As the FBI and an opportunist who exposes magicians’ secrets close in on the illusionists, every scene is interesting. Rated PG-13. 116 minutes. Regal DeVargas, Santa Fe. (Robert Ker) PACIFIC RIM Guillermo del Toro’s latest film plays like a movie by 12-yearolds, which is both a bad and a good thing. It’s bad because of the underdeveloped characters and cartoon-level dialogue, and it’s good because of everything else. The plot centers on gigantic robots that are built to stave off massive monsters — and not much else. It will scratch an itch for a certain kind of geek. Other people may scratch their heads instead. Rated PG-13. 131 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) PERCY JACKSON: SEA OF MONSTERS Now that Harry Potter has hung up his broomstick, Percy Jackson (Logan Lerman), basically Potter in a world full of Greek gods instead of wizards, fills the void and finds the Golden Fleece in this sequel to his 2010 film. Rated PG. 107 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; screens in 2-D only at DreamCatcher, Española. (Not reviewed)

spicy

medium

bland

heartburn

mild

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PASATIEMPO I August 16 -22, 2013

PLANES This animated film looks exactly like Pixar’s Cars — right down to the underdog story and the uncomfortable stereotypes — and is even said to take place in the same world as Cars. The only major difference can be found in the film’s title. Rated PG. 92 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) RED 2 Bruce Willis, John Malkovich, and Helen Mirren again play former intelligence agents who come out of retirement for yet another “last job.” The experience among the cast is one of the film’s major draws, but the movie itself is a throwback to when action films featured heroes and heroines who are not tortured or weak but rather charming and often in control. The film’s plot is a bunch of gobbledygook, but the humor often connects, and the action sequences excite. Rated PG-13. 116 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE SMURFS 2 Just when it looked like Grown Ups 2 would be the worst movie of the summer, here comes a little-loved sequel to the smurfing 2011 stinkfest. Rated PG. 105 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) STILL MINE Michael McGowan delivers an inspiring tale based on the true story of an octogenarian Canadian rancher named Craig ( James Cromwell), who undertakes to build — with his own hands, on his own property, with his own materials — a new house for his wife, Elise (Geneviève Bujold), who is slipping into Alzheimer’s. The problem is, you can’t do that sort of thing in a world in which regulation is pervasive. Cromwell and Bujold are outstanding. Rated PG-13. 103 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) TIGER EYES After Davey’s father is killed, her mother moves the family across the country to New Mexico for an extended stay at their aunt and uncle’s house. Judy Blume’s beloved coming-of-age novel was adapted for the screen by the author and her son Lawrence Blume, who also directs. The film is set in Los Alamos and Santa Fe, so local actors abound. Rated PG-13. 92 minutes. Center for Contemporary Arts, Santa Fe. ( Jennifer Levin) 20 FEET FROM STARDOM “Not everyone is cut out for stardom,” says Bruce Springsteen, one of the headliners who muses here on the contributions and frustrations of the backup singers whose vocals raise the sound to another level. Táta Vega, Claudia Lennear, and Lisa Fischer are a few that will send you out of the theater

wondering about that barrier that kept them from headliner stardom. But Morgan Neville’s documentary brings these singers front and center, and it’s glorious. Rated PG-13. 90 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) 2 GUNS Mark Wahlberg and Denzel Washington play men who pull off a bank heist — only to find out that they’re both cops who have been tricked into pulling off the robbery, not knowing the other is also undercover. The two then team up to find the people that set them up. Rated R. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE WAY WAY BACK The latest indie comedy to probe the hot, hazy months of one’s teen years stars Liam James as 14-year-old Duncan, who is living with his mom (Toni Collette) and her boyfriend (Steve Carell) for the summer and working at a water park, where he learns about life from his manager (Sam Rockwell). Rated PG-13. 103 minutes. Regal DeVargas, Santa Fe. (Not reviewed) WE’RE THE MILLERS A stripper ( Jennifer Aniston) and a pot dealer ( Jason Sudeikis) join up, recruit a couple of kids, and pretend to be a family so they can sneak drugs across the border from Mexico. The plan does not go off without hitches or high jinks. Rated R. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE WOLVERINE The second solo movie for Hugh Jackman’s hairy hero (after 2009’s crummy X-Men Origins: Wolverine) takes the saga to Japan and surrounds Wolvie with women. This change of setting is welcome in the stale superhero genre, but as with most cape films, it could sorely use a sense of style. Aside from a cool set piece on top of a bullet train, director James Mangold doesn’t give us much to work with here. That Wolverine is dull as dirt and Jackman could now play him in his sleep doesn’t help. Rated PG-13. 129 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker)

other screenings Center for Contemporary Arts 11 a.m. Friday to Sunday, Aug. 16 to 18: Masters of Comedy: Yoyo. 7 p.m. Tuesday, Aug. 20: Physicist J. Doyne Farmer introduces Zardoz as part of Santa Fe Institute’s Science on Screen series. Regal Stadium 14 10 p.m. Thursday, Aug. 22: The World’s End. 10 p.m. Thursday, Aug. 22: You’re Next. ◀

INCENDIARY.

“

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

BY FAR ThomAs VINTERBERg’s mosT ACComplIshED woRk YET. Mads Mikkelsen is riveting.”

–Betsy Sharkey, Los Angeles Times

HHHH

“ CCA CinemAtheque And SCreening room

1050 Old Pecos Trail, 982-1338, www.ccasantafe.org 20 Feet from Stardom (PG-13) Fri. to Mon. 12 p.m., 2 p.m., 4 p.m. Tue. 2 p.m., 4 p.m. Wed. and Thurs. 12 p.m., 2 p.m., 4 p.m. The Act of Killing (NR) Fri. to Mon. 7:45 p.m. Tue. 7:30 p.m. Wed. and Thurs. 7:45 p.m. The Hunt (R) Fri. to Mon. 5:30 p.m., 8:15 p.m. Tue. 5 p.m. Wed. and Thurs. 5:30 p.m., 8:15 p.m. Still Mine (PG-13) Fri. to Mon. 1 p.m., 3:15 p.m. Tue. 2:45 p.m. Wed. and Thurs. 1 p.m., 3:15 p.m. Tiger Eyes (PG-13) Fri. to Mon. 6 p.m. Wed. and Thurs. 6 p.m. Yoyo (NR) Fri. to Sun. 11 a.m. Zardoz (NR) Tue. 7 p.m. JeAn CoCteAu CinemA

418 Montezuma, 505-466-5528, www.jeancocteaucinema.com Europa Report (PG-13) Fri. 2 p.m., 6:30 p.m. Sat. 4:15 p.m., 8:45 p.m. Sun. 2 p.m., 6:30 p.m. Mon. 9 p.m. Tue. 7 p.m. Wed. 4:15 p.m., 9 p.m. Thurs. 2 p.m., 7 p.m. Rapture-Palooza (R) Fri. and Sat. 11 p.m. Shouting Secrets (NR) Fri. 4:15 p.m., 8:45 p.m. Sat. 2 p.m., 6:30 p.m. Sun. 4:15 p.m., 8:45 p.m. Mon. 7 p.m. Tue. 9 p.m. Wed. 2 p.m., 7 p.m. Thurs. 4:15 p.m., 9 p.m. regAl deVArgAS

562 N. Guadalupe St., 988-2775, www.fandango.com Fruitvale Station (R) Fri. and Sat. 1:50 p.m., 4:40 p.m., 7:40 p.m., 9:45 p.m. Sun. to Thurs. 1:50 p.m., 4:40 p.m., 7:40 p.m. The Heat (R) Fri. and Sat. 1:10 p.m., 3:50 p.m., 6:50 p.m., 9:30 p.m. Sun. to Thurs. 1:10 p.m., 3:50 p.m., 6:50 p.m. The Lone Ranger (PG-13) Fri. to Thurs. 1 p.m., 4 p.m., 7 p.m. Love Is All You Need (R) Fri. to Thurs. 4:20 p.m., 7:20 p.m. Now You See Me (PG-13) Fri. and Sat. 1:30 p.m., 9:50 p.m. Sun. to Thurs. 1:30 p.m. Red 2 (PG-13) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:40 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m. The Way Way Back (PG-13) Fri. and Sat. 1:40 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs. 1:40 p.m., 4:30 p.m., 7:30 p.m. regAl StAdium 14

3474 Zafarano Drive, 424-6296, www.fandango.com 2 Guns (R) Fri. to Tue. 1:25 p.m., 4:20 p.m., 7:40 p.m., 10:20 p.m. The Butler (PG-13) Fri. to Tue. 1:10 p.m., 4:05 p.m., 4:35 p.m., 7:15 p.m., 7:45 p.m., 10:15 p.m., 10:40 p.m. The Conjuring (R) Fri. to Tue. 1:15 p.m., 9:40 p.m. Despicable Me 2 (PG) Fri. to Tue. 1:15 p.m., 4:10 p.m., 7:05 p.m., 9:40 p.m. Elysium (R) Fri. to Sun. 1:35 p.m., 4:50 p.m., 7:50 p.m., 10:45 p.m. Mon. and Tue. 1:35 p.m., 4:50 p.m., 7:50 p.m., 10:45 p.m. Grown Ups 2 (PG-13) Fri. to Tue. 10 p.m. Jobs (PG-13) Fri. to Tue. 1 p.m., 4:15 p.m., 7:15 p.m., 10:20 p.m. Kick-Ass 2 (R) Fri. to Tue. 1:45 p.m., 4 p.m., 4:40 p.m., 7 p.m., 7:35 p.m., 10:10 p.m. The Mortal Instruments: City of Bones (PG-13) Wed. and Thurs. 1:15 p.m., 4:20 p.m., 7:25 p.m., 10:30 p.m. Pacific Rim (PG-13) Fri. to Tue. 1:05 p.m. Paranoia (PG-13) Fri. to Tue. 1:40 p.m., 4:45 p.m., 7:25 p.m., 10:10 p.m.

Percy Jackson: Sea of Monsters 3D (PG)

Fri. to Tue. 9:50 p.m.

Percy Jackson: Sea of Monsters (PG)

Fri. to Tue. 1:40 p.m., 4:30 p.m., 7:10 p.m. Planes 3D (PG) Fri. to Tue. 9:50 p.m. Planes (PG) Fri. to Tue. 1:30 p.m., 4:05 p.m., 7:20 p.m. The Smurfs 2 (PG) Fri. to Tue. 1:20 p.m., 4:20 p.m., 7:25 p.m. We’re the Millers (R) Fri. to Tue. 1:30 p.m., 4:30 p.m., 8 p.m., 10:40 p.m. The Wolverine (PG-13) Fri. to Tue. 1:50 p.m., 4:55 p.m., 7:50 p.m., 10:40 p.m. The World’s End (R) Thurs. 10 p.m. You’re Next (R) Thurs. 10 p.m. the SCreen

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Blackfish (PG-13) Fri. to Thurs. 12 p.m. Computer Chess (NR) Fri. to Wed. 4 p.m., 8:15 p.m. Thurs. 4 p.m. Deceptive Practice:The Mysteries and Mentors of Ricky Jay (NR) Thurs. 7 p.m. Museum Hours (NR) Fri. to Wed. 1:45 p.m., 6 p.m.

Thurs. 1:45 p.m.

mitChell dreAmCAtCher CinemA (eSpAñolA)

15 N.M. 106 and U.S. 84/285, 505-753-0087, www.dreamcatcher10.com 2 Guns (R) Fri. 5 p.m., 7:35 p.m., 10 p.m. Sat. 2:30 p.m., 5 p.m., 7:35 p.m., 10 p.m. Sun. 2:30 p.m., 5 p.m., 7:35 p.m. Mon. and Tue. 5 p.m., 7:35 p.m. The Butler (PG-13) Fri. 4:25 p.m., 7:05 p.m., 9:45 p.m. Sat. 1:50 p.m., 4:25 p.m., 7:05 p.m., 9:45 p.m. Sun. 1:50 p.m., 4:25 p.m., 7:05 p.m. Mon. and Tue. 4:25 p.m., 7:05 p.m. Elysium (R) Fri. 4:45 p.m., 7:10 p.m., 9:40 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:10 p.m., 9:40 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:10 p.m. Mon. and Tue. 4:45 p.m., 7:10 p.m. Jobs (PG-13) Fri. 4:40 p.m., 7:15 p.m., 9:45 p.m. Sat. 1:55 p.m., 4:40 p.m., 7:15 p.m., 9:45 p.m. Sun. 1:55 p.m., 4:40 p.m., 7:15 p.m. Mon. and Tue. 4:40 p.m., 7:15 p.m. Kick-Ass 2 (R) Fri. 4:55 p.m., 7:30 p.m., 9:55 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:30 p.m., 9:55 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:30 p.m. Mon. and Tue. 4:55 p.m., 7:30 p.m. Paranoia (PG-13) Fri. 4:55 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:10 p.m., 4:55 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:10 p.m., 4:55 p.m., 7:25 p.m. Mon. and Tue. 4:55 p.m., 7:25 p.m. Percy Jackson: Sea of Monsters (PG) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. and Tue. 4:35 p.m., 7:05 p.m. Planes (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. and Tue. 4:30 p.m., 7 p.m. The Smurfs 2 (PG) Fri. 4:40 p.m., 6:55 p.m., 9:25 p.m. Sat. 2:10 p.m., 4:40 p.m., 6:55 p.m., 9:25 p.m. Sun. 2:10 p.m., 4:40 p.m., 6:55 p.m. Mon. and Tue. 4:40 p.m., 6:55 p.m. We’re the Millers (R) Fri. 4:50 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:20 p.m. Mon. and Tue. 4:50 p.m., 7:20 p.m.

1/2

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RESTAURANT REVIEW Laurel Gladden I For The New Mexican

Picuris perfect

Amaya (Hotel Santa Fe)

1501 Paseo de Peralta; 955-7805 Breakfast 7-10:30 a.m., lunch 11:30 a.m.-2 p.m., dinner 5:30-10 p.m. daily (last seating at 9:30 p.m.) Vegetarian options Takeout available Handicapped-accessible Patio dining in season Noise level: quiet to moderate (maybe a little too much pan flute music) Full bar Credit cards, local checks

•

The Short Order The menu at Amaya, in the Hotel Santa Fe, highlights “local pueblo and Northern New Mexican influences, as well as regional foods from around the U.S.” Much of the food is prepared with solid skill and a touch of creativity, and many dishes are deeply satisfying. The dining room, tucked into a corner of the lobby, isn’t big, and it’s on the dim side. While the nights are still warm and the days sunny and long, enjoy your meal on the portal or the patio, surrounded by vibrant trees and flowers. Service is some of the most professional in town. Recommended: shrimp and leek bisque, stuffed poblano, sea bass, scallops, carne asada, duck duo, mixed grill, and crème brûlée

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 August 16 -22, 2013

Above the wooden entry doors at the Hotel Santa Fe is a sign that reads “Mah-Waan, Mah-Waan,” which, according to the hotel’s website, means “welcome” in the Tiwa language. The hotel, which opened in 1991, is owned by the people of the Picuris Pueblo; many individuals on staff are Native American; and the menu at Amaya, the hotel’s restaurant, highlights “local pueblo and Northern New Mexican influences, as well as regional foods from around the U.S.” Items at lunch lean toward the lighter side — an array of salads, a sandwich or two, the requisite burger, and some New Mexico standards thrown in for good measure. At dinner, the dishes are slightly more formal and substantial, and the influence of Native and Western American cuisines is clear. In one salad, huge wedges of purple-red heirloom tomatoes looked underripe but exploded with tomato-y tang. Crisp cucumber was a nice summery element, but the dressing was overly oily, and thick rings of red onion threatened to overpower everything else. While the crab cakes were soft and rich, they were upstaged by their crunchy, refreshing jicamamango slaw, and I was distracted by the bizarre light-pink coconut crema, which had no discernible flavor. This dish and the tuna tartare — walking the tightrope between light and rich with its fatty fish, fresh shreds of jicama, and chunks of creamy avocado — seemed out of place on this menu. As far as soups go, tomato’s tang, green pepper’s bitter acidity, and apple’s fruity sweetness battle it out in the gazpacho Andaluz. The shrimp and leek bisque is one supremely smooth and rich bowl, with a delicate fishiness and an earthy, savory quality. Token vegetarian dishes are often the low point of higherend restaurant menus, but that’s certainly not true of Amaya’s stuffed poblano, filled with summer squash, zucchini, mushrooms, and, on my visit, what looked like crumbled tofu. The pepper had a surprising (and welcome) mild heat and a pleasant peppery bitterness, and the tomato cream sauce provided a welcome richness. Accompanying this dish — as well as many other entrees — is a soft, unobtrusively beige but addictively flavorful disk of potato-vegetable hash. Most plates also include fresh seasonal vegetables (asparagus, sugar-snap peas, carrots, squash) cooked ever so slightly to retain their fresh crispness. The confit on the “duck duo” plate was meaty, deeply rich, and almost smoky — the game-bird cousin to pulled pork. Offering balance is the breast in a sweet, maple-apricot glaze. Our gorgeous sea bass was tender, buttery, and flaky, a light but still satisfying summer dinner with a fruity-spicy pineapple-chile glaze. On one of our visits, the bass was replaced with scallops, perfectly cooked, tender, slippery, and tastily briny. Sometimes overlooked because often overcooked, the chicken breast gets little respect in the restaurant world, but ours, pan-seared in an herb jus, was moist and full of poultry flavor. The mixed grill will please the meat lover at the table. The rabbit-rattlesnake sausage had a pleasingly subdued fattiness, a uniquely light gaminess, and a solid, cohesive texture. The plate’s only flaw was the bison sirloin, a touch overcooked but still satisfyingly meaty and earthy. Carnivores will also appreciate Amaya’s uncommon carne asada — a whole

flatiron steak, mouthwatering with its smoky-spicy grill, garlic, and herb flavors. Desserts don’t disappoint — in particular the fluffy cheesecake and the crème brûlée, which is served in a wide dish with short sides rather than the standard ramekin. The sugar coating makes just the right crisp cracking sound when you breach it with your spoon, and the custard has a perfectly smooth and silky texture. Service at Amaya is some of the best I’ve experienced in town. The hostess is pleasantly bubbly — she seems genuinely happy to greet everyone who walks in. Servers and bussers appear quickly and quietly at just the right moment, but you never feel as though anyone’s hovering. Everyone maintains a balance of professionalism and cordiality, never resorting to that cheesy folksy routine. The dining room, tucked into a corner of the hotel’s lobby, isn’t big, and it’s a touch on the dim side, but I can see how its cozy ambience — warm lighting and a kiva fireplace — could be just the thing on a chilly winter evening. While the nights are still warm and the days are still sunny and long, enjoy your meal on the deep, shady portal or beneath an umbrella on the patio, surrounded by verdant trees and vibrant, colorful flowers. A hummingbird might even buzz by your ear — and you might wonder if that’s just his way of saying “Welcome.” ◀

Check, please

Dinner for four at Amaya: Crab cakes $12.00 Shrimp and leek bisque ................................................$ 9.00 Gazpacho Andaluz ........................................................$ 8.00 Mixed grill ....................................................................$ 29.00 Scallops .........................................................................$ 28.00 Chicken ........................................................................$ 22.00 Duck duo ......................................................................$ 25.00 Glass, Villa Pozzli Nero D’Avola ...................................$ 7.50 Glass, Hob Nob pinot noir ............................................$ 9.00 Key lime pie ..................................................................$ 8.00 Crème brûlée ................................................................$ 8.00 Two coffees ...................................................................$ 5.00 TOTAL ..........................................................................$170.50 (before tax and tip) Dinner for three, another visit: Heirloom-tomato salad .................................................$ 10.00 Tuna tartare ...................................................................$ 12.00 Stuffed poblano ............................................................ $ 19.00 Carne asada ..................................................................$ 20.00 Sea bass .........................................................................$ 28.00 Glass, Charles & Charles rosé ......................................$ 8.50 Glass, Hob Nob pinot noir............................................ $ 9.00 Cheesecake ...................................................................$ 8.00 TOTAL ..........................................................................$114.50 (before tax and tip)

worth of Food and drink for Only

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A r ti s a n s o f E x p r e s s i ve S c u lp t u r e

IAF.935 ca.1670

Trunk Show featuring Scott Kay Jewelry with Tiffany Kay (in appearance) Indian Market weekend Friday Saturday, and Sunday

On the Santa Fe Plaza 78 E. San Francisco Street

505.988.1561

505.603.0191

info@santafediva.com

IAF.645 ca. 1810

IAF.997 ca. 1870-1880 IAF.682 ca. 1880-1890

Grand Opening August 31, 2013

Experience this living tradition through a visual feast of Acoma pottery brought together for the first time, featuring fine examples of historic pottery as well as unique “Dyuuni” created during the last Century from collections of the Haakú Museum, School for Advanced Research, Museum of Indian Arts & Culture and the Collections of David Rasch.

1-40 Exit 102, South 15 miles

•

Pueblo of Acoma, NM

•

800 747 0181

•

www.acomaskycity.org

School for Advanced Research, Catalog Number IAF.645., IAF.682., IAF.935., IAF.997. Detail Photography by Addison Doty

museumsattractions gvalleries enuesRESTAURANTSspas theatermusicshoppingMOVIES If IT’S IN SANTA fE, IT’S ON ExplORESANTAfE.cOM

You turn to us. 96

PASATIEMPO I August 16 - 22, 2013

pasa week Friday, Aug. 16 gallery/museum openings

allan Houser gallery 125 Lincoln Ave., 982-4705. Ceremonial Works, mixed-media work by the late artist, reception 5-8 p.m. andrea Fisher Fine pottery 100 W. San Francisco St., 986-1234. Works by Rondina Huma (Hopi) and Thomas Tenorio (Santo Domingo), receptions 10 a.m.-2 p.m. and 4-7 p.m. art exchange gallery & arrowhead studios New paintings and prints by Quanah Parker Burgess, reception and poster signing 4-6 p.m., through August. Barbara meikle Fine art 236 Delgado St., 992-0400. Destinations, new paintings by Robert Burt, reception 5-8 p.m. Beals & abbate Fine art 713 Canyon Rd., 438-8881. Native Music, new work by Upton Ethelbah, performance by Ralph Zotigh 4 p.m., reception 5 p.m. Bill Hester Fine art 830 Canyon Rd., 660-5966. Beneath the Stars, bronzes by sculptor David Unger, reception 5-8 p.m., through Sept. 1. Bindle stick studio 616½-B Canyon Rd., 917-679-8080. The Drifter: 2008-2013, recent works by Jeffrey Schweitzer, reception 5-7 p.m. Blue rain gallery 130-C Lincoln Ave., 954-9902. Pottery show and sale of new pieces by Tammy Garcia and Richard Zane Smith, preview 8-9:45 a.m., sale 10 a.m.; artist demonstrations 11 a.m.-4 p.m.; group show; reception 5-8 p.m. Canyon road art Brokerage 618 Canyon Rd., 995-1111. Group show, reception 5-8 p.m., through August. Charles azbell gallery 203-A Canyon Rd., 988-1875. New work by Navajo sculptor Haskeya-Teh-Des-Wod; paintings by Azbell, reception 5-7 p.m. Chiaroscuro Contemporary art 702½ Canyon Rd., 992-0711. Headwater, Emmi Whitehorse’s paintings; contemporary Native group show, including Rick Bartow, Rose B. Simpson, and Harry Fonseca (see story, Page 60); reception 5-7 p.m., through Sept. 14. Darnell Fine art 640 Canyon Rd., 984-0840. Untitled, Patrick Dean Hubbell’s paintings, reception 5 p.m. eggman & Walrus art emporium 130 W. Palace Ave., second floor, 660-0048. Six Pintores 2013, group show of paintings, reception, artist talk, and performances 5-9 p.m. estrada studios Plaza Mercado, 112 W. San Francisco St., Suite 105, 577-3535. Mixed-media work by Ken Estrada, reception 6-8 p.m.

Pasa’s Little Black Book......... 98 Exhibitionism.....................100 At the Galleries...................101 Museums & Art Spaces.......101

Canyon Road Art Brokerage shows work by John Nieto, 618 Canyon Rd.

Flying Cow gallery Warehouse 21, 1614 Paseo de Peralta, 989-4423. Full War Cry, Institute of American Indian Arts student show, reception 5-7 p.m. Flying Fish gallery and studio 821 Canyon Rd., The Stables, 577-4747. Birding Series, drawings by Mark Pack, reception 5-7 p.m. Frank Howell gallery 203 Canyon Rd., 984-1074. Group show of works by gallery artists, reception 5-7 p.m. galerie Züger 120 W. San Francisco St., 984-5099. Indian Market group show, including James Jensen and L.M. Chan, through Sunday. gallery 822 822 Canyon Rd., 989-1700. Indian Market group show, including Joshua Tobey and Peter Krusko, reception 5-8 p.m. gF Contemporary 707 Canyon Rd., 983-3707. New paintings by C.J. Wells, reception 5-7 p.m. giacobbe-Fritz Fine art 702 Canyon Rd., 986-1156. Tsaa’ Yumuh Kitu’, paintings by Nocona Burgess, artist meet-andgreet 3:30-4 p.m., lecture and Q & A 4-5 p.m., reception 5-7 p.m., through Aug. 30.

In the Wings......................102 Elsewhere...........................105 People Who Need People....106 Pasa Kids...........................106

Handwoven originals Inn & Spa at Loretto, 211 Old Santa Fe Trail, 982-4118. Work by jeweler Richard Lindsay and works by local gallery artists, reception 4-7 p.m. Houshang’s gallery 50 E. San Francisco St., 988-3322. Works by Houshang, J.D. Miller, and Frederick Prescott, reception 5-8 p.m. Jacqueline’s place 233 Canyon Rd., Suite 4, 820-6542. Jeweler Wayne Aguilar and clothing designers Virginia Yazzie-Ballenger and Herbert Rations, reception 2-7 p.m. Kristin Johnson Fine art 323 E. Palace Ave., 780-5451. Psychic Thunderscape, paintings by Darren Vigil Gray, reception 5:30 p.m., through Aug. 24. la posada de santa Fe resort and spa 330 E. Palace Ave., 986-0000. Mixed-media paintings by Darlene Olivia McElroy, reception 4 p.m., curator and artist talks follow, through mid-September.

compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com

legends santa Fe 125 Lincoln Ave., 983-5639. Totem and the Animal Within, works by Marla Allison and Robert Spooner Marcus, reception 5-7 p.m., through Sept. 16 (see story, Page 74). little Bird at loretto 211 Old Santa Fe Trail, 820-7413. Works by Ray Tracey and Michael Horse, reception 4-7 p.m. loneDog noiseCat 241 Delgado St., 412-1797. Group shows: Neo-ab Original Masters and Visual Oration: Northern Plains Ledgers, reception 4-8 p.m. mark sublette medicine man gallery 602-A Canyon Rd., 820-7451. Shonto Begay: New Works, reception 2-4 p.m., through Aug. 30 (see story, Page 70). marti’s annual DeVargas show Eldorado Hotel, 309 W. San Francisco St., 983-9515. Jewelry and pottery group show, through Sunday; viewing of private collection of McKee Platero Jewelry 2 p.m. matthews gallery 669 Canyon Rd., 992-2882. Magical Realism, paintings by Diane White, reception 5-7 p.m., through Aug. 29. mclarry Fine art 225 Canyon Rd., 988-1161. New oil paintings by Chuck Sabatino, reception 5-7 p.m., through Aug. 30. mclarry modern 225 Canyon Rd., 983-8589. New work by painter Poteet Victory, reception 5-7 p.m., through Aug. 30. meyer east gallery 225 Canyon Rd., 983-1657. New paintings by Michael Workman, reception 5-7 p.m., through Aug. 29. meyer gallery 225 Canyon Rd., 983-1434. Bronzes by sculptor Dave McGary, reception 5-7 p.m., through Aug. 22. nathalie 503 Canyon Rd., 982-1021. Ridin’, Ropin’ & Paintin’, work by Chessney Sevier, Teal Blake, and Mike Capron, reception 4-7 p.m. new Concept gallery 610-A Canyon Rd., 795-7570. Ethnic Pottery Prints, etchings and collagraphs by Julia Roberts, reception 5-7 p.m., through Sept. 2. niman Fine art 125 Lincoln Ave., Suite 116, 988-5091. New works by Arlo Namingha, Dan Namingha, and Michael Namingha, reception 5-7:30 p.m. pablo milan gallery 209 Galisteo St., 820-1285. Indian Market show with works by Milan and Don Brewer Wakpa, reception 5:30-8 p.m. pippin Contemporary 200 Canyon Rd., 795-7476. The Path of Exploration Continues, new work by Aleta Pippin, reception 5-7 p.m., through Sept. 3. red Door Village 2915-A Agua Fría St., 471-3391. Native Ascension, work by Robert White Crow Orduño, reception 4-8 p.m., through Sunday. ▶▶▶▶▶▶▶▶

calendar guidelines Please submit information and listings for Pasa Week

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

Talking Heads

Massacre at Point of Rocks Former Santa Fe resident Doug Hocking signs copies of his historical novel set along the Santa Fe Trail in 1849 8 a.m. to 5 p.m. Friday through Sunday, Aug. 16-18, at the Eldorado Hotel & Spa, 309 W. San Francisco St., 988-4455.

d Wine Bar 315 Restaurant an 986-9190 il, Tra Fe a nt 315 Old Sa tec St., 820-0150 317 Aztec 317 Az the Inn Agoyo lounge at E. Alameda St., 3 30 a ed on the Alam 1 12 4-2 98 nter dinner Agora Shopping Ce Vista Grande, 466-1270 courtyard 7 Avenida Betterday Coffee 5-1234 55 905 W. Alameda St., nch Resort & Spa Ra e dg lo ’s Bishop Rd., 983-6377 e dg Lo 1297 Bishops Café Café 6-1391 500 Sandoval St., 46 ó Casa Chimay 8-0391 409 W. Water St., 42 ón es ¡Chispa! at el M 983-6756 e., Av ton ing 213 Wash uthside Cleopatra Café So 4-5644 47 ., Dr o 3482 Zafaran Cowgirl BBQ , 982-2565 319 S. Guadalupe St. Café te yo Co The Den at 3-1615 98 , St. r ate W . W 2 13 lton el Cañon at the Hi 811 8-2 98 , St. al ov nd 100 Sa Spa eldorado Hotel & St., 988-4455 o isc nc Fra 309 W. San

PASATIEMPO I August 16-22, 2013

Robert Nichols Gallery 419 Canyon Rd., 982-2145. New works by Diego Romero, Glen Nipshank, and Alan E. Lasiloo, demonstrations by Lasiloo 1-5 p.m. reception 5 p.m., demonstrations continue Saturday and Sunday. Sage Creek Gallery 421 Canyon Rd., 988-3444. Indian Market show with works by Sue Krzyston, Scott Rogers, and Ken Rowe, reception 5-8 p.m., through Aug. 23. A Sea Gallery 407 S. Guadalupe St., 988-9140 and 988-4920. The Undercover Indian, group show, reception 5-7 p.m. Sergio Moyano Studio 7501 Avenger Way, Suite E., 984-3119. Paintings, monotypes, and watercolors by Sergio Moyano, reception 5-7 p.m. Signature Gallery 102 E. Water St., 983-1050. Daylong painting and sculpting demonstrations by gallery artists, in conjunction with Indian Market, through Saturday. Silver Sun Gallery 656 Canyon Rd., 983-8743. Modern and Traditional Design, work by Navajo silversmiths Shane Hendren and Gary Custer, reception 4-7 p.m. Six Inch Gallery sixinchgallery.com. Grand opening of the online contemporary art gallery; showing paintings by Bob Richardson. SR Brennen Fine Art 555 Canyon Rd., 467-8295. Work by painter André Balyon, reception 5-6:30 p.m. Steven Boone Gallery 714 Canyon Rd., 670-0580. Group show, reception 5-7 p.m., party 7-9 p.m., through August.

Pasa’s little black book ill el Paseo Bar & Gr 848 2-2 208 Galisteo St., 99 Rd., 983-9912 el Farol 808 Canyon evangelo’s o St., 982-9014 200 W. San Francisc Hotel Santa Fe ta, 982-1200 1501 Paseo de Peral asters Ro Ikonik Coffee 996 8-0 42 , St. na Le 1600 rcy St., 982-3433 la Boca 72 W. Ma ina nt la Casa Sena Ca 8-9232 98 e., Av e lac Pa 125 E. at la Fonda la Fiesta lounge , 982-5511 St. o isc nc Fra 100 E. San a Fe Resort nt Sa de da la Posa e Ave., 986-0000 lac Pa and Spa 330 E. at the The legal Tender eum us M d oa ilr Ra y m la 466-1650 151 Old Lamy Trail, g Arts Center lensic Performin St., 988-1234 o isc nc Fra 211 W. San e lodge Th at ge un lodge lo Francis Dr., St. N. at Santa Fe 750 992-5800 l rider Bar at Hote low ’n’ Slow low Fe 125 Washington a Chimayó de Sant Ave., 988-4900

Sugarman-Peterson Gallery 130 W. Palace Ave., 982-0340. New paintings by Heather Foster, reception 5-7:30 p.m. Than Povi Fine Art 6 Banana Ln., 10 miles north of Santa Fe off US 84/285, 301-3956. Works by Jarrod Da and Erik Fender, reception 11 a.m.-3 p.m. Torres Gallery 102 E. Water St., El Centro Galleries, 986-8914. Works by Robert Rivera and Yellowman, reception 5-7 p.m., through Sunday. Ventana Fine Art 400 Canyon Rd., 983-8815. New paintings by John Nieto, reception 5-7 p.m., through Sept. 4. Waxlander Gallery 622 Canyon Rd., 984-2202. Through the Refracted Light, paintings by Bruce King, reception 5-7 p.m., through Aug. 26. William Siegal Gallery 540 S. Guadalupe St., 820-3300. Nauticus, works by Karen Gunderson, David Henderson, and Tom Waldron, reception 5-7 p.m., through Sept. 14. Windsor Betts Gallery 143 Lincoln Ave., 820-1234. Paintings by Kevin Red Star, reception 5-7 p.m.; sketching demonstration by the artist on Saturday. Winterowd Fine Art 701 Canyon Rd., 992-8878. My Land, group show of contemporary works by Native artists, reception 6-8 p.m., through Aug. 18. Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. New work by jewelers Yazzie Johnson and Gail Bird, reception 4-6 p.m., through Sept. 21.

The Matador 116 W. San Francisco St., 984-5050 The Mine Shaft Tavern 2846 NM 14, Madrid, 473-0743 Molly’s Kitchen & lounge 1611 Calle Lorca, 983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 984-8900 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Trail, 982-1851 The Palace Restaurant & Saloon 142 W. Palace Ave, 428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 986-0022 Pranzo Italian Grill 540 Montezuma Ave., 984-2645 Rouge Cat 101 W. Marcy St., 983-6603 San Francisco Street Bar & Grill 50 E. San Francisco St., 982-2044 Santa Fe Community Convention Center 201 W. Marcy St., 955-6705 Santa Fe Sol Stage & Grill 37 Fire Pl., solofsantafe.com Second Street Brewer y 1814 Second St., 982-3030

oPeRA

La Traviata Verdi’s indelible classic about a Parisian courtesan in a moral quandary returns in a revival of a 2009 staging by Laurent Pelly but with a new cast, now centering on soprano Brenda Rae, tenor Michael Fabiano, and baritone Roland Wood. 8 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.

ClASSICAl MuSIC

Santa Fe Chamber Music Festival Richard Savino: guitar recital, 6 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., no charge, 982-1890, santafechambermusic.com. Santa Fe Desert Chorale 2013 Summer Festival The Triumphs of Oriana: The Birth of the English Madrigal, 8 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $15-$50, 988-2282, desertchorale.org (encores Sunday and Monday). TGIF Santa Fe opera apprentices recital Arias, musical theater selections, and sacred music, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., call the SFO for more information, 986-5955.

IN CoNCeRT

Pat Burns The Santa Fe-based classical guitarist celebrates the release of his album Guitarra Intima del Río Grande, 7 p.m., Candyman Strings & Things, 851 St. Michael’s Dr., no charge, 983-5906. Tiempo libre Miami-based timba-music band, 8 p.m., the Lensic, $12-$42, ticketssantafe.org, 988-1234.

Second Street Brewer y at the Railyard 1607 Paseo de Peralta, 989-3278 Steaksmith at el Gancho 104-B Old Las Vegas Highway, 988-3333 Sweetwater Harvest Kitchen 1512-B Pacheco St., 795-7383 Taberna la Boca 125 Lincoln Ave., Suite 117, 988-7102 Thunderbird Bar & Grill 50 Lincoln Ave., 490-6550 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 Tortilla Flats 3139 Cerrillos Rd., 471-8685 The underground at evangelo’s 200 W. San Francisco St., 819-1597 upper Crust Pizza 329 Old Santa Fe Trail, 982-0000 Vanessie 427 W. Water St., 982-9966 Veterans of Foreign Wars 307 Montezuma Ave., 983-9045 Warehouse 21 1614 Paseo de Peralta, 989-4423 Zia Diner 326 S. Guadalupe St., 988-7008

theater/dance

All for Your Delight gala opening Scenes and songs from Shakespeare’s comedies; buffet reception 6 p.m.; pre-show music follows; performance 7:30 p.m.; outdoors, St. John’s College, 1160 Camino de Cruz Blanca, gala festivities $100 in advance; general admission $20 in advance or at the gate; students $12; ticketssantafe.org, 988-1234, through Sunday (see story, Page 34). Juan Siddi Flamenco theatre company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, Tuesdays-Sundays through Sept. 1. Secret Things Camino Real Productions presents Elaine Romero’s play about New Mexico Crypto-Jews, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $18, discounts available, 424-1601, Friday-Sunday through Aug. 25.

bookS/talkS

beyond the “tribal trend”: developing Proactive native american collaborations in Fashion Panel discussion on fashion designer Paul Frank’s work with the Museum of Contemporary Native Arts, 5-6 p.m., reception follows, 108 Cathedral Pl., 983-1666. dana: the cultivation of Generosity A talk by Jetsün Khandro Rinpoche, 7:30 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, 983-5022, $15, for more information visit lotusgardens.org. doug hocking The author signs copies of Massacre at Point of Rocks, 8 a.m.-5 p.m. today through Sunday, Eldorado Hotel & Spa, 309 W. San Francisco St., 988-4455. Fourth annual State of native arts Symposium Panel discussion on Art Quality: Getting Native Artists Into Mainstream Museums, 3-4:30 p.m., New Mexico History Museum, 113 Lincoln Ave., no charge, swaia.org. Museum of Indian arts & culture breakfast With the curators series Ceramist Virgil Ortiz discusses his latest series of work, eVOLution, 8:30-10 a.m., Museum Hill Café, 710 Camino Lejo, Milner Plaza, $35 advance tickets include breakfast and museum admission, 982-5057.

outdoorS

Santa Fe botanical Garden at Museum hill Open 9 a.m.-5 p.m. daily April-October, 10 a.m.-4 p.m. Tuesday-Sunday November-March, 715 Camino Lejo, $5, santafebotanicalgarden.org.

eventS

38th annual Wheelwright Museum of the american Indian auction Collectors’ Table 10-11:30 a.m., auction preview 10:30 a.m.-12:30 p.m., live auction 1-4 p.m.; plus, Native dancing and songs performed by Shelley Morningsong and Fabian Fontenelle 11 a.m.-1 p.m., 704 Camino Lejo, Museum Hill, for information call 989-1777 or 982-4636. best of Show ceremony and luncheon 11:30 a.m.-2 p.m., acknowledging Native artists participating in Indian Market, Santa Fe Community Convention Center, 201 W. Marcy St., call 983-5220 for tickets. diné weaving demonstrations With Gilbert Begay, 10 a.m.-4 p.m. today and Saturday, part of the exhibit They Wove for Horses: Diné Saddle Blankets, Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, by museum admission, 476-1250. Indian arts research center collection tour 2 p.m., School for Advanced Research, 660 Garcia St., $20, 954-7205.

native chic Jewelry Wheelwright Museum of the American Indian’s Case Trading Post artists showcase and special sales show, 9 a.m.-noon, under the demonstration tent on the museum patio, 704 Camino Lejo, Museum Hill, 982-4636, no charge. new Mexico brewers Guild IPa challenge 2013 Vote for your favorite of 16 New Mexico India pale ales, 4-8 p.m., Santa Fe Brewing Company, 37 Fire Pl., $25 in advance at holdmyticket.com, or call SFBC, 424-3333. old Friends, new Faces 2013 The Wheelwright Museum of the American Indian hosts a meet-and-greet with artists under the demonstration tent on the patio, 9 a.m.-noon, 704 Camino Lejo, Museum Hill, 982-4636, no charge. Previews of award-winning Indian Market art Ticketed sneak preview 5:30 p.m., free general preview 7:30 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., call Southwestern Association for Indian Arts for tickets, 983-5220.

nIGhtlIFe

(See Page 98 for addresses) bishop’s lodge ranch resort & Spa Jazz guitarist Pat Malone, 6-9 p.m., no cover. café café Los Primos Trio, traditional Latin rhythms, 6-9 p.m., no cover. ¡chispa! at el Mesón The Three Faces of Jazz and Friends, featuring Bryan Lewison drums, 7:30 p.m.-close, no cover. cowgirl bbQ Americana/blues guitarist Jim Almand, 5-7:30 p.m.; Gary Farmer and the Troublemakers, Texas roadhouse blues, 8:30 p.m.; no cover. el cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. el Farol The Boom Roots Collective CD-release tour kickoff, with DJ Dynamite Sol, 9 p.m., call for cover. hotel Santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Fiesta lounge at la Fonda R & B band The Pleasure Pilots, 8-11 p.m., no cover. la Posada de Santa Fe resort and Spa Nacha Mendez Duo, pan-Latin rhythms, 6:30-9:30 p.m., no cover. low ’n’ Slow lowrider bar at hotel chimayó de Santa Fe Jazz off the Plaza, Justin Bransford on bass, Robin Holloway on piano, and Diego Maestas on drums, 9:30 p.m.-close, no cover. Second Street brewery Hot Honey, singer/songwriters Lucy Barna, Paige Barton, and Lori Ottino, 6-9 p.m., no cover. Second Street brewery at the railyard Gypsy jazz group Swing Soleil, 7 p.m.-close, no cover. tiny’s Controlled Burn, classic rock and country covers, 8:30 p.m.-close, no cover. the underground at evangelo’s Reggae Dancehall Fridays Indian Market edition with Brotherhood Sound System and Walatowa Massive, 9 p.m., call for cover. vanessie Pianists Doug Montgomery, jazz and classics, 6-8 p.m.; Bob Finnie, pop standards piano and vocals, 8 p.m.-close; call for cover.

pasa week

Santa Fe Indian Market events

92nd Santa Fe Indian Market

7 a.m.-5 p.m. Saturday, Aug. 17 & 8 a.m.-5 p.m. Sunday, Aug. 18, works by more than 1,000 artists, live music, and food booths, the Plaza and surrounding areas.

native cinema Showcase

Free screenings Friday-Sunday, Aug. 16-18, venues: New Mexico History Museum, Institute of American Indian Arts Digital Dome, and Railyard Park, visit swaia.org for schedule.

best of Show ceremony and luncheon

11:30 a.m.-2 p.m. Friday, Aug. 16, acknowledging Native artists participating in Indian Market, Santa Fe Community Convention Center, 201 W. Marcy St., call 983-5220 for tickets.

Fourth annual State of native arts Symposium

3-4:30 p.m. Friday, Aug. 16, panel discussion on Art Quality: Getting Native Artists Into Mainstream Museums, New Mexico History Museum, 113 Lincoln Ave., no charge, swaia.org.

beyond the “tribal trend”: developing Proactive native american collaborations in Fashion

5-6 p.m. Friday, Aug. 16, panel discussion on fashion designer Paul Frank’s work with the Museum of Contemporary Native Arts, reception follows, 108 Cathedral Pl., 983-1666.

Previews of award-winning Indian Market art

5:30 p.m. ticketed sneak preview, Friday, Aug. 16, followed by a free general preview at 7:30 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., call Southwestern Association for Indian Arts for tickets, 983-5220.

Palace Portal artisans’ celebration

10 a.m.-5 p.m. Saturday and Sunday, Aug. 17-18, annual free event featuring live music, hand-crafted works, Native specialties food booths, traditional Native dances, and raffles, Palace of the Governors courtyard, enter through the Blue Gate on Lincoln Ave., 476-5200.

SWaIa children’s tent

9 a.m. to 5 p.m. Saturday and Sunday, Aug. 17-18, arts and crafts activities for kids (materials provided at no cost), Washington Ave. north of the Plaza, presented by Southwestern Association for Indian Arts.

extreme cartography

10 a.m. Saturday, Aug. 17, artist Steve Yazzie presents a painting demonstration followed by a discussion, Allan Houser Art Park, Museum of Contemporary Native Arts, 108 Cathedral Pl., no charge, 983-8900.

critical Indigenous Photographic exchange

10:30 a.m.-3:30 p.m. Saturday and Sunday, Aug. 17-18, Diné artist Will Wilson sets up a portrait studio utilizing a 19th-century wet collodion process to photograph select Native artists and art professionals, East Sculpture Garden, New Mexico Museum of Art, 107 W. Palace Ave. 476-5072.

lifetime achievement allan houser legacy and Povi’ka awards presentation 11:30 a.m. Saturday, Aug. 17, the market’s most prestigious annual honor is awarded to a Native artist, the Plaza.

Indian Market hip-hop Fashion Show

12:30-1 p.m. Saturday, Aug. 17, featuring a T-shirt line by Ehren Kee Natay and jewelry designs by Southwestern Association for Indian Arts artists, the Plaza.

buffalo thunder resort & casino cultural Stage

1 p.m. to 4 p.m., Saturday and Sunday, Aug. 17-18, featuring singer Radmilla Cody and hoop dancer/cane flutist Tony Duncan, the Plaza.

Indian Market live auction gala

5-9:30 p.m. Saturday, Aug. 17, dinner, entertainment, and art auction, La Fonda, 100 E. San Francisco St., call 983-5220 for tickets.

Zombie night in the Park

Dusk Saturday, Aug. 17, Native Cinema Showcase and SWAIA present Rodrick Pocowatchit’s film The Dead Can’t Dance, Railyard Park, Paseo de Peralta and S. Guadalupe St., no charge.

native american clothing contest

9 a.m.-noon Sunday, Aug. 18, traditional and contemporary Native American regalia in youth and adult categories, the Plaza, no charge.

continued on Page 103 PASATIEMPOMAGAZINE.COM

exhibitionism

A peek at what’s showing around town

Alan e. Lasiloo: Untitled, 2013, wood-fired ceramic. Robert Nichols Gallery (419 Canyon Road, 982-2145 ) presents an exhibit of new work by three contemporary Native ceramists: Diego Romero, Glen Nipshank, and Alan E. Lasiloo. Romero is known for including figurative imagery and biting social commentary in his pottery designs. Nipshank crafts smooth, organic vessels with a delicate use of color. Lasiloo’s work incorporates traditional Pueblo designs in contemporary pottery forms. There is a 5 p.m. reception on Friday, Aug. 16. Lasiloo gives demonstrations Friday to Sunday, Aug. 16-18, from 1 to 5 p.m.

nocona burgess: Half Moon Lakota, 2013, acrylic on canvas. Nocona Burgess paints soulful portraits of Native Americans and popular cultural icons. Tsaa’ Yumuh Kitu’ (Comanche for “change is good”) is an exhibition of new work by the artist that opens at Giacobbe-Fritz Fine Art (702 Canyon Road) on Friday, Aug. 16, with an artist meet and greet at q3:30 p.m., a talk at 4 p.m., and a reception at 5 p.m. Call 986-1156.

Patrick Dean hubbell: That Which Makes Up Space No. 2, 2013, acrylic on canvas. Patrick Dean Hubbell’s paintings incorporate Native designs and symbols and address themes of identity through a bold use of figurative and abstract imagery. A solo exhibit of his work, opens Friday, Aug. 16, with a 5 p.m. reception at Darnell Fine Art (640 Canyon Road). Call 984-0840.

mark Pack: Trickster, 2013, pencil and pen. Flying Fish Gallery and Studio (821 Canyon Road, 577-4747) presents an exhibition of Mark Pack’s drawings from his Birding series based on images and descriptions in field guides. The figurative imagery is a departure from Pack’s more abstract work. The show opens with a 5 p.m. reception on Friday, Aug. 16.

100

PASATIEMPO I August 16 -22, 2013

Jamison Chas banks: Louisiana Purchase: Permanent Exile, 2013, acrylic on panel. My Land is a contemporary Native American group show at Winterowd Fine Art that includes work by Jamison Chas Banks, Chris Pappan, and Melissa Cody. The multimedia exhibition is curated by artist Sylvester Hustito. My Land opens on Friday, Aug. 16, with a 6 p.m. reception. The gallery is at 701 Canyon Road. Call 992-8878.

At the GAlleries Adobe Gallery 221 Canyon Rd., 629-4051. Paintings by Pueblo and Navajo artists of the early 20th century; ceramic figures by the late Cochiti Pueblo artist Helen Cordero; Hopi and Zuni katsina dolls from the Tom Mittler estate; through August. Allá 102 W. San Francisco St., second floor, 988-5416. Los Alvarez — Allá y mas Allá, drawings, prints, and paintings by Antonio Alvarez Morán and B & W photographs by Manuel Alvarez Bravo, closing Friday, Aug. 16. Bellas Artes 653 Canyon Rd., 983-2745. Pozos Azules, work by textile artist Olga de Amaral, through Sept. 28. David Rothermel Contemporary Fine Art 616½ Canyon Rd., 575-642-4981. Inheritance Series, paintings by Rothermel, closing Sunday, Aug. 18. Evoke Contemporary 130-F Lincoln Ave., 995-9902. Retrospective of work by the late New Mexico landscape artist Louisa McElwain, through August. Gerald Peters Gallery 1011 Paseo de Peralta, 954-5700. The Royal Road: Artistic Impressions of El Camino Real, woodblock artist Leon Loughridge and poet John Macker, through Saturday, Aug. 17. Dwellings, new works by Christopher Benson, Tom Birkner, and Peri Schwartz; Beyond the Surface, works by John Felsing and Les Perhacs, through August. Heidi Loewen Porcelain Gallery 315 Johnson St., 988-2225. Loewen’s smoke-fired sculptures, through August. LewAllen Galleries at the Railyard 1613 Paseo de Peralta, 988-3250. Santa Fe’s Holy Trinity of Landscape Painting, works by John Fincher, Woody Gwyn, and Forrest Moses; paintings and sculpture by Nathan Oliveira; through Sept. 1. Peyton Wright Gallery 237 E. Palace Ave., 989-9888. Idioms, work by abstract artist Charles Green Shaw (1892-1974), through Sept. 3. Pop Gallery 142 Lincoln Ave., Suite 102, 820-0788. Soul of Science, drawings and paintings by Daniel Martin Diaz, through August. Dream Catchers, paintings by Joel Nakamura, through August. Santa Fe Clay 545 Camino de la Familia, 984-1122. Works by ceramicists Priscilla Mouritzen, Monica Rudquist, and Hide Sadohara, through Sept. 7. Santa Fe Public Library Main Branch, 145 Washington Ave. Recent Landscapes and Botanicals, photo-based archival pigment prints by Key Sanders, through August. Signature Gallery 102 E. Water St., 983-1050. Daylong painting and sculpting demonstrations by gallery artists, in conjunction with Indian Market, through Sunday, Aug. 18. TAI Gallery 1601-B Paseo de Peralta, 984-1387. Fushi, bamboo baskets by Fujinuma Noboru, through Aug. 24. Touching Stone Gallery 539 Old Santa Fe Trail, 988-8072. Two Generations of Master Tanba Pottery, works by Tadashi Nishihata and Haruna Nishihata, through Aug. 24. Vivo Contemporary 725-A Canyon Rd., 982-1320. Unfolded: Paper, Pages, Pen, works by Ilse Bolle, Joy Campbell, and Patty Hammarstedt, through Tuesday, Aug. 20.

William & Joseph Gallery 727 Canyon Rd., 982-9404. Rhythms in Geometry, new work by sculptor Laird Hovland, through August. Yares Art Projects 123 Grant Ave., 984-0044. Radiance + Reflection: Stain Paintings + Drawings, work by Jules Olitski (1922-2007); The Mujer Pegada Series, sculpture and works on paper by Manuel Neri; through Aug. 24.

MuseuMs & Art spAces refer to the daily calendar listings for special events. Museum hours subject to change on holidays and for special events. Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. Making Places, interdisciplinary installation by Linda Fleming and Michael S. Moore, through Sept. 22. Gallery hours available online at ccasantafe.org or by phone, no charge. El Rancho de las Golondrinas 334 Los Pinos Rd., 471-2261. Living history museum and historic paraje on El Camino Real, the Royal Road to Mexico City. Open 10 a.m.-4 p.m. Wednesday-Sunday through September. $8; seniors and teens $5; ages 12 and under no charge. Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Works from students of the museum’s 2013 Art & Leadership Programs for Girls and Boys, through Sept. 6 • Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land, through Sept. 8. Open 10 a.m.-5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Friday. $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; no charge for NM residents first Friday of each month. Museum of Contemporary Native Arts 108 Cathedral Pl., 983-1666. Changing Hands: Art Without Reservations 3/Contemporary Native North American Art From the Northeast and Southwest, group show • Steven J. Yazzie: The Mountain • Jacob Meders: Divided Lines; Cannupahanska Luger: Stereotype: Misconceptions of the Native American. Open 10 a.m.-5 p.m.; noon-5 p.m. Sunday; closed Tuesday. Adults $10; NM residents, seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250. They Wove for Horses: Diné Saddle Blankets, closing Sunday, Aug. 18 • What’s New in New: Recent Acquisitions, through 2013 • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. TuesdaySunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups free; NM residents no charge on Sundays; no charge for NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, Museum Hill, 476-1200. Let’s Talk About This: Folk Artists Respond to HIV/AIDS, collaborative community exhibit, through Jan. 5, 2014 • Tako Kichi: Kite Crazy in Japan, exhibit of traditional Japanese kites, through March 2014 • Plain Geometry: Amish Quilts, textiles from the collection and collectors, through Sept. 2 • New World Cuisine: The Histories of Chocolate, Mate y Más

• Multiple Visions: A Common Bond, collection of toys and folk art. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays; school groups no charge. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 982-2226. Beltrán-Kropp Peruvian Art Collection, exhibit of gift items, including a permanent gift of 60 art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, Peru’s ambassador to the U.S. (1944-1945), through May 27, 2014 • Stations of the Cross, works by New Mexico artists, through Sept. 2 • Metal and Mud — Out of the Fire, works by Spanish Market artists, through August • San Ysidro/St. Isidore the Farmer, bultos, straw appliqué, paintings on tin, and retablos • 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. Open 10 a.m.-5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; no charge for NM residents on Sundays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 476-5200. Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16, 2014 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9, 2014. Open 10 a.m.-5 p.m. TuesdaySunday; 5-8 p.m. Friday. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge for NM residents over 60 on Wednesdays; NM residents no charge on Sundays; free admission 5-8 p.m. Fridays.

New Mexico Museum of Art 107 W. Palace Ave., 476-5072. Peter Sarkisian: Video Works 1994-2011, installations, closing Sunday, Aug.18 • Shiprock and Mont St. Michel, Santa Fe photographer William Clift’s landscape studies, through Sept. 8 • Back in the Saddle, paintings, prints, photographs, and drawings of the Southwest, through Sept.15 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Friday. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents free on Sundays. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Pl., 988-8900. A Straight Line Curved, paintings by Helen Hardin (1943-1984), through September. Open 10 a.m.-5 p.m. TuesdaySunday. $10 admission. Poeh Museum Fashion designs by Patricia Michaels, through November. 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted. Rotunda Gallery State Capitol, Old Santa Fe Trail and Paseo de Peralta, 986-4589. New Mexico: Unfolding, group show of mixed-media fiber art, closing Friday, Aug. 16. SITE Santa Fe 1606 Paseo de Peralta, 989-1199. Enrique Martínez Celaya: The Pearl, site-specific installation, through Oct. 13. Open 10 a.m.5 p.m. Tuesday-Saturday; 10 a.m.-7 p.m. Friday; $10; seniors and students $5; 10 a.m.-noon Saturday no charge; Friday no charge. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13, 2014. Open 10 a.m.-5 p.m. Monday-Saturday, 1-5 p.m. Sunday.

Mimbres Momma, by helen hardin (1943-1984), pablita Velarde Museum of indian Women in the Arts, 213 cathedral place.

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In the wings MUSIC

39th Annual Santa Fe Bluegrass and Old Time Music Festival Headliners, Claire Lynch Band and Foghorn Stringband, New Mexico bands include Hard Road Trio, Lost Howlin’ Coyotes, and the Bill Hearne Trio, Friday-Sunday, Aug. 23-25, Santa Fe County Fairgrounds, $15-$40, three-day pass $50, southwestpickers.org. Santa Fe Concert Association season opener Guest soloists soprano Heidi Melton and tenor Brandon Jovanovich, 4 p.m. Sunday, Aug. 25, the Lensic, $25-$95, ticketssantafe.org, 988-1234, or the SFCA box office, 984-8759. Gala-opening party follows at a private residence (ticketed separately). Sylvia McNair The singer headlines Santa Fe Desert Chorale’s gala benefit; al fresco cocktail reception, dinner, live auction, and performance, 6 p.m. Thursday, Aug. 29, La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., call 988-2282 for information. Mariachi Extravaganza Annual concert in conjunction with Fiestas de Santa Fe, 7:30 p.m. Sunday, Sept. 1, Santa Fe Opera, 301 Opera Dr., $30-$65, 986-5900, santafeopera.org. Concierto de Mariachi Annual concert celebrating Fiestas de Santa Fe, 10 a.m. Wednesday, Sept. 4, the Lensic, $5, 988-1234, ticketssantafe.org. Michael Hearne’s 11th Annual Big Barn Dance Music Festival Lineup includes Sonny Throckmorton, Claude “Butch” Morgan, Jimmy Stadler, and South by Southwest, Thursday-Saturday, Sept. 5-7, Taos Ski Valley, details available online at michaelhearne.com. Donna Dean Country singer/songwriter, Jono Manson opens, 7:30 p.m. Friday, Sept. 6, The Music Room, Garrett’s Desert Inn, 311 Old Santa Fe Trail, $15 in advance online at brownpapertickets.com, $20 at the door. Melissa Etheridge Rock singer/songwriter, 7:30 p.m. Friday, Sept. 6, Santa Fe Opera, 301 Opera Dr., $44-$81, 986-5900. Santa Fe Symphony Featuring pianist Vadym Kholodenko and violinist Chee-Yun in a program of Rachmaninoff, Saint Saëns, and Sarasate, 4 p.m. Sunday, Sept. 8, pre-concert lecture 3 p.m., the Lensic, $22-$76, 988-1234, ticketssantafe.org. Maria de Barros Jazz and traditional Cape Verde coladeira singer, 7:30 p.m. Thursday, Sept. 12, the Lensic, $15-$35, ticketssantafe.org, 988-1234. Brian Hass Jazz pianist/composer, with percussionist Dave Wayne, 8 p.m. Thursday, Sept. 12, Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com. Neko Case Alt-country singer/songwriter, 7:30 p.m. Friday, Sept. 13, the Lensic, $29-$39, ticketssantafe.org 988-1234. Jerry Lopez Singer/songwriter, 7 p.m. Saturday, Sept. 14, the Lensic, $20-$35, 988-1234, ticketssantafe.org. McFish Duo Harpsichordist Kathleen McIntosh and violist Marlow Fisher perform music of Bach, Brouwer, and Alex Shapiro, 3 p.m. Sunday, Sept. 15, Santa Fe Woman’s Club, 1616 Old Pecos Trail, $5 at the door, for more information call 670-8273.

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PASATIEMPO I August 16-22, 2013

David Finckel, Philip Setzer, and Wu Han Beethoven, Shostakovich, and Dvoˇrák piano trios, 7:30 p.m. Monday, Sept. 16, the Lensic, $20-$50, 988-1234, ticketssantafe.org. Santa Fe Pro Musica season opener Conrad Tao: piano recital, music of Bach, Ravel, and Rachmaninoff, 7:30 p.m. Thursday, Sept. 19; the orchestra performs a program of Haydn, Shostakovich, and Mozart, featuring Tao and trumpeter Brian Shaw, Saturday and Sunday, Sept. 21-22, the Lensic, $20-$65, 988-1234, ticketssantafe.org. Shortgrass Music Festival Celtic music by Adam Agee and Jon Sousa, Texas country-rocker Joe Ely, and violin/cello duo Parnas, Friday-Sunday, Sept. 20-22, Cimarron, $10 and $20 in advance and at the door, ages 18 and under no charge, 888-376-2417, shortgrassfestival.com. Notes on Music Illustrated presentations; conductor Richard Strauss, with special guest soprano Gina Browning, Tuesday, Sept. 24; pianist/conductor Joseph Illick on Verdi, Tuesday, Oct. 22; United Church of Santa Fe, 1804 Arroyo Chamiso Rd., $20, 988-1234, ticketssantafe.org. Natalie Maines Singer/songwriter, 7 p.m. Friday, Sept. 27, Santa Fe Opera, 301 Opera Dr., $42-$94, 986-5900, santafeopera.org.

Upcoming events Canticum Novum Chorus & Orchestra The tenth season opens with music of Pergolesi, Mendelssohn, and Donizetti, performers include soprano Cecilia Leitner and baritone Tim Wilson, 4 p.m. Saturday and Sunday, Oct. 5-6, Scottish Rite Center, 463 Paseo de Peralta, Oliver Prezant pre-concert lectures on both dates, $25 and $35 in advance and at the door, discounts available, 988-1234, ticketsantafe.org Yuja Wang Pianist; music of Prokofiev, Chopin, and Stravinsky, 7:30 p.m. Thursday, Oct. 10, the Lensic, $25-$95, 988-1234, ticketssantafe.org. World Blues Tour Featuring Taj Mahal, Vusi Mahlasela, Fredericks Brown, and Deva Mahal, 7:30 p.m. Sunday, Oct. 13, the Lensic, $25-$55, 988-1234, ticketssantafe.org. Steve Vai Rock guitarist, 7:30 p.m. Thursday, Oct. 24, the Lensic, $29-$51, ticketssantafe.org, 988-1234.

THEATER/DANCE

Daniel Ulbricht Dance Company Contemporary and modern ballet programs, Friday and Saturday, Aug. 23-24, the Lensic, $20-$75, Santa Fe Concert Association box office, 984-8759, or ticketssantafe.org, 988-1234. Starting Here, Starting Now Greer Garson Theatre’s student production of Richard Maltby Jr. and David Shire’s musical revue, Friday-Sunday, Aug. 23-Sept.1, $10, 988-1234, ticketssantafe.org. A Veritable Verisimilitude of Vegas Voluptuousness or A Fracking Good Time or Challenging Chicken Choices in the Chintzy Chaparral 2013 Fiesta Melodrama, an annual sendup of all things Santa Fe; opening Wednesday, Aug. 28, with a street party honoring the Fiesta Court, continuing through Sept. 8,

singer/songwriter neko case performs at the Lensic, sept. 13.

Santa Fe Playhouse, 142 E. DeVargas St., street party $30, all other performances $20, 988-4262. Revelations A play by the late James Galloway presented by Sandia Performing Arts; Saturday and Sunday, Aug. 31-Sept. 1, Teatro Paraguas, 3205 Calle Marie, $15, discounts available, 424-1601. Good People Santa Fe Performing Arts presents the play by David Laindsay-Abaire, 7:30 p.m. Thursday-Saturday, 4 p.m. Sunday, Sept. 19-29, 1050 Old Pecos Trail, $20, discounts available, holdmyticket.com, call 982-7992 for reservations, Sept. 18, dress rehearsal, pay-what-you-wish. Vanya and Sonia and Masha and Spike Fusion Theater presents Christopher Durang’s comedy, Friday and Saturday, Sept. 27-28, $20-$40, student discounts available, 988-1234, ticketssantafe.org. Hungarian State Folk Dance Ensemble 7:30 p.m. Thursday, Oct. 3, the Lensic, $25-$45, 988-1234, ticketssantafe.org. Minds Interrupted: Stories of Lives Affected by Mental Illness National Alliance on Mental Illness and Compassionate Touch Network present personal stories written and presented by residents from Santa Fe and surrounding areas, 7 p.m. Wednesday, Oct. 9, the Lensic, general admission $15, reserved seats $50, 988-1234, ticketssantafe.org.

HAPPENINgS

Theater grottesco’s 30th-Birthday Summer Bash Dinner, drinks, games, prizes, and silent auction, 5-8 p.m. Saturday, Aug. 24, Jackalope, 2820 Cerrillos Rd., $20 in advance, $25 at the door, 474-8400, theatergrottesco.org. Fiestas de Santa Fe Annual community celebration (since 1721) running Aug. 31, through Sept. 8; arts & crafts market; concerts; historic processions and reenactments; burning of Zozobra Thursday, Sept. 5; for schedule and details visit santafefiesta.org. Station to Station National, train-traveling, multimedia public-art event; including singer/songwriters Cat Power and Nite Jewel and performance artist Doug Aitken, 6-9:30 p.m. Wednesday, Sept. 18, Lamy Depot, 33 Old Lamy Trail, $25 in advance online at stationtostationlamy.eventbrite.com. 23rd Annual Santa Fe Wine & Chile Festival Luncheons, tours, and seminars, Sept. 25-29, visit santafewineandchile.org or call 438-8060 for tickets and details. Lannan Foundation: In Pursuit of Cultural Freedom series Tim DeChristopher, climate justice activist and co-founder of Peaceful Uprising, in conversation with Terry Tempest Williams, 7 p.m. Wednesday, Sept. 25, the Lensic, $6, students $3, ticketssantafe.org, 988-1234. A Little Magic Under the Big Top Benefit gala for Big Brothers Big Sisters; dinner prepared by Chef Charles Dale of Bouche French Bistro, art auction, and a performance by circus arts and puppetry troupe Wise Fool New Mexico, 6 p.m. Saturday, Oct. 5, Buffalo Thunder Resort & Casino, Pojoaque Pueblo off U.S. 84/285, call 983-8360 or visit bbbsnorthernnm.org for tickets and details. Paul Hawken Environmental lecturer, 7 p.m. Tuesday, Oct. 8, the Lensic, $15-$30, ticketssantafe.org, 988-1234.

pasa week

17 Saturday

Secret Things Camino Real Productions presents Elaine Romero’s play about New Mexico Crypto-Jews, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $18, discounts available, 424-1601, Friday-Sunday through Aug. 25.

gallery/museum openings

BooKs/talKs

continued from Page 99

estrada studios Plaza Mercado, 112 W. San Francisco St., Suite 302, 577-3535. Mixed-media work by Ken Estrada, open studio 10 a.m.-5 p.m. green river pottery 1710 Lena St., 795-7755. Studio sale of stoneware ceramics by Theo Helmstadter, 9 a.m.-5 p.m. today and Sunday. Keshi, the Zuni Connection 227 Don Gaspar Ave., 989-8728. Works by Zuni Pueblo artists: Jeff Shetima, reception 11 a.m.-1 p.m.; Jackie Cooeyate and Norman Cooeyate, reception 2-4 p.m. (see story, Page 62). little Bird at loretto 211 Old Santa Fe Trail, 820-7413. Gallery artists’ group show, reception 4-7 p.m. pop gallery 142 Lincoln Ave., Suite 102, 820-0788. Dream Catchers, paintings by Joel Nakamura, reception 6 p.m., through September. stan natchez studio 201 E. Palace Ave., 231-7721. Open studio, reception 5-7 p.m.

opera

Oscar A new opera by Theodore Morrison focusing on Oscar Wilde’s trial for indecency and his ensuing imprisonment in Reading Gaol. Countertenor David Daniels portrays the title character, here less a study in flamboyant wit than in shattered defeat. 8 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.

ClassiCal musiC

santa Fe Chamber music Festival Free 10 a.m. youth concert with timba-music band Tiempo Libre; 6 p.m. concert, music of Bach, Benjamin, and Vivaldi, performers include harpsichordist Kathleen McIntosh, violinist William Preucil, and Orion String Quartet, the Lensic, tickets available at 982-1890, santafechambermusic.com, or 988-1234, ticketssantafe.org.

in ConCert

Calle 66 Salsa band, free salsa lesson 8:15 p.m., music 9 p.m.-12:30 a.m., La Tienda Performance Space, 7 Caliente Rd. $10, presented by the Vista Grande Social Club, 603-0123 or 570-0707. southern red Drum group 10 a.m.-1 p.m., under the portal, Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 476-1250, continues Sunday, no charge.

theater/DanCe

All for Your Delight Scenes and songs from Shakespeare’s comedies, 7:30 p.m. outdoors at St. John’s College, 1160 Camino de Cruz Blanca, $20 in advance or at the gate, students $12, ticketssantafe.org, 988-1234 concludes Sunday (see story, Page 34). Buffalo thunder resort & Casino Cultural stage Featuring singer Radmilla Cody and hoop dancer/cane flutist Tony Duncan, 1 p.m. to 4 p.m. today and Sunday, the Plaza. Juan siddi Flamenco theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, Tuesdays-Sundays through Sept. 1. The Last Five Years Warehouse 21 and LifeSongs Productions present the musical, 2 p.m., 1614 Paseo de Peralta, $12, discounts available, 670-4854, concludes Sunday.

extreme Cartography Artist Steve Yazzie presents a painting demonstration followed by a discussion, 10 a.m., Allan Houser Art Park, Museum of Contemporary Native Arts, 108 Cathedral Pl., no charge, 983-8900. native american literary arts tent Hosted by Collected Works Bookstore, 7 a.m.-5 p.m. today and Sunday, the Plaza. n. scott momaday The author discusses the Kiowa Five artists’ contribution to contemporary Native art, 3 p.m., Zane Bennett Contemporary Art, 435 S. Guadalupe St., 982-8111 (see story, Page 66). meet the native museum Directors: new Visions for native arts Panel discussion with museum directors from around the country, 4-5 p.m., Museum of Contemporary Native Arts, 108 Cathedral Pl., no charge, 983-8900. Vice Versa: traditional/Contemporary Panel discussion; 2-3:30 p.m., in conjunction with the Museum of Contemporary Native Arts exhibit Art Without Reservation 3/Contemporary Native North American Art From the Northeast and Southeast, Selected Works, MCNA, 108 Cathedral Pl., no charge, 983-8900.

eVents

92nd santa Fe indian market Works by more than 1,000 artists, live music, and food booths, 7 a.m.-5 p.m., the Plaza and surrounding areas. allan houser compound open house 10 a.m.-4 p.m., curator-guided archive tours of the house, 10-acre sculpture garden, and gallery 11 a.m. and 2:30 p.m., call 471-1528 for directions and information. Critical indigenous photographic exchange 10:30 a.m.-3:30 p.m. today and Sunday, Diné artist Will Wilson sets up a portrait studio using a 19th-century wet collodion process to photograph select Native artists, East Sculpture Garden, New Mexico Museum of Art, 107 W. Palace Ave. 476-5072 (see story, Page 72). indian market hip-hop Fashion show Featuring a T-shirt line by Ehren Kee Natay and jewelry designs by Southwestern Association for Indian Arts artists, 12:30-1 p.m., the Plaza. indian market live auction gala Dinner, entertainment, and art auction, 5-9:30 p.m., La Fonda, 100 E. San Francisco St., tickets available by calling 983-5220. live painting performance Bunky Echo-Hawk, 2-3 p.m., Zane Bennett Contemporary Art, 435 S. Guadalupe St., 982-8111 (see story, Page 66). ninth annual santa Fe pow Wow Dancers, drummers, singers, and artists’ booths, with Host Northern Drum Keres Nation and Host Southern Drum Thunder Crew, gourd dancing 5 p.m., grand entry 7:30 p.m., intertribal dancing until 10:30 p.m., Genoveva Chavez Community Center, 3221 Rodeo Rd., $5, discounts available, 995-4009. palace portal artisans’ Celebration Annual free event featuring live music, hand-crafted works, Native specialties food booths, traditional Native dances, and raffles, 10 a.m.-5 p.m. today and Sunday, Palace of the Governors courtyard, enter through the Blue Gate on Lincoln Ave., 476-5200.

Joanne Shenandoah in concert at Allan Houser Studio and Sculpture Gardens, Sunday, Aug. 18

santa Fe artists market 8 a.m.-1 p.m. Saturdays at Railyard Park across from the Farmers Market, through November, 310-1555. santa Fe Farmers market 7 a.m.-noon; 1607 Paseo de Peralta, 983-4098. santa Fe opera insider Days Opera Guild members offer insights into productions and behind-the-scenes processes at no charge; refreshments 8:30 a.m., discussion and backstage tour 8:45 a.m., Saturdays through Aug. 24, meet at the box office, 986-5900, visit santafeopera.org for complete schedule of community events. santa Fe society of artists show 9 a.m.-5:30 p.m., First National Bank parking lot on W. Palace Ave., across from the New Mexico Museum of Art, weekends through Oct. 20. swingin’ the odd Fellows hall Cathy Faber’s Swingin’ Country Band swing dance series, 7-10 p.m., 1125 Cerrillos Rd., $15 at the door, cathyfaber.com. Zombie night in the park Native Cinema Showcase and SWAIA present a screening of Rodrick Pocowatchit’s film The Dead Can’t Dance, dusk, Railyard Park, Paseo de Peralta and S. Guadalupe St., no charge, zombie costumes encouraged.

nightliFe

(See Page 98 for addresses) Café Café Los Primos Trio, traditional Latin tunes, 6-9 p.m., no cover. ¡Chispa! at el mesón Flamenco Conpaz, 7 p.m.-close, call for cover. Cowgirl BBQ Local Native duo Indigie Femme, 2-5 p.m.; rock and blues band The Mud Ponies, 8:30 p.m.-close; no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. la Fiesta lounge at la Fonda R & B band The Pleasure Pilots, 8 p.m., no cover.

la posada de santa Fe resort and spa Jazz vocalist Whitney Carroll Malone, bassist Asher Barreras, and guitarist Pat Malone, 6-9 p.m., no cover. second street Brewery Railyard Reunion Band, bluegrass, 6-9 p.m., no cover. second street Brewery at the railyard Americana band Boris & The Salt Licks, 7-10 p.m., no cover. sweetwater harvest Kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover. tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover. the underground at evangelo’s DJ Dynamite Sol’s video jukebox, 9 p.m., call for cover. Vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; Jay Boy Adams, Zenobia, and Mister Sister, R & B, 8 p.m.; call for cover.

18 Sunday gallery/museum openings

allan houser sculpture gardens tour Open house 10 a.m.-5 p.m., curator-guided tours of the house, 10-acre sculpture garden, and gallery, 11 a.m. and 2:30 p.m., call 471-1528 for directions and information. Keshi, the Zuni Connection 227 Don Gaspar Ave., 989-8728. Zuni Pueblo fetish carvers the Quam family, including Laura, Andrew, and Georgette Quam, and Reynold Lunasee, reception 11 a.m.-2 p.m. (see story, Page 62). little Bird at loretto 211 Old Santa Fe Trail, 820-7413. Gallery artists’ demonstrations 8 a.m.-7 p.m. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM

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19 Monday

Scarlett’s Antique Shop and Gallery 225 Canyon Rd., 983-7092. Folk artist Sylvia Martinez Johnson demonstrates her techniques, 9:30 a.m.-5 p.m.

operA

La Donna del Lago This rarely encountered melodramma by Rossini, based on Sir Walter Scott’s The Lady of the Lake, receives an underwhelming, kilt-crammed production that is redeemed by marvelous bel canto singing from mezzo-sopranos Joyce DiDonato and Marianna Pizzolato, as well as tenor Lawrence Brownlee. 8 p.m., Santa Fe Opera, 301 Opera Dr., call the box office for ticket information, 986-5900.

operA

Santa Fe opera Apprentice Showcase Scenes Including Strauss’s Elektra, Handel’s Giulio Cesare, and Britten’s Billy Budd, 8 p.m., 301 Opera Dr., $7 and $21, 986-5900.

clASSicAl muSic

Jake Heggie & Friends Pianist/composer, with soprano Heidi Stober, mezzo-soprano Susanne Mentzer, and tenor William Burden, 4 p.m., Scottish Rite Center, 463 Paseo de Peralta, $40, ticketssantafe.org, 988-1234. Santa Fe chamber music Festival Music of Beethoven, Widmann, and Thuille, performers include pianist Garrick Ohlsson, cellist Eric Kim, and clarinetist Patrick Messina, 6 p.m., the Lensic, tickets available at 982-1890, santafechambermusic.com, or ticketssantafe.org, 988-1234. Santa Fe Desert chorale 2013 Summer Festival The Triumphs of Oriana: The Birth of the English Madrigal, 8 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $15-$50, 988-2282, desertchorale.org, finale Monday. Schola cantorum of Santa Fe Songs of a Summer Evening, 7 p.m., Santuario de Guadalupe, 417 Agua Fría St., no charge, schola-sf.org, 474-2815.

in concert

Joanne Shenandoah The Iroquois singer/composer performs in honor of Anna Marie Houser, 3 p.m., Allan Houser Studio and Sculpture Gardens, no charge, call 471-1528 for directions. Southern red Drum Group 10 a.m.-1 p.m., under the portal, Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 476-1250, no charge.

tHeAter/DAnce

All for Your Delight Scenes and songs from Shakespeare’s comedies, 7:30 p.m., outdoors at St. John’s College, 1160 Camino de Cruz Blanca, $20 in advance or at the gate, student discounts available, 988-1234, ticketssantafe.org (see story, Page 34). Buffalo thunder resort & casino cultural stage 1 p.m. to 4 p.m., featuring singer Radmilla Cody and hoop dancer/cane flutist Tony Duncan, the Plaza. Juan Siddi Flamenco theatre company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1. The Last Five Years Warehouse 21 and LifeSongs Productions present the musical, 2 and 7 p.m., 1614 Paseo de Peralta, $12, discounts available, call 670-4854 for tickets. Secret Things Camino Real Productions presents Elaine Romero’s play about New Mexico Crypto-Jews, 2 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $18, discounts available, 424-1601, Friday-Sunday through Aug. 25.

BookS/tAlkS

Alfred Young man The educator discusses his experiences at Institute of American Indian Arts, his writing, and his classes on contemporary Native art, 2 p.m., Zane Bennett Contemporary Art, 435 S. Guadalupe St., 982-8111 (see story, Page 66). contemporary indian painters movement Gallery panel discussion in conjunction with the exhibit Native Vanguard: Contemporary Masters, moderated by Amber-Dawn Bear Robe,

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PASATIEMPO I August 16-22, 2013

clASSicAl muSic

Santa Fe chamber music Festival Music of Gesualdo, Mozart, and Schumann, performers include Santa Fe Desert Chorale, arciliuto player Richard Savino, and violinist Ida Kavafian, 6 p.m., the Lensic, tickets available at santafechambermusic.com, 982-1890, or 988-1234, ticketssantafe.org. Santa Fe Desert chorale 2013 Summer Festival The Triumphs of Oriana: The Birth of the English Madrigal, 8 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $15-$50, 988-2282, desertchorale.org.

in concert

Santa Fe Bandstand Roots-rock duo Man No Sober, 6 p.m.; R & B band The Pleasure Pilots, 7:15 p.m.; the Plaza, series continues through Aug. 23. L’opera, by C.J. Wells, GF Contemporary, 707 Canyon Rd.

3-5 p.m., including artists George Longfish, Armand Lara, and Ramona Sakiestewa, Zane Bennett Contemporary Art, 435 S. Guadalupe St., 982-8111 (see story, Page 66). native American literary Arts tent Hosted by Collected Works Bookstore, 8 a.m.-5 p.m., the Plaza.

outDoorS

Wildflower walk Join Hyde Memorial State Park volunteer Ken Collins on a 2-mile round trip, 10 a.m., Hyde Park Rd., $5 per vehicle, 983-7175, nmparks.com.

eventS

92nd Santa Fe indian market 8 a.m.-5 p.m., works by more than 1,000 artists, live music, and food booths, the Plaza and surrounding areas. Allan Houser compound tour Open house 10 a.m.-5 p.m., guided tours by artist Phillip M. Haozous 11 a.m. and 1:30 p.m.; curator-guided archive tours of the house, 10-acre sculpture garden, and gallery 11 a.m. and 2:30 p.m.; meet-and-greet with Anna Marie Houser 1-3 p.m., call 471-1528 for directions and information. critical indigenous photographic exchange 10:30 a.m.-3:30 p.m., Diné artist Will Wilson sets up a portrait studio using a 19th-century wet collodion process to photograph select Native artists, East Sculpture Garden, New Mexico Museum of Art, 107 W. Palace Ave. 476-5072 (see story, Page 72). palace portal Artisans’ celebration Annual free event featuring live music, hand-crafted works, Native specialties food booths, traditional Native dances, and raffles, 10 a.m.-5 p.m., Palace of the Governors courtyard, enter through the Blue Gate on Lincoln Ave., 476-5200.

railyard Artisans market 10 a.m.-4 p.m.; live music: Gerry Carthy, tenor guitar and flute, 10 a.m.-1 p.m.; jazz saxophonist Brian Wingard, 1-4 p.m.; Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta. Santa Fe Society of Artists Show 9 a.m.-5:30 p.m., First National Bank parking lot on W. Palace Ave., across from the New Mexico Museum of Art, weekends through Oct. 20.

niGHtliFe

(See Page 98 for addresses) Agoyo lounge at the inn on the Alameda Jazz guitarist Pat Malone, 5-7 p.m., no cover. café café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover. cowgirl BBQ Joe West & Friends, strange country, noon-3 p.m.; Americana singer/ songwriter Susan Herndon, 8 p.m.; no cover. the Den at coyote café Jazz singer Faith Amour’s trio, 6:30 p.m., no cover. el Farol Nacha Mendez, pan-Latin chanteuse, 7 p.m., no cover. evangelo’s Tone & Company, R & B, 8:30 p.m., no cover. la Fiesta lounge at la Fonda Classic movie night, 6-10 p.m., no cover. la posada de Santa Fe resort and Spa Wily Jim, Western swingabilly, 6-9 p.m., no cover. Second Street Brewery at the railyard Americana band Backwood Benders, 1-4 p.m., no cover. the underground at evangelo’s Rob-A-Lou’s Rockabilly Sunday Nights, 9 p.m., call for cover. upper crust pizza Americana guitarist Ray Matthew, 6 p.m., no cover. vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.

BookS/tAlkS

1929: Annus mirabilis, a Year of modern Art Lecture by author Lois Rudnick, 6 p.m., Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., $5, 946-1039. . Good Words: poetry by luci tapahonso, Suzan Shown Harjo, and Sara marie ortiz A Southwest Seminars lecture with the poets, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775. new mexico museum of Art gallery talk The summer series continues with John Flax, Theater Grottesco founding artistic director, 12:15-1 p.m., 107 W. Palace Ave., by museum admission, 476-5072.

niGHtliFe

(See Page 98 for addresses) cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. la Fiesta lounge at la Fonda Country band Sierra, 7:30 p.m.-close, no cover. tiny’s The Santa Fe Great Big Jazz Band, 7 p.m.-close, no cover. upper crust pizza Gerry Carthy, tenor guitar and flute, 8 p.m.-close, no cover. vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.

20 Tuesday in concert

Santa Fe Bandstand Country-rock band Broomdust Caravan, 6 p.m.; Jimmy Stadler Band, Americana/rock, 7:15 p.m.; the Plaza, series continues through Aug. 23, santafebandstand.org.

tHeAter/DAnce

Juan Siddi Flamenco theatre company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, ticketssantafe.org, 988-1234, TuesdaysSundays through Sept. 1.

books/TALks

TheATeR/dAnCe

Cindy Zimmerman The author reads from and signs copies of A Woman of Interest, 5 p.m., Garcia St. Books, 376 Garcia St., 986-0151 (see Subtexts, Page 16). kate Wingert-Playdon The author reads from and signs copies of John Gaw Meem at Acoma: The Restoration of San Esteban del Rey Mission, 6 p.m. Collected Works Bookstore, 202 Galisteo St., 988-4226.

Juan siddi Flamenco Theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, 988-1234, ticketssantafe.org, TuesdaysSundays through Sept. 1.

books/TALks

santa Fe Art institute Monthly open studios Meet-and-greet with writers- and artists-in-residence, 6 p.m., University of Art & Design, 1600 St. Michael’s Dr., 424-5050.

evenTs

santa Fe Farmers Market 7 a.m.-noon, 1607 Paseo de Peralta, 983-4098. santa Fe Farmers Market on the southside 3-6 p.m., Santa Fe Place Mall, Zafarano Dr. entrance, 913-209-4940.

evenTs

Deceptive Practice: The Mysteries and Mentors of Ricky Jay Molly Bernstein’s documentary closes the Santa Fe Jewish Film Festival; in addition, magician Max Krause performs live, 7 p.m., The Screen, SFUA&D, 1600 St. Michaels Dr., $12 in advance, $15 at the door, santafejff.org, 216-0672 (see story, Page 80).

nighTLiFe

(See Page 98 for addresses) ¡Chispa! at el Mesón Argentine Tango Milonga, 7:30 p.m.-close, call for cover. Cowgirl bbQ Texas outlaw-country band Peewee Moore and the Dreadful Awful Snakes, 8 p.m., no cover. el Farol Canyon Road Blues Jam with Tiho Dimitrov, Brant Leeper, Mikey Chavez, and Tone Forrest, 8:30 p.m.-midnight, no cover. La Fiesta Lounge at La Fonda Country band Sierra, 7:30 p.m.-close, no cover. Low ’n’ slow Lowrider bar at hotel Chimayó de santa Fe Country-rock band Broomdust Caravan, 8:30 p.m.-close, no cover. second street brewery at the Railyard Acoustic open-mic nights with Case Tanner, 7:30-10:30 p.m., no cover. Tiny’s Mike Clymer of 505 Bands’ acoustic open-mic night, 8:30 p.m.-close, no cover. The Underground at evangelo’s Optamystiks karaoke, 9 p.m., call for cover. vanessie Pianists Doug Montgomery, 6-8 p.m.; David Geist, 8 p.m.-close; call for cover.

21 Wednesday

nighTLiFe

Aaron Payne Fine Art shows work by Fritz Scholder (1937-2005), 213 E. Marcy St.

oPeRA

Grand Duchess of Gerolstein Offenbach’s operetta about military shenanigans is mighty slight stuff, but Lee Blakeley has directed it to a fare-thee-well, the cast sings and dances with frothy élan, and mezzo-soprano Susan Graham invests it with impressive star power. 8 p.m., Santa Fe Opera, 301 Opera Dr., tickets available at the box office, 986-5900.

in ConCeRT

Railyard Plaza summer Concert series Singer/songwriters Craig Carothers and Don Henry, 5-9 p.m., 1607 Paseo de Peralta, no charge. santa Fe bandstand Americana duo Terri Hendrix & Lloyd Maines, 6 p.m.; Christina Herr & Wild Frontier, Americana/alt-country/rock ’n’ roll blend, 7:15 p.m.; the Plaza, santafebandstand.org, series continues through Aug. 23.

TheATeR/dAnCe

Juan siddi Flamenco Theatre Company 8 p.m., The Lodge at Santa Fe, $25-$55, discounts available, 988-1234, ticketssantafe.org, Tuesdays-Sundays through Sept. 1.

books/TALks

brainpower & brownbags lecture Jeff Laing discussing That Championship Season (1888): The Santa Fe Ancients’ Pennant Race of the New Mexico Baseball League, noon-

12:45 p.m., Meem Community Room, Fray Angélico Chávez History Library, 120 Washington Ave., no charge, 476-5200. monthly series. dharma talk With Laurie Leitch, 5:30 p.m., Upaya Zen Center, 1404 Cerro Gordo Rd., no charge, 986-8518.

nighTLiFe

(See Page 98 for addresses) ¡Chispa! at el Mesón Tierra Soniquete, flamenco and jazz duo J.Q Whitcomb on trumpet and Joaquin Gallegos on guitar, 7:30 p.m.-close, no cover. Cowgirl bbQ Folk rockers The Bus Tapes, 8 p.m., no cover. el Farol Pan-Latin chanteuse Nacha Mendez with Santastico, 8 p.m.-close, no cover. La Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. La Fiesta Lounge at La Fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. The Pantry Restaurant Acoustic guitar and vocals with Gary Vigil, 5:30-8 p.m., no cover. Tiny’s Mike Clymer of 505 Bands’ electric jam, 8:30 p.m.-close, no cover. vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover.

22 Thursday oPeRA

in ConCeRT

david berkeley Singer/songwriter, doors open at 7:30 p.m., show 8 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, $15, discounts available, 982-1338. santa Fe bandstand Radio la Chusma, Latin reggae, 6 p.m.; Americana/roots/country band Imperial Rooster, 7:30 p.m.; the Plaza, santafebandstand.org, series continues through Aug. 23. santa Fe Music Collective Café The jazz series continues with the Dmitri Matheny Group, fluegelhornist Matheny with pianist Bert Dalton, bassist Milo Jaramillo, and percussionist John Trentacosta, 7 p.m., Museum Hill Café, 710 Camino Lejo, Milner Plaza, $20, 983-6820.

(See Page 98 for addresses) ¡Chispa! at el Mesón Jazz pianist Chris Ishee, 7:30 p.m., no cover. Cowgirl bbQ DK & the Affordables, jive-jumping roots music, 8 p.m., no cover. evangelo’s Rolling Stones tribute band Little Leroy and His Pack of Lies, 9 p.m., call for cover. La boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. La Fiesta Lounge at La Fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. La Posada de santa Fe Resort and spa Pat Malone Jazz Trio, with Kanoa Kaluhwa on saxophone, Jon Gagan on bass, and Malone on archtop guitar, 6-9 p.m., no cover. Low ’n’ slow Lowrider bar at hotel Chimayó de santa Fe Gerry Carthy, tenor guitar and flute, 8 p.m., call for cover. The Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m.-close, no cover. second street brewery Bluesman Kenny Skywolf and his trio, 6-8 p.m., no cover. second street brewery at the Railyard Roots-rock guitarist Jono Manson, 6-8 p.m., no cover. Tiny’s Hot Honey, singer/songwriters Lucy Barna, Paige Barton, and Lori Ottino, 8 p.m.-close, no cover. The Underground at evangelo’s Metal night with Carrion Kind, Lungs, and Distances, 9 p.m., call for cover. vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close; no cover.

▶ Elsewhere albuquErquE Museums/Art spaces

Albuquerque Museum of Art & history 2000 Mountain Rd. N.W., 505-243-7255. Estampas de la Raza: Contemporary Prints From the Romo Collection, through Sept. 29 • Changing Perceptions of the Western Landscape, contemporary group show, through Sept. 1 • Landscape Drawings From the Collection, through Oct. 27. Open 9 a.m.-5 p.m. Tuesday-Sunday; adults $4 ($1 discount for NM residents); seniors $2; children ages 4-12 $1; 3 and under no charge; the first Wednesday of the month and 9 a.m.-1 p.m. Sundays no charge. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM

105

La Cienega/La Cieneguilla Studio Tour Artists interested in participating in the annual tour held Thanksgiving weekend can contact Lee Manning for information, 699-6788, lensandpens@comcast.net. New Mexico Arts 2013 Purchase Initiative Artwork (ranging from $1,000 to $40,000) sought from artists of all media residing in Arizona, Colorado, New Mexico, Oklahoma, and Texas; galleries located in these states may submit work by artists regardless of residency; submission deadline 11:59 p.m. Monday, Sept. 23; application and selection process online at callforentry.org. Pojoaque River Art Tour Area artists are invited to join the annual studio tour Sept. 21-22; pojoaqueriverarttour.com, 455-3496.

Filmmakers/Scribes

Paintings by Stan Natchez, at Stan Natchez Studio, 201 E. Palace Ave.

Indian Pueblo Cultural Center 240112th St. N.W., 866-855-7902. Challenging the Notion of Mapping, Zuni map-art paintings, through August. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50.

Events/Performance

Slow Down, Albuquerque Ensemble Chatter performs Morton Feldman’s Piano and String Quartet, 7 p.m., Friday, Aug. 16, The Kosmos, 1715 Fifth St. N.W., $20, discounts available, chatterchamber.org. Chatter Sunday Judith Gordon performs Schubert’s Piano Sonata in B-flat, 10:30 a.m. Sunday, Aug. 18, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterchamber.org.

angel fire

Music From Angel Fire 7 p.m. Friday, Aug. 16, composer-in-residence Chick Corea opens the 30th season; also, performers including violinist Ida Kavafian, cellist Peter Wiley, vocalist Gayle Moran Corea, and Harlem String Quartet perform music of Mozart, Angel Fire Community 15 CS Ranch Rd., $20-$35, 888-377-3300, musicfromangelfire.org (see story, Page 30). Music From Angel Fire 7 p.m. Sunday, Aug. 18, Musical Conversations I — Eight Seasons, music of Vivaldi and Piazzolla, performers include Music From Angel Fire Strings, violinist Katya Poplyansky, and harpsichordist Robert Wolinsky, United Church of Angel Fire, 40 W. Ridge Rd., $20-$35, musicfromangelfire.org, 888-377-3300, (see story, Page 30). Music From Angel Fire 7 p.m. Wednesday, Aug. 21, A New Birth, music of Mozart, Turina, and Chick Corea, performers include Corea, clarinetist Richard Stoltzman, violinist Ida Kavafian, and Harlem String Quartet, Angel Fire Community Center, 15 CS Ranch Rd., $20-$35, musicfromangelfire.org, 888-377-3300 (see story, Page 30).

los alamos

Gordon’s Summer Concerts Lisa Morales Band, Latin rock and blues, 7 p.m. Friday, Aug. 16, Ashley Pond, 2132 Central Ave., gordonssummerconcerts.com. 43rd Oppenheimer Memorial Lecture Roving Mars: Spirit, Opportunity, and the Exploration of the Red Planet, with Steven Squyres of Cornell University, 7:30 p.m., reception follows (at Fuller Lodge), Monday, Aug. 19, Smith Memorial Auditorium, 1300 Diamond Dr., no charge, for more information visit jromc.org (see story, Page 22).

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PASATIEMPO I August 16-22, 2013

Cheryl Alters Jamison and Bill Jamison The Santa Fe-based cookbook authors discuss Tasting New Mexico: Recipes Celebrating One Hundred Years of Distinctive Home Cooking, 7 p.m. Thursday, Aug. 22, Mesa Public Library Authors Speak series, Upstairs Rotunda, 2400 Central Ave., 662-8250, no charge. Pajarito Environmental Education Center 3540 Orange St., 662-0460. Exhibits of flora and fauna of the Pajarito Plateau; an herbarium, live amphibians, and butterfly and xeric gardens. Open noon-4 p.m. Tuesday-Friday, 10 a.m.-1 p.m. Saturday, pajaritoeec.org no charge.

raton

Music From Angel Fire 7 p.m. Tuesday, Aug. 20, opening week continues with A Sublime Schubert, a free community concert performed by Rosamunde String Quartet and Harlem String Quartet, Shuler Theater, 131 N. Second St., musicfromangelfire.org, 888-377-3300, (see story, Page 30).

taos Museums/Art Spaces

203 Fine Art 203 Ledoux St., 575-751-1262. Taos Moderns: Postwar Modern Art, 1940s1970s, including works by Emil Bisttram, Janet Lippincott, Beatrice Mandelman, and Louis Ribak, through August. David Anthony Fine Art 132 Kit Carson Rd., 575-758-7113. Annual DAFA Photography Invitational, photographs of The Beatles’ 1964 concert in Washington D.C., through August. E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish Colonial antiques. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents no charge on Sunday. Encore Gallery Taos Community Auditorium, Taos Center for the Arts, 133 Paseo del Pueblo Norte, 575-758-2052. In the Groove, paintings by Mimi Chen Ting, through Sept. 1. Harwood Museum of Art 238 Ledoux St., 575-758-9826. The Taos art colony is celebrated with four exhibits, Woody Crumbo: The Third Chapter; Jim Wagner: Trudy’s House; R.C. Gorman: The Early Years; and Fritz Scholder: The Third Chapter; through Sept. 8. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday.

Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 10 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge. La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m. Sunday. Adults $8; under 16 $4; children under 5 no charge. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Open 10 a.m.-5 p.m. daily. NM residents $5; nonresidents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge. Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.

Events/Performances

Music From Angel Fire 7 p.m. Saturday, Aug. 17, the season continues with Bookending Two Masters, music of Mozart and composer-in-residence Chick Corea; Corea, vocalist Gayle Moran Corea, pianist Anne-Marie McDermott, and cellist Matthew Zalkind, Taos Center for the Arts, 145 Paseo del Pueblo Norte, $20-$35, 888-377-3300, musicfromangelfire.org (see story, Page 30).

▶ People who need people Artists

City of Santa Fe Arts Commission call for entries Common Ground annual prize and exhibit; open to amateur and professional artists ages 18 and older residing in Santa Fe County; framed two- and three-dimensional pieces are eligible; deadline for entry forms is Monday, Sept. 16; visit santafeartscommission.org or call 955-6707 for more information. Cleveland Millfest Outdoor spaces available for artists, craftspeople, and food vendors during Labor Day weekend, Aug. 31-Sept. 1, at Cleveland Roller Mill Museum; dancas@nnmt.net, 575-387-2645 or 575-387-6763. Fiesta de Cerrillos Artists and craftspersons interested in a booth at the Sept. 21, event can contact Sandy Young, 438-2885, sandy@dirtdauberstoneware.com; no booth fees; participants provide their own setups.

Playwriting forum for Benchwarmers 13 Noon Saturday, Aug. 24, at Santa Fe Playhouse; RSVP to playhouse@santafeplayhouse.org or 988-4262. Reel New Mexico Independent Film Series New Mexico filmmakers may submit shorts, narrative and documentary features, student films, and works-in-progress through 2013; for more information or to submit a film, contact reelnewmexico@gmail.com.

Volunteers

Railyard Stewards Yardmasters Develop new project ideas; lead educational training sessions; help out in the office; free training and workshops on keeping Railyard Park vibrant; contact Alanna for schedules, 316-3596, alanna@railyardpark.org. St. Elizabeth Shelter Help with meals at residential facilities and emergency shelters; other duties also available; contact Rosario, 982-6611, Ext. 108, volunteer@steshelter.org. Santa Fe Botanical Garden Guide 6th- to 9th-grade students in the exploration of Leonora Curtin Wetland Preserve in SFBG’s Science at the Cienega Program; training sessions held TuesdayThursday, Aug. 20-22; register for training online at santafebotanicalgarden.org; call 471-9103 for more information. Santa Fe Community Farm Help with the upkeep of the garden that distributes fresh produce to The Food Depot, Kitchen Angels, St. Elizabeth Shelter, and other local charities; 9:30 a.m.-4 p.m. daily, except Wednesdays and Sundays; email sfcommunityfarm@gmail.com or visit santafecommunityfarm.org for details. Spanish Colonial Arts Society Office and grounds workers; plus, docents needed all year long at the Museum of Spanish Colonial Art; if interested, call Linda Muzio, 982-2226, Ext. 121, or email education@ spanishcolonial.org.

▶ Pasa Kids Santa Fe Children’s Museum open studio Learn to paint and draw using pastels, acrylics, and ink, noon-3:30 p.m. Fridays, 1050 Old Pecos Trail, 989-8359, santafechildrensmuseum.org. SWAIA Children’s Tent 9 a.m. to 5 p.m. Saturday and Sunday, Aug. 17-18, arts and crafts activities for kids (materials provided at no cost), Washington Ave. north of the Plaza, presented by Southwestern Association for Indian Arts. Santa Fe Art Institute graffiti workshops Free; geared to ages 6-19; 11 a.m.-1 p.m. Saturdays through August, call 424-5050 to register. ◀