The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture December 13, 2013
Now Taking Holiday Reservations Open Christmas Eve & Day New Year’s Eve & Day
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Instant Gift Certificates Recipes & Reservations OPEN EVERYDAY LUNCH from $9.50 DINNER from $19.00 231 Washington Ave Santa Fe, NM
505 984 1788
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PASATIEMPO I December 13 - 19, 2013
spirited cuisine 505 982 8608 | 548 agua fria (behind Sanbusco Center) www.ristrarestaurant.com
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4640 Menaul Blvd. NE ABQ
Christmas Eve Specials
December 24th, 2013
• Crawfish and Chimayo Chile Chowder with a Jalapeno and Corn Fritter • Herb-Crusted Gold Canyon Prime Rib with a Loaded Twice-Baked Potato,
Asparagus with Roasted Red Peppers served with a Wild Mushroom Jus
• Chocolate and Raspberry Bread Pudding with Eggnog Anglaise
and Maker’s Mark Hard Sauce
New Year’s Eve Menu
4 courses, $75. Includes Champagne Toast at Midnight Live Music by CS Rock Show, 9 PM-12:30 AM
Appetizers
• Maine Lobster Bisque with Local Goat Cheese and Green Chile Salsa • Thunderbird Smoked Duck Nachos with House Guacamole • Carne Adovada Chimichangas with Habanero-Lime Crema
Salads
• Santa Fe Caesar Salad with Parmesan Crisp • Grilled Winter Vegetable Panzanella Salad with Aged Balsami Vinaigrette
$9 $26 $8
Entrées
• Roast Colorado Lamb Loin with Yukon Gold and Roasted Garlic Mashed Potatoes, Pomegranate and Red Wine Demi Glace • New Year’s Eve Vegetable Plate • 6 oz. Black Angus Filet Mignon and 4 oz. Maine Lobster Tail with Creamy Poblano Posole, and Red Chile Demi Drizzle • Fresh Maine Sea Scallops with Smoked Salmon and Green Chile Risotto, and a Lemon-Champagne Vinaigrette
Desserts
• Chocolate Mousse Trifle • Apple Pear Sreudel with Cinnamon Ice Cream and Salted Caramel Sauce
505-490-6550 • ThunderbirdSantaFe.com • Facebook.com/ThunderbirdBarGrill 50 Lincoln Ave, on the Santa Fe Plaza 4
PASATIEMPO I December 13 - 19, 2013
Big Sale!
Larger Sizes Too
223 Galisteo between Water & Alameda • 505.983.6331 • Mon-Sat 10-5, Closed Sunday
Unwrap a tighter neck. Come celebrate the first anniversary of the Farmers Market Gift Shop Bring this ad - receive 20% off any regular-priced item
Call today! HAPPY HOLIDAYS 505-428-0402 TO ALL OF YOU AND THANK YOU!
Lily Love, MD - Facial Plastic and Reconstructive Surgery and Injectables. Marian Urban - Medical Aesthetics Specialist - Laser, Medical Grade Chemical Peels, and Ultherapy. Genie Valen, Aesthetician Ultherapy, Oxygen Treatments, Microdermabrasion and more.
OPEN EVERY DAY (thru Dec. 24th) HOURS: Monday thru Friday 12pm-6pm Saturday 8am-4pm | Sunday 10am-4pm
Market Shops Entrance in Railyard Plaza | 1607 Paseo de Peralta
Sterling Aesthetics Lily Love, MD
1651 Galisteo St. Suite 6 505-428-0402
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THE SANTA FE NEW MEXICAN
December 13 - 19, 2013
www.pasatiempomagazine.com
On the cOver 36 Sketches of Spain “The British Museum’s Old Master prints and drawings are such a celebrated part of its collections that it comes as something of a surprise that the present exhibition is the first large-scale evaluation of its Spanish holdings,” said the museum’s director. This week, the show Renaissance to Goya: Prints and Drawings From Spain begins a threemonth visit to the New Mexico Museum of Art, the only American stop on its world tour. On display are works by Velázquez and Murillo as well as by less-familiar names. The pen-and-ink drawing Saint Mary Magdalene in the Desert, by the late-18th-century artist José Camarón y Bononat, graces the cover; image courtesy the New Mexico Museum of Art.
BOOKS
MOvIng IMAgeS
18 humor in the borderlands Sunland 20 In Other Words Constellation of Genius 48 Mapping the ancient oceans Sea Monsters
56 Faust 57 Nebraska 58 Pasa Pics
MUSIc AnD PerFOrMAnce 22 24 27 28 30 32
cALenDAr
Spontaneous combustion Paula Poundstone Pasa reviews A Baroque Christmas Onstage Miguel Migs terrell’s tune-Up Brother against brother Pasa tempos CD Reviews Sympathy for the devils Las Posadas
65 Pasa Week
AnD 15 Mixed Media 17 Star codes 62 restaurant review: thai vegan
Art & ArchItectUre 40 Art of Space AIA award winners 44 Linear luminary Whistler’s etchings 52 Inspiration complex Ross Chaney
ADvertISIng: 505-995-3819 santafenewmexican.com Ad deadline 5 p.m. Monday
Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 e. Marcy St. Santa Fe, nM 87501. editorial: 505-986-3019. e-mail: pasa@sfnewmexican.com PASAtIeMPO eDItOr — KrIStInA MeLcher 505-986-3044, kmelcher@sfnewmexican.com
Inside ross chaney’s studio
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Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com
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Assistant editor — Madeleine nicklin 505-986-3096, mnicklin@sfnewmexican.com
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chief copy editor/Website editor — Jeff Acker 505-986-3014, jcacker@sfnewmexican.com
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Associate Art Director — Lori Johnson 505-986-3046, ljohnson@sfnewmexican.com
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calendar editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com
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StAFF WrIterS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 505-986-3039, billk@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com
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cOntrIBUtOrS Loren Bienvenu, Laurel gladden, Peg goldstein, robert Ker, Jennifer Levin, robert nott, Jonathan richards, heather roan-robbins, casey Sanchez, roger Snodgrass, Steve terrell, Khristaan D. villela
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PrODUctIOn Dan gomez Pre-Press Manager
The Santa Fe New Mexican
© 2013 The Santa Fe New Mexican
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Robin Martin Owner
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Ginny Sohn Publisher
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ADvertISIng DIrectOr Tamara Hand 505-986-3007
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MArKetIng DIrectOr Monica Taylor 505-995-3824
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grAPhIc DeSIgnerS Rick Artiaga, Jeana Francis, Elspeth Hilbert
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ADvertISIng SALeS Julee clear 505-995-3825 Matthew ellis 505-995-3844 Mike Flores 505-995-3840 Laura harding 505-995-3841 Wendy Ortega 505-995-3892 vince torres 505-995-3830 Art trujillo 505-995-3852
Ray Rivera editor
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SOCKS ARE THE BEST STOCKING STUFFERS! And now every pair is on sale (leggings and tights included)! Buy 3 or more (any brand) and get 15% your entire sock purchase! Includ ALL Menes Women ’s, and Kid ’s s Socks! ’
*Bring this ad in for 15% off any 3 pairs of socks! Coupon expires 12/24/13. You must have this coupon in hand at time of purchase for your extra 15% discount. No exceptions! Sanbusco Market Center • Info line 983-3900
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D O N ’ T M I S S T H E O N LY U . S . V E N U E F O R T H I S L A N D M A R K S H O W !
Santa Fe iS the only american venue for what The New York Times called a “Trove of Spanish Artwork”
from the reserves of the British Museum. Familiar as Goya’s iconic self-portrait The Sleep of Reason Produces Monsters may be, there is no substitute for a first-hand encounter with its inky intensity as the cats symbolizing witchcraft fix you in their stare and the bats of ignorance and the owls of folly descend.
Free public exhibition opening Saturday, december 14 · noon to 5:00 pm Explore more than 100 works in this exhibition that includes Velázquez, Murillo, Zurbarán, Ribera, and others. Enjoy Spanish guitar through the galleries.
Flamenco Fire
Sunday, december 15 · 11:00 am to 1:00 pm Our Spanish theme continues: experience the passion of Flamenco in informal demonstrations by local talent. Sundays are free for New Mexico residents.
107 weSt palace avenue on the plaza in Santa Fe · nmartmuSeum.org · 505-476-5072 Francisco de Goya, The Sleep of Reason Produces Monsters (detail), 1797–1798, etching and aquatint. © The Trustees of the British Museum. The presentation of this exhibition is a collaboration between the British Museum, London and the New Mexico Museum of Art.
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PASATIEMPO I December 13 - 19, 2013
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Pandora’s • Pranzo Italian Grill/Alto • Raaga Restaurant
Eidos Contemporary Jewelry • El Tesoro Café • Get It Together
Ristra Restaurant • Rock Paper Scissor SalonSpa • Santa Fe Pens
Kioti • Mercedes Isabel Velarde Fine Jewelry And Art • On Your
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Friday december. 13th 5:00 to 7:00 pm saturday december 14th 10:00 to 5:00 pm
casa nova 530 south guadalupe
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PASATIEMPO I December 13 - 19, 2013
in the historic railyard district casanovagallery.com 505 983 8558
RESIDE
HOME PASATIEMPOMAGAZINE.COM
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Winter Practice Period: The Way of a Bodhisattva
Looking for a unique and unexpected holiday gift? Give the gift of membership at the Georgia O’Keeffe Museum—a full year of artful experiences and creative inspiration. The art lover in your life will enjoy the Museum as an insider, with unlimited access to phenomenal artwork and world-class events. Plus, they receive a 15% discount in the Museum shop all year long. To purchase your gift membership, please call 505.946.1022 or visit okeeffemuseum.org.
F o r M o r e I n F o r M at I o n o n g I V I n g a M u s e u M M e M B e r s h I P : 505.946.1022 or MeMBershIP@okeeFFeMuseuM.org
with Sensei Irène Kaigetsu Kyojo Bakker, John D. Dunne, PhD, and Shinzan Palma
Zazenkai: A Daylong Silent Meditation Retreat -
Zen Weekend: The Four Brahmavihara’s -
Sesshin: Bodhisattva – An Intensive Meditation Retreat
s a n ta f e , n e w m e x i c o 505-986-8518 w w w. u p a y a . o r g u paya @ u paya . o rg
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MOdErN NATurE
GeorGia o’Keeffe and LaKe GeorGe now through January 26, 2o14 Between 1918 and 1934, Georgia O’Keeffe created an extraordinary body of work inspired by annual visits to Lake George, New York. Here, O’Keeffe discovered and refined her groundbreaking approach to nature and abstraction. This exhibition showcases artwork produced during these transformative and prolific years. Alfred Stieglitz, Georgia O’Keeffe, c. 1928. Gelatin silver print, 4 5/8 x 3 9/16 in. Gift of The Georgia O’Keeffe Foundation. © Georgia O’Keeffe Museum.
Modern Nature: Georgia O’Keeffe and Lake George was organized by The Hyde Collection in association with the Georgia O’Keeffe Museum. The national presentation of the exhibition and catalogue have been made possible in part with support from The Henry Luce Foundation and the National Endowment for the Arts. Additional support and related programming were made possible in part by a generous grant from The Burnett Foundation, and partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax and Century Bank. Additional support for the catalogue has been provided by Furthermore: a program of the J. M Kaplan Fund.
Yo g a • D anc e • Activewear • Tennis Many Popular Fitness Brands: Lucy, Marika, MPG Sport & more! Also, Vera Bradley Purses, Duffel Bags, Smartphone Cases & more!! Plenty of Holiday Gift Ideas for Women & Men! • Gift Certificates Available Too!
EXTENDED HOLIDAY SHOPPING HOURS!!
Sunday, December 15th & Monday, December 16th: 12:30 - 4:30pm Sunday, December 22nd & Monday, December 23rd: 12:30 - 4:30pm
CASSIE’S BOUTIQUE
217 Johnson st., santa Fe, nM 875o1 okeeFFeMuseuM.org =
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PASATIEMPO I December 13 - 19, 2013
505 Cerrillos Road - Santa Fe • Luna Center • Just north of Sage Bakery (505) 983-0647 • Tues - Sat 10:00 - 5:30 www.cassiesboutiquesantafe.com
Photo by Zélie Pollon ‘87
Largest Accessories Offering in Santa Fe. Hundreds of Gift Items Under $100
and the people who make Prep special
MEDITERRÁNIA
222 Galisteo Street (between Water and Alameda) Santa Fe, New Mexico 87501
(505) 989-7948
www.MediterraniaAntiques.com
To Founding Trustees Bud Kelly and Isabel Ziegler, both Santa Fe Living Treasures: The intrepid spirit, vision, and determination you and others showed took the seed of a school and nurtured it to a center of knowledge and discovery. Thank you to all our trustees--past and present--whose guidance enables Santa Fe Prep to offer the exceptional education it does today.
See Prep’s good work in action. Call to schedule a visit day for your child 505 795 7512
www.sfprep.org PASATIEMPOMAGAZINE.COM
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COMING FULL CIRCLE A Contemplative Training in the Art of Dying
IMS
internal
MEDICINE SPECIALISTS
Taking New Patients and Same Day Appointments!
with Sanchi Reta Lawler
This training is for anyone who feels a personal and/or professional inspiration to journey into the simple truth and extraordinary transformative power of the Dying Process. It is an opportunity to re-vision and remember our place in the web of life and to celebrate each other in our shared potential and joyful expressions.
JAN 16-19, FEB 27-MAR 2 FEE: $825 Space is Limited. $200 deposit required Learn more about what lives behind
A love of learningSM
William "Wink" Bacon PA-C
Taking care of Northern New Mexicans for 12 years
APPOINTMENT line: (505) 395-3003
MORE INFO: programs@aloveoflearning.org
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www.aloveoflearning.org
IMS’s independent staff is here to take care of you at our modern, new office and at the hospital. 1650 Hospital Drive, Suite 800
Santa Fe, NM 87505
VOASIS: THE DESERT CHORALE’S NEWEST A CAPPELLA ENSEMBLE DON’T MISS IN THE MIDNIGHT HOUR with Voasis produced by Deke Sharon, Music Producer of NBC’s The Sing-off and the hit comedy, Pitch Perfect
Warehouse 21 – Santa Fe Dec 28, 29 4pm, Dec 28, 29, 30, 31 8pm Start your New Year’s with this show — including a champange toast!
THE SANTA FE DESERT CHORALE
Deke Sharon
Joshua Habermann, Music Director
Winter Festival | DEC 14 - 31 Carols and Lullabies
Cathedral Basilica of St Francis – Santa Fe Dec 14, 19, 20, 21, 23 8pm Immanuel Presbyterian – Albuquerque Dec 22 4pm
The BIG Holiday Sing
Cristo Rey Church – Santa Fe Dec 15 4pm
S a n t a Fe
DESERT CHORALE 14
The Lighter Side of Christmas
LewAllen Galleries Downtown – Santa Fe General Admission Dec 17 6pm
PASATIEMPO I December 13 - 19, 2013
Voasis
FOR SFDC WINTER FESTIVAL DETAILS AND TICKETS VISIT: desertchorale.org or call 505.988.2282. Winter Festival 2013 is made possible, in part, by the National Endowment for the Arts; New Mexico Arts, a division of the Department of Cultural Affairs; and the City of Santa Fe Arts Commission and 1% Lodgers’ Tax.
MIXED MEDIA
TH E W O O D CA R E S P E C I A L I S T Antique Restoration Ref inishing Repair & Touch-up
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Alan Shields (1944-2005) is known for his three-dimensional paintings, collagelike works in which he employed materials such as thread, pipe cleaners, scraps of cloth, glass beads, handmade paper, and even Velcro. Shields learned to sew from his mother and sisters while growing up in Herington, Kansas. Using a sewing machine to craft his works, he became prominent in the New York art scene in the 1970s. Maze, created in the early 1980s, is an interactive installation of pathways lined with two-sided paintings on unstretched canvas that offers visitors the immersive experience of being inside a painting. New perspectives, colors, and forms greet them at every turn. More than 30 years after its inception, Maze comes to SITE Santa Fe for SITElab 3 — along with the video work Into the Maze, a recorded performance by the Stephen Petronio Dance Company set to original music by Tom Laurie. The company has collaborated with visual and performing artists such as Cindy Sherman, Laurie Anderson, Lou Reed, and Anish Kapoor. In Into the Maze, eight dancers dressed in Shields’ wearable art objects interact with the large-scale installation. This is the third installment in the SITElab series. Designed to give visitors a taste of the kinds of contemporary exhibitions presented at SITE between major shows, SITElab is an ongoing series of experimental exhibitions of work by established and emerging artists presented in a newly designed gallery space off the lobby at SITE. SITElab 3 opens Wednesday, Dec. 18, and runs through Jan. 12, 2014. There is no charge for admission. SITE Santa Fe is at 1606 Paseo de Peralta; call 505-989-1199 and see www.sitesantafe.org. — Michael Abatemarco
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Tailor-made masterpiece: Alan Shields’ labyrinth
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Alan Shields: Maze (detail), 1981-1982, acrylic and thread on canvas, cotton belting, Velcro, and aluminum pipe; courtesy the estate of Alan Shields and Van Doren Waxter
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MASTER GARDENERS: » Learn current best practices from top gardening experts in our region » Connect with other avid gardeners » Share their knowledge with the community
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Evening classes start Monday, Feb. 3 Morning classes start Tuesday, Feb. 4
Apply today at sfmga.org Class size is limited. Registration closes Dec. 31. Information at 471-4711.
A Community Service of
Providing food to the poor and homeless for 25 years Please help. Send your contribution to: Bienvenidos Outreach | PO BOX 5873 | Santa Fe, NM 87502
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ANTIQUES + INTERIORS ON GRANT
HOLIDAY OPEN HOUSE CHEER ANDSHOPPING SEASONAL SALE BEGINS CHEER, AND FUN!!! Friday, December Saturday, December14, 14,1 1– –6pm 6pm
Abeja • Buffalo Tracks Gallery • Claiborne Galleries Coulter-Brooks Art & Antiques • House of Ancestors Antiques JP Fabricman • Kania-Ferrin Gallery • Lana’s House Abeja • Buffalo Tracks Gallery • Claiborne Galleries Gloria List • Objects from Teal McKibben’s Collection Coulter-Brooks Art & Antiques • House of Ancestors Antiques Santa Scout Collection/ Dana Waldon Antiques JPFe Fabricman • Kania-Ferrin Gallery •• Sparrow Lana’s House The Standard Art & Antiques Co. Gloria List • Objects from Teal McKibben’s Collection and welcoming new members Santa Fe Scout Collection/ Dana Waldon • Sparrow Antiques Modern and TAD Collections The 2.0 Standard Art Eclectic & Antiques Co. 136 Grant Avenue 16
983-0075
PASATIEMPO I December 13 - 19, 2013
Free customer parking
Offer good at either Payne’s retail location. Coupon must be presented at time of purchase. Limit one coupon per customer. Cannot be combined with any other coupon or offer. Coupon expires 12/19/13.
STAR CODES
Heather Roan Robbins
This dark week before the solstice bustles but has only minor
astrological events. We may get the chance to organize loose ends, tell people we love them, and love ourselves by getting as centered and prepared as we can. The sun and Mercury now in adaptable Sagittarius help us multitask, though they can call us from our duties by singing of snow-covered slopes. They also bring an itching need to express ourselves with honesty and directness, which makes parties interesting. This season is all about connection to one another, the natural world, our global community, and whatever path brings spiritual joy. Mars now in Libra increases our desire to socialize and whispers of holiday romance, breathing life into ongoing relationships if we remember their preciousness. Venus in Capricorn can make it harder to relax into the holiday season, but it helps us get back to work after distractions. Friday the 13th can feel lucky if we make it cozy. We may face some internal resistance over the weekend or tend to chores as Mars semisquares Saturn. Early next week a buzzing full moon in versatile, voluble Gemini can spark conversation and trigger nerves. Some long-term changes hit a temporary bump as Uranus turns retrograde, but the momentum stops only long enough for us to tend to personal homework. Later in the week, we want to go home, but that may be more a heartspace than a place. If we suddenly feel needy, it helps to help another.
Gi fts I nspiri ng Cha nge!
Are you sure you have all the necessary things on your holiday giving list? Don’t forget these and many more options: q A new sleeping bag for a resident at the Interfaith Shelter. q Prenatal lab test for a client of La Familia Medical Center. q Four days of food assistance for a NM veteran in need. q A book for an early reader in a family without books. q A beehive colony or rabbits for an impoverished Haitian family
Attend the Fourth Annual Santa Fe Alternative Gift Market offering life-sustaining and tax-deductible gifts that provide urgently needed assistance to local and international non-profit organizations.
December 7, 8 & 14, 15 in the DeVargas Mall
Friday, Dec. 13: Under a stable Taurus moon, work gets done with steady pacing. Midday, trust that what’s here is what’s needed, and make the best of it. Work around a communications snafu late in the afternoon; expect delays. The evening waxes philosophical as the moon approaches a trine and sextiles expansive Jupiter.
World Class Watches
Saturday, Dec. 14: We may wake up tired or too aware of chores as the moon opposes Saturn, but our flow returns when we mobilize. Midday, discipline needs to be applied to temper, frankness, or the gift-buying budget as Mars semisquares Saturn, but we can solve this problem. Rest and acceptance warm our hearts as the moon trines Venus tonight.
You deserve to
Have a Ball
Sunday, Dec. 15: The conversation speeds up as many pots simmer; we can feel fractured or frayed if we overdo the multitasking as the moon waxes in nervy Gemini and squares Neptune. We should stop and listen to the soul and find beauty in the moment. Information to make healthy decisions pours in. Monday, Dec. 16: If too much clutters the plate, prioritize and sort by time sensitivity and soul priority, but don’t be hard on others. Find humor and look for what is falling through the cracks this afternoon. Spontaneously gather tonight as the moon waxes full. Tuesday, Dec. 17: Expect the unexpected today after an early full moon at 3:34 a.m. MST. Later, slow down as the moon enters domestic, personal Cancer. People get defensive if they feel pressured to do more than they can; keep the vibe positive, not corrective. Notice some clash of international concerns and look for common ground.
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Wednesday, Dec. 18: We may have to accept that some event will not happen, but this creates more room for fresh input. Fill up on what’s honorable, familiar, and homey; provide emotional ballast rather than feeding the winds. Thursday, Dec. 19: We can balance disparate elements and accomplish personal work this hopeful, thoughtful morning as the moon conjuncts Jupiter. If we offer respect to elders or teachers and give honest positive feedback to bosses or cohorts, it promotes understanding within. Tend to work that’s almost done. ◀ www.roanrobbins.com
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Bill Kohlhaase I The New Mexican
darkof theside don waters’debut novel finds humor in the borderlands
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PASATIEMPO I December 13 -19, 2013
on Waters’ first novel, Sunland (published by University of Nevada Press), has two settings, one inside the other. The encompassing landscape is the Southwest — also the scene of many of the short stories collected in his 2007 book Desert Gothic, which won the Iowa Short Fiction Award given by the University of Iowa Writers’ Workshop and was published by University of Iowa Press. The other landscape is the enclosed world of the fictional Paseo del Sol retirement village in Tucson, Arizona, where Sunland ’s protagonist, Sid Dulaney, watches over his grandmother while supplying her and her neighbors with affordable medication he smuggles into the country from Mexico. Both places, large and small, might seem outside the experience of a man who has a home in Portland, Oregon; is teaching this year at the University of Iowa; went to college in Saratoga Springs, New York; and spent time in the San Francisco Bay area. The source of Waters’ fascination with the Southwest, he explained in a phone call from Iowa City, starts in the high desert of Nevada and extends to Santa Fe and Las Cruces. “I’m originally from Reno, born and raised,” he said. “That landscape, that’s my personal landscape. No matter where I go, the Southwest is always with me. When I first started writing, that’s the landscape I wrote about.” Waters was living in California with his partner, writer Robin Romm, when Romm landed a job teaching at the College of Santa Fe. Waters was hired to teach during the college’s final year, in 2009, before it closed and the Santa Fe University of Art and Design took its place. “It was an odd way to start a teaching career, just as they were going out of business,” he said. Waters then took a job teaching at New Mexico State University in Las Cruces and spent two years there before following Romm to Portland. Like Waters, Sunland’s Dulaney had left his own “set of tracks. I floated around this big weird country for 12 years, subsidized by odd jobs, picking up credits towards a degree in education.” Waters said he can empathize with the character. “My experience is not exactly the same as Sid’s,” he said, “but when I looked at the number of places I’ve been over the last decade, I realized I was all over the place: four different states, seven cities, 11 different addresses. There was a lot of moving around, and some of that filtered into the book.” During that process, Waters lived in Berkeley for a while, where he became the director of a residential facility for seniors. “I was in my mid-20s and needed work. Somehow I applied for a job in an elder-care facility, a job for which I had no experience. Luckily, someone in there happened to be a friend to struggling artists and writers. I ended up as the director at this nonprofit facility. I had no business being in administration. ‘You’ll be great,’ I was told. I learned about all the issues that surround elderly healthcare, how absolutely expensive it really is. That was always at the forefront of my day. At night I was writing.” Waters’ work in Berkeley and his experiences visiting Arizona led to the creation of Sunland’s retirement village, one of recent fiction’s more interesting settings. “I visited Sun City, north of Phoenix, a town that’s composed almost entirely of retirees,” he said. “It’s a very strange thing when you go into these towns; there are very few young people. You get this sense of all these activities — strange things like wheelchair yoga — that create this false fantasy land. All you see are grass and palm trees and people in golf carts. Being around places like that allowed me to just make up Paseo del Sol.” One of the stories in Desert Gothic suggests the narrative later drawn out in Sunland. “Mr. Epstein and the Dealer” is about a young man — known only as the “dealer” — who, like Sid Dulaney, crosses into Mexico to save money on his grandmother’s prescriptions. Soon he’s carrying drugs back for other residents of the Sage Gardens Royal Commons Senior Living Community, Tucson’s largest (fictional) senior residential village. He brings in Fosamax for osteoporosis, Dilantin for seizures, Aricept for Alzheimer’s, and Parlodel for Parkinson’s as well as antibiotics, antidepressants, antipsychotics, bloodpressure agents, and “a tonnage of Viagra.” But the dealer’s pharmacist in Nogales sets limits on synthetic and opiate-based narcotics. “No lose my license,” the druggist explains. The other protagonist, Mr. Epstein, has a tumor of some kind. He suffers from nausea and migraines. He wants the dealer to fly to Mexico City, where pharmacists are less cautious, and pick up some morphine for him — but not, the story suggests, for pain. “I wrote ‘Mr. Epstein and the Dealer’ in 2004, 2005,” Waters said. “It’s the one story from the collection that really stayed with me, the one world that I wanted to go back to and re-explore. It’s a very dark story. The dealer isn’t
Carmen Machado
Don Waters
I visited Sun City, north of Phoenix, a town that’s composed almost entirely of retirees. It’s a very strange thing when you go into these towns; there are very few young people. You get this sense of all these activities — like wheelchair yoga — that create this false fantasy land. All you see are grass and palm trees and people in golf carts.
as sympathetic as Sid. His whole task is to procure this prescription that is going to let Epstein end his life. It’s a very different story than [Sunland]. But I love the idea of this character having this friendship with an older man and taking care of people in the village.” The concerns addressed in “Mr. Epstein and the Dealer” are fewer and more focused than those in Sunland. In the novel, Waters not only deals with the high cost of prescriptions and senior care but also with border immigration, the larger black market for drugs, and what it means to be old — very old — and frail in America today. “I was very conscious of wanting to write a novel that addressed the issues that the elderly faced. I didn’t want it to be as grim [as “Mr. Epstein and the Dealer”], but I wanted it to put some light on those issues. Setting the story in Tucson let me do that ... with all the issues of healthcare and where people go across the border for medications, for dental appointments and medical surgery — all that’s going on with illegal immigration, how you travel when you cross the border. Texas, Arizona, New Mexico, it’s all a virtual police state; you can’t escape it. The mixing of the races, too; I don’t overtly address it, but it’s woven into the fabric of the novel.” Some of the book’s levity comes from its cast of characters, a group that ranges from penny-pinching and sexually obsessed seniors to a matter-of-fact gun-toting Mexican — possibly a cartel member — who stops by a birthday party at the facility to enjoy some cake. Then there’s Warsaw, heir apparent to Dulaney’s drug business, who has his own needs for products only available south of the border: Spanish-language gore tabloids. Absurd scenes and situations — a sweet senior putting a rope of chewing tobacco into a cup, a giraffe being smuggled into the U.S. — balance the book’s darker side. “I believe a lot of humor comes from a serious place,” Waters said. It’s “the byproduct of releasing tension. The humor that develops from serious issues comes out because those issues are very tense. Of course, some of these [events] ... are absolutely absurd. I didn’t have to try to write funny. I just wrote what was there, stripped away everything that wasn’t real, and ended up with what was funny.” What about the giraffe? “That was taking it one step further. The deeper I got into my research about drugs and smuggling, I learned that all kinds of absurd things were smuggled. I don’t know of a case of a large animal like that being brought over, but I did learn that some cartel members had zoos in their backyards with those types of large animals. You have to think, Where did they come from? How did they get there? What would happen if someone needed to bring one across the border? How would they do it?” Waters publishes frequently in a variety of literary quarterlies and said he has a new collection of short stories he hopes to publish soon. Nearly all of these are based in the desert Southwest. “I have one that happens in Española, based on a headline I saw in The New Mexican when I was just walking around one day. It was something truly awful; a brother learns his sister has been traded for heroin. Something terrible like that just sticks with you. I’ve expanded it to make the brother a veteran from Iraq who’s returned half a man, who’s come back and sees all this chaos.” Published in The Georgia Review, the long story’s central line reads, “Almost more day-to-day chaos happens in the tiny hamlet of Española, New Mexico, than what he witnessed in all of Diyala Province.” There’s little humor to be found there. ◀
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details ▼ Don Waters reads from Sunland ▼ 6 p.m. Thursday, Dec. 19 ▼ Collected Works Bookstore, 202 Galisteo St.; 505-988-4226
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In Other wOrds book reviews Constellation of Genius, 1922: Modernism Year One by Kevin Jackson; Farrar, Straus and Giroux; 430 pages Kevin Jackson has made a compelling case for 1922 as the defining year for the dawn of modern art as it burst into the consciousness of Western Europe and America, like a life force returning after the long, brutal winter of World War I. Willfully obscure and often somewhat difficult to digest, modernist perspectives conquered the literary world for much of the next decade. Jackson’s book is subtitled 1922: Modernism Year One, following the lead of the expatriate American poet Ezra Pound. Writing to his countryman, journalist and critic H.L. Mencken, on March 22, 1922, in “year one” of a new epoch, Pound declared the “Christian Era” over as of Oct. 30, 1921 — the day James Joyce finished writing Ulysses, which Jackson calls “the most influential novel of the century.” Joyce’s masterpiece was published a few months later, on Feb. 2, 1922. Before that year was out, on Dec. 15, T.S. Eliot’s magnum opus, The Waste Land, which Jackson similarly rates “the most influential English-language poem of the century,” was published in book form in the U.S., crowning the year as both coming in and going out with what are, according to the author, the century’s finest literary achievements. As Jackson sketches eclectic entries for nearly every day of the year, we find that Joyce and Eliot have the lead roles, with Pound serving as their tireless agent, editor, and life coach. Only 36 when the year began, and not yet the Mussolini-loving anti-Semite that he became later, Pound was a one-man catalyst of international culture on a personal mission for great literature that obeyed his simple prescription: “Make it new.” Change was in the stars. Jackson twirls the globe and places the full scope of the changes in motion. Also on Feb. 2, in Muzot, Switzerland, the German-language poet Rainer Maria Rilke heard a voice “as if from heaven” that inspired an enormously creative burst of writing, finishing his Duino Elegies and Sonnets to Orpheus in the next 20 days. In that same month, Ernest Hemingway met Gertrude Stein for the first time in her studio. “1922 was the year in which Hemingway seriously embarked on his career as a writer,” Jackson writes, adding that the novelist’s mentors were Stein and Pound. Radio grew rapidly in the U.S. and the U.K. that year, quickly becoming a nearly worldwide medium. Jackson does not exclude the important milestones in the lives of W.B. Yeats, 20
PASATIEMPO I December 13 -19, 2013
Walt Disney, Buster Keaton, Charlie Chaplin, Louis Armstrong, Robert Flaherty, Jean Cocteau, Federico García Lorca, and the Lawrences (D.H. and Frieda as well as T.E.). Bertrand Russell checks in and out, as do Henri Matisse, Frank Lloyd Wright, Albert Einstein, Sigmund Freud, and Ludwig Wittgenstein, to mention only a few of the figures who aligned to form the constellation of the age. Perhaps the social highlight of the author’s parade of stars is a supper party at the Majestic Hotel in Paris on the night of May 18. It was hosted by the Russian ballet impresario Sergei Diaghilev after his company performed Igor Stravinsky’s burlesque Le Renard at the Paris Opera. Among the 40 or so guests were Virginia Woolf’s brother-in-law, art critic Clive Bell; Sydney and Violet Schiff, two of the most indispensable patrons of the era; and the four men Sydney Schiff told Bell he most admired — Picasso, Stravinsky, Joyce, and Marcel Proust. Joyce was shabbily dressed and probably drunk, according to Bell, who was said to have left early, leaving others to report priceless snippets of conversation between the two immortal novelists: Proust: Do you like truffles? Joyce: Yes, I do. Proust: I have never read your works, Mr. Joyce. Joyce: I have never read your works, Mr. Proust. Reactions to Ulysses trickled in throughout the decade (and have not stopped, for that matter), with obligatory tut-tuts to Joyce for his discussion of sexual matters. There was also plenty of grudging approval for Eliot’s poem, which critics found impossible to enjoy in the same way poetry had been enjoyed before. There are plenty of anecdotes in this book, and few of them are dull. Jackson delivers a nostalgic walk down memory lane. Beyond that, the book will please English and comparative-lit majors at the very least, but it should also appeal to casual readers who will know the names and enjoy the crunchy details. The major complaint lodged against Eliot and Joyce was that their work was so hard to read. They both required much unpacking, and Eliot in particular had to be explained simultaneously and not only with a couple of references. He also had to be revisited many times for a few drops of real juice. The distinguished American critic Edmund Wilson’s splendid review, titled “The Poetry of the Drouth,” came to Eliot’s defense in the waning days of 1922 with his ultimate praise: “Mr. Eliot is a poet — that is, he feels intensely and with distinction and speaks naturally in beautiful verse.” Wilson concludes that the race of poets, “though grown rarer — is not yet quite dead; there is at least one who, as Mr. Pound says, has brought a new personal rhythm into the language and who has lent even to the words of his great predecessors a new music and a new meaning.” — Roger Snodgrass
SubtextS
Western weirdness Except for the part about Grandfather having been shot and Grandma having been killed years ago by a frightened cow, the first sentence of Joe R. Lansdale’s The Thicket (Mulholland Books/Little, Brown and Company) pretty much divulges everything that ensues: I didn’t suspect the day Grandfather came out and got me and my sister, Lula, and hauled us off toward the ferry that I’d soon end up with worse things happening than had already come upon us or that I’d take up with a gun-shooting dwarf, the son of a slave, and a big angry hog, let alone find true love and kill someone, but that’s exactly how it was. This spoiler shouldn’t discourage you from reading — quickly — the following 339 pages to find out what those things “that had already come upon us” were (one word: “pox”) or why the narrator, Jack Parker, would take up with such an unlikely trio or whom he would kill. Maybe some of that will come up when Lansdale reads at 6:30 p.m. Friday, Dec. 13, at Op. Cit. Books, 500 Montezuma Ave., Suite 101, 505-428-0321. It also won’t spoil anything to tell you that Lula is kidnapped in the first few pages by a band of desperadoes named Cut Throat Bill, Fatty, and a guy whose moniker includes a racial epithet. A straightforward Western — well, except for that mad hog — might seem a bit strange coming from an author who wrote a novella (Bubba Ho-Tep) about an elderly Elvis Presley joining forces with a black man claiming to be John F. Kennedy to do battle with an Egyptian mummy in a Texas nursing home. But you can’t pigeonhole Lansdale, an author whose novel count ranges from 12 to well over 30 (depending on how you count novellas). He has written in the genres of mystery, horror, science fiction, and yes, Westerns. He’s best know for his Hap Collins and Leonard Pine series, the protagonists of which are two private investigators who couldn’t be more different. Lansdale has won multiple Bram Stoker awards for his horror fiction, an Edgar Award for best mystery novel, and a British Fantasy Award for best short story. He has even written comic books. Coinciding with his visit is the Jean Cocteau Cinema’s 11 p.m. showings on Friday and Saturday, Dec. 13 and 14, of the film adaptation of Lansdale’s short story “Christmas With the Dead,” which brings campy, ghoulish meaning to the words holiday feast. — Bill Kohlhaase
th t 16 ANNUAL PARTY & SILENT AUCTION e e w S Benefitting Santa Fe Artists’ Emergency Medical Fund
16 Sunday, December 15, 4 to 6:30 pm
6" x 6" Works of Art by Over 100 of Santa Fe’s Finest Artists Including
JOHN AXTON Ventana Fine Art
LISA BEMIS Lisa Bemis Studio
WILLIAM BERRA Nedra Matteucci Galleries
ROBERTO CARDINALE Tansey Contemporary
ARTURO CHAVEZ Gerald Peters Gallery
ERIN CURRIER Blue Rain Gallery
DON FINKELDEI Santa Fe Art Collector
BILL GALLEN Sage Creek Gallery
GEOFFREY GORMAN Tansey Contemporary
CODY HOOPER Pippin Contemporary
MCCREERY JORDAN Santa Fe Art Collector
ARMOND LARA Zane-Bennett Gallery
LARA NICKEL Ernesto Mayans Gallery
PASCAL Giacobbe-Fritz Fine Art
ALETA PIPPIN Pippin Contemporary
JOAN POTTER Nedra Matteucci Galleries
FATIMA RONQUILLO Meyer East Gallery
JAMES ROYBAL Santa Fe Art Collector
ROSETA SANTIAGO Blue Rain Gallery
KAT SCHILKE Kat Schilke Studio
SAM SCOTT Yares Art Projects
DAVID SOLOMON Yares Art Projects
ROGER WILLIAMS Joe Wade Fine Art
BEN WRIGHT Legends Gallery
Marisa Again Jason Appleton Leslie Ayers Gregory Leon Baird Martha Baker Alex Barrett Bill Barrett Lisa Bemis Michael Bergt Candace Blackwood Paul Bloch Evelyn Boren Peter Burega Jim Butler
Susanna Carlisle Carlos Carulo Matthew Chase-Daniel Lorenzo Chavez Dana Chodzko Doug Coffin Susan Contreras Nigel Conway Guy Cross Christina Dallorso Gale Davis Dawn Davis Dana Marie Dawkins Stephen Day
Chocolates! Champagne! Laughter!
Monique de Nys David DeVary Donelli DiMaria Sandra Duran Wilson Pam Egan Linda Evans John Farnsworth David Forlano Heather Foster Pamela Frankel Fielder Scot Furgason Katie Furgason Justin Gallegos Mayrant
OTHER PARTICIPATING ARTISTS
Joe Ramiro Garcia Carolyn Gentry Martha Goetz George Goetz Deborah Gold Bruce Hamilton Gregory Frank Harris Doug Higgins Wendy Higgins Mark Suazo Hines Hannah Hoel Matthew Horowitz David Horowitz
Martin Cary Horowitz Houshang Harriette Joffe Gary Kim Cheryl Koen Ai Krasner Penelope Krebs Samuel LaFountain Arlene LaDell Hayes Armond Lara Dave Leefeldt Heidi Loewen Estella Loretto
Ric Lum Ellen MacLaren Caukin Diane Madsen Doug Magnus John Massee Darlene McElroy Michael McGuire Leslie McNamara Clarence Medina Diane Moon AnaMaria Moreno Jean Morgan Jonathan Morse
YARES ART PROJECTS
123 GRANT AVE, SANTA FE, NEW MEXICO 87501 www.yaresar tprojects.com (505) 984-0044
Dan Namingha Arlo Namingha Michael Namingha Stacey Neff Larry Ogan Lauren Oliver Adam Ormsbee Linda Petersen Prakash Ron Prokrasso Kevin Red Star Rosa Lena Reed Robinson Bob Richardson
Elias Rivera Rachel Rivera Tara Roberts Cecilia Robertson Lee Rommel Tom Ross Ed Samuels Joseph Sanchez Rosie Sandifer Paul Shapiro Samantha Sinclair Cathy Smith Fred Spencer
Mark Spencer Linda St. Clair Monika Steinhoff Alvin Tapia Blair Vaughn-Gruler John Vokoun Cynthia Whitney Ward Doc Weaver Jerry Wellman C.J. Wells Thomas Wells Tuscany Wenger Bill Worrell
“Best party in Santa Fe” — Cynthia Whitney Ward
Made possible by generous donations from Yares Art Projects, Valdes Picture Framing & Art Supplies, and Korbel California Champagne. Funds Administered by the Santa Fe Community Foundation.
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Jennifer Levin I For The New Mexican
spontaneous combustion
Michael Schwartz
wenty minutes after getting off the phone with Pasatiempo, Paula Poundstone tweeted, “I can't do interviews. I’m never on topic. ‘When did you start comedy?’ ‘I had popcorn last week, and I still have a hull in my teeth.’” The famously conversational and self-deprecating stand-up comedian, who’s been at it since the ’80s, fudged the truth to serve the joke. The actual question she was asked, in a wide-ranging conversation that follows in part, was, “How did you develop your comedy style?” She’s also perfectly capable in 22
PASATIEMPO I December 13 -19, 2013
interviews. She rambles a little but doesn’t stray as far off course as she thinks she does, and it’s doubtful many journalists are hoping she has a set of concise speaking points with which to regale them. Her interview style is essentially the same as her stand-up style: she riffs on whatever strikes her as interesting or funny, and she authentically engages with the people she’s talking to. Poundstone is the author of There’s Nothing in This Book That I Meant to Say and for 10 years has been a regular panelist on National Public Radio’s popular current-events quiz show, Wait Wait … Don’t Tell Me! Poundstone brings her Ha Ha Ho Ho Holiday Comedy Show! to the Lensic Performing Arts Center on Friday, Dec. 13.
Pasatiempo: How did you develop your comedy style? Paula Poundstone: My act is largely autobiographical, so it evolves as I do. Some things never change, sadly. When I started out, I was busing tables and taking public transportation, and that’s the majority of the material I did. When my kids were little, I talked about raising little kids and babies. And now I talk about teenagers. My favorite part of the night is just plain talking to the audience. I do the basic “What do you do for a living?” and this way little biographies emerge and I kind of use that to set my sails for where to go. I don’t have a set set. Night by night, it’s not the same — partly because I have no memory. I couldn’t do it the same if I wanted to. And also, because of that
problem, over the years I just sort of developed that way of doing it, where I don’t worry about it anymore. Pasa: Do your kids care that you talk about them in your act? Poundstone: They don’t know. I don’t tell them. If my son were in the room, I wouldn’t do everything that I do about him, because it would just be rude. But the truth is that those things would not be funny if they weren’t somewhat universal. And, I exaggerate slightly. Well, there are some things I don’t have to exaggerate at all. After the show I do a meet-and-greet thing and take pictures with people and look them in the eye and have real human contact, which is so missing in our world. I can’t tell you how many times people have come up to me and said, “We’re raising your son,” or “Our daughter should marry your son,” or “We had a kid just like that.” And sometimes they’ll say, “He’s 26 now, and he’s doing great.” That feedback means the world to me because: a) we all laugh at it for a night — everyone’s burden is lifted for a few minutes — and b) not to be the only one. Stand-up comedy’s been around in some form since before we came out of the cave, but surely that’s what it’s about for a species — not to be the only one. It doesn’t mean we all walk in lock step, but at an emotional level we do go through similar struggles. Parenting is a lonely task. I have three kids who hate me many days in a row. I’m the only hammer dropper here in my house, so that’s why I sell them down the river. That’s why I throw them under the bus. My son has come with me to work many times. I do a thing about him on his first day of middle school, telling me how everyone is stupid. He thinks it’s funny. Pasa: Is it true that you spent time in foster care as a kid? Does that have anything to do with your decision to become an adoptive parent? Poundstone: It’s an urban legend. I was in a residential place when I was a teenager, because I was such a loser no one knew what to do with me. It wasn’t foster care. When I left there, I was 17. I went out on my own, had a miserable experience, and when I was maybe 18, a family in Massachusetts let me live with them, which I did on and off for a year or so. When my kids and I go home to Massachusetts, that’s where we go. But there was no state intervention. I don’t know that I put my experience together with adopting at the time. I was raised in a beautiful little town in Massachusetts with woods and opportunity. Adopting was more about feeling lucky and privileged, rather than that I’d had a terrible struggle. I was a whiner. I don’t really think I had a terrible childhood. I was a drama queen. It was like one day a window cleared and I realized there were other people out there and I decided I should be a part of contributing to the whole. It was the day my frontal lobe came in. Pasa: You tend to work “clean,” but stand-up comedy has gotten pretty dark. Do you have an opinion about the controversy over comedians using rape as a punch line? It’s become common slang among teenagers to mean “dominate” or “win,” as in “I just raped that video game.” Poundstone: I didn’t know people were telling rape jokes in their acts, but my son uses that word occasionally in a different way than I am viewing it. He’s always shocked by my response when I tell him not to say that. I don’t care about cursing, but my reaction to him using that word is pretty strong. I don’t understand it in that context. For me it conjures up a scary idea. I say words that people don’t like on stage all the time, but it’s not the thrust of my act. Back in the ’80s, they would ask if I had any funny AIDS jokes. I don’t really work that way — AIDS is a topic; let’s see if I can think of anything funny about it. It really works the other way around. If I happen to think of something funny about a topic, then I might say it, but I’m not going to put myself to the task because it’s in the news. In the area of AIDS, especially in the ‘80s, the possibility of making somebody’s night not very happy, someone who came out to be entertained in that setting, was way too risky. I don’t want someone caring for someone with it [AIDS] to think I’m cavalier. I don’t want to add to their burden. That’s how I would feel about a rape joke as well. I can’t see where you’re going to find something funny enough that people who have gone through that will be uplifted by bringing it up. If I could, I would, but I’m not that good a comic. ◀
details ▼ Paula Poundstone’s Ha Ha Ho Ho Holiday Comedy Show! ▼ 7:30 p.m. Friday, Dec. 13 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $27.50 & $35; 5-5-988-1234, www.ticketssantafe.org
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PASATIEMPO I December 13 -19, 2013
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our musicians much respected in early music circles joined forces for a recital of Baroque Christmas music at St. John’s College on Dec. 6: soprano Ellen Hargis, violinist Carla Moore, violist da gamba John Dornenburg, and harpsichordist Jillon Stoppels Dupree. Although the concert did not provide consistent pleasure, its more successful expanses were rewarding, the more so for focusing on rarely encountered repertoire from the 17th century. The most remarkable item was the “Canzonetta spirituale sopra alla nanna” by Tarquinio Merula, an Italian composer most active in the 1630s and ’40s. In verse after verse of this ostensible lullaby of the Madonna, expressions of maternal sweetness are undercut by macabre premonitions of the suffering her baby will eventually endure: for example, “These hands and these feet,/at which you look now with such joy and delight/alas, in so many ways/will be wounded by sharp nails.” This combination of the innocent and the penitential is underscored by a short, poignant harmonic gesture that repeats obsessively 161 times without interruption, above which the singer declaims the grisly poem in increasingly florid phrases. Hargis possesses a warm, cushioned, almost husky tone that added a further emotional edge to a score that already displays the weird chiaroscuro that could characterize the early Baroque aesthetic. Also among the highlights were the endearing song “Sweet Was the Song the Virgin Sung” (an entirely less conflicted lullaby); “Long Cold Nights,” a folkish tune published by John Playford in 1687, in an arrangement that spotlighted the expressive bow work of violinist Moore; and a piece by German Baroque composer Samuel Capricornus, writing in the style of Schütz. Dieterich Buxtehude’s cantata Singet dem Herrn (BuxWV 98) provided an uncomplicated framework on which Hargis and Moore could interact with sensitive musicianship, swinging with particular élan in triplemeter sections. Arrangements of three French carols provided musical charm and seasonal sparkle. Selections from the first half of the 18th century — the sorts of pieces most listeners immediately think of as Baroque music — generally fared less well. A set of variations on a Swiss Christmas song published in 1741 by Michel Corrette was conceived for the organ but rendered here as a harpsichord solo. The instrument, made by William Dowd, sounded unresonant, perhaps damped by the acoustics of the Great Hall at St. John’s. Lacking the brilliance and tonal variety of an organ, the reading seemed perfunctory. The “Villancico de Nadal” (Nativity Villancico) by Pedro Rabassa (1683-1767), a little-known Spanish-Catalan composer, was, by the musical standards of its time, a provincial effort, but it was thoughtful of the musicians to include it on their program in our city of Spanish heritage. An arrangement by Dornenburg for violin, gamba, and harpsichord of the famous Sinfonia (a “pastoral symphony,” one might call it) that opens the second cantata of Bach’s Christmas Oratorio brought the level of the concert down a peg. The piece really did not lend itself to the severely reduced forces, and the arrangement’s miscalculated conception was thrown into even higher relief by its painfully out-of-tune execution. At least the discomfort it occasioned proved topically apt when the ensemble plunged ahead into a mundane Telemann cantata whose opening line took on added meaning thereby: “I am undaunted in the face of all suffering.” — James M. Keller
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PASATIEMPO I December 13 - 19, 2013
ON STAGE The fire inside: Flamingo Pink and Hazel Ra
THIS WEEK
Both Flamingo Pink and Hazel Ra create ruminative spaces with their music, which is singer-songwriter driven in both cases but sometimes incorporative of digital beats and harmonic layering (Flamingo Pink) or a backing strings and horn section (Hazel Ra). Formerly of Santa Fe, Flamingo Pink returns from the Bay Area with her guitar to visit and remind friends and fans what they have been missing. Hazel Ra, of Portland, Oregon, joins her at High Mayhem (2811 Siler Lane) for a show billed as a “special night of dreamy, campfire-worthy folk music.” The show begins at 8 p.m. Saturday, Dec. 14. Doors open at 7:30 p.m., with admission based on a sliding scale of $5 to $10. Visit www.highmayhem.org. — L.B.
Frisky kitty: Miguel Migs
Miguel Migs falls into the category of house music DJs who see monotony as the enemy and emphasize the soulful over the metronomic. The same could be said of DJs Oona and Samma Lone, who host Rouge Cat’s monthly “Frisky” event. They welcome the San Francisco-based Migs to town to celebrate the event’s first anniversary. Though Migs has been active since the 1990s, his national presence has expanded over the last decade thanks to the launch of his own dance-music label (Salted Music) and accolades like the Independent Music Award for Best Dance/Electronica Album (for his 2007 album, Those Things). The 21-and-over show starts at 9 p.m. Friday, Dec. 13. Tickets are $15 and can be purchased in advance from Rouge Cat (101 W. Marcy St.); call the venue at 505-983-6603. — L.B.
If I only had a heartbeat
Robot Heartbeat is a music showcase of Santa Fe Community College student work from a class devoted to two of the most prominent music software programs: Reason and Live. Both can be used for creating presequenced music or in live performance, meaning the show is likely to have a strong and lively improv aspect even though the sound is generated from within the cold, lifeless shell of a computer. The SFCC students also incorporate visual elements into their performance, which is at Warehouse 21. The all-ages (and free) show starts at 7 p.m. Friday, Dec. 13. W21 is at 1614 Paseo de Peralta; call 505-989-4423. — L.B.
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TERRELL’S TUNE-UP Steve Terrell
Brother against brother — in song
As terrible as the Civil War was, it was a very musical war. Probably because of the movies and various documentary depictions that have become inseparable from that war in the popular mind-set, when you think about the Civil War, you’re likely to think of rousing marches, blue coats, and gray coats. Or perhaps you conjure up the image of a lonesome soldier sitting by a campfire at night playing sweet nostalgic songs of home on his old harmonica. Or maybe you think of contemporary songs about the Civil War like The Band’s haunting “The Night They Drove Old Dixie Down” or Hank Williams Jr.’s shockingly clueless “If the South Woulda Won.” While a few of the popular songs of 150 years ago have remained somewhat familiar, many have faded from memory. Producer Randall Poster has collected 32 Civil War-era songs from both sides of the Mason-Dixon line and rounded up a bunch of country, bluegrass, blues, and folk musicians for an impressive two-disc compilation called Divided & United: The Songs of the Civil War. “Because of the richness of the music of the 1850s and 1860s, so much of it concerned with universal themes of longing, death, and liberty, experiences like that constantly recur on Divided & United,” writes historian Sean Willentz in the liner notes. Although most of the tunes in the project deal directly with the war, some are just songs that were popular during that era, among them “Listen to the Mockingbird,” done by Stuart Duncan and Dolly Parton; “Wildwood Flower,” performed by Sam Amidon; and a heartbreaking “Lorena,” which was beloved by soldiers on both sides of the war, sung by bluegrass master Del McCoury. A couple of the most popular songwriters of the war years are well represented. Stephen Foster songs include “Beautiful Dreamer,” sung by Cowboy Jack Clement (who died in August); an instrumental version of “Old Folks at Home,” by Noam Pikelny and David Grisman; and a heartfelt “Hard Times” by ex-Byrd/ Flying Burrito Brother Chris Hillman. But even more impressive are the songs of Henry Clay Work, who is far less remembered these days than Foster. Born in Connecticut, Work wrote songs for minstrel shows. But before you condemn him as a bigot, realize that he was an avid abolitionist whose parents’ house was used
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PASATIEMPO I December 13 -19, 2013
as a stop in the Underground Railroad for escaped slaves fleeing to Canada. His abolitionist views frequently come across in his minstrel songs. More on Work’s works later. Loretta Lynn kicks off the album with “Take Your Gun and Go, John,” a song about a farm woman sending her husband off to battle. “Don’t fear for me nor the children, John, I’ll care for them you know,” she sings. It’s not only child care she'll be dealing with, but heavy agricultural labor as well. “Ruth can drive the ox, dear John, and I can use the hoe.” One of the few gung-ho, go-team songs here is “Marching Through Georgia,” written by Work and performed by Old Crow Medicine Show. It starts off sad and slow, but after one verse and chorus, it erupts into a joyful hoedown as the Yanks drive the rebels to the sea. From the Confederate side, there’s The Tennessee Mafia Jug Band’s upbeat “Secesh,” which is the story of a Southern kid excited about going to Shiloh. “I’ll put a rifle on my back and there I’ll be a soldier.” But more typical for Divided & United are songs that take a hard look at war, songs like T Bone Burnett’s “The Battle of Antietam” (a song about two brothers on opposite sides in the war); Lee Ann Womack’s gut-wrenching “The Legend of the Rebel Soldier,” which deals with a Confederate soldier dying in a “dreary Yankee prison”); and John Doe’s “Tenting on the Old Campground,” in which the former X man sings, “Many are the hearts weary tonight, wishing for the war to cease/Many are the hearts looking for the right to see the dawn of peace.” Steve Earle and Dirk Powell engage in a little historical revisionism in “Just Before the Battle, Mother.” The original version tells of a brave Union soldier proud to die for a noble cause. But in this version, the narrator remembers his mother’s advice that “discretion is the better part of valor,” and he deserts when he sees the Confederate army approach. Most of the songs deal with the soldiers and their families left behind — their hardships, horrors, and occasional joys. There were others whose lives were turned upside down by the war — the slaves. A few, probably too few, selections in Divided & United tell those stories. Taj Mahal does a rousing version of “Down by the Riverside,” a spiritual known for its chorus: “I ain't gonna study war no more.”And there's Work’s “Wake Nicodemus,” performed by the Carolina Chocolate Drops (under the title “Day of Liberty”). It's about an old slave whose last dying wish was to be woken up when freedom finally came for the slaves. “He was known as a prophet — at least was as wise — for he told of the battles to come,” recites Chocolate Drop Dom Flemons. A longtime personal favorite is “Kingdom Come,” another Work tune, sung by Pokey LaFarge. Sometimes known as “Year of Jubilo,” this is one of those classic tunes you’d probably recognize by its melody, if not the lyrics. It was used extensively in Ken Burns’ Civil War series, not to mention a couple of Tex Avery cartoons. Originally written for a minstrel show, this classic was meant to ridicule the white masters and overseers rather than the black slaves. In the song, the master has been frightened away from the plantation by Union gunships. The slaves are celebrating, locking the cruel overseer in the smokehouse, throwing the key down the well, and helping themselves to the master’s liquor cabinet. “The whip is lost, the handcuffs broken, but the master will have his pay/He’s old enough, big enough, he ought to have known better than try to run away.” With the trumpet and military drums on LaFarge’s track, it’s easy to envision the Yankee army in pursuit of the fleeing plantation master ( Jubilation flashback: My favorite version of this song is by The Holy Modal Rounders, though they rewrote the lyrics. Both versions start out with the hated master “with the mustache on his face.” But in the Rounders’ hands you don’t see Lincoln’s gunships, you see Lincoln himself with “a piece of paper in his hand,” presumedly the Emancipation Proclamation. “Abe Lincoln come, ha ha/Jeff Davis go, ho ho,” they sing.) As is frequently the case with large-scale various-artist musical projects involving singer-songwriters, a few songs drift into the predictable and maudlin. But the duds are few and far between. Listeners who let Divided & United sink in can’t help but come away with a greater understanding of the Civil War and those it affected. ◀
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PASA TEMPOS
album reviews
THE SURFCLAUDIO CHORDS Sea Sun SCOLARI Synthesis Greetings (self-released) Like (Principal Records) Equal parts ugly holiday sweaters, pop remakes of minimalism, quirky instrumentation, Christmas music induce warm and cozy and simple thematic material, this recordfeelings in some and shudders of nausea in ing from Italian percussionist Claudio others. Sea Sun Greetings is a lighthearted Scolari is a surprise in its accessible and pun-heavy collection of 16 original surfcharm and unexpected new music comrock anthems and ballads released by experienced seasonal plications. Simone Scolari’s trumpet provides the focus songsmith Lawrence Savell. Since 1998, Savell has produced on the seven numbers, while drummer Scolari and multiseven holiday-pop albums — all of them, until now, somehow instrumentalist Daniele Cavalca employ synthesizers and, in also incorporating a legal perspective (Savell is a lawyer). “For Cavalca’s case, melodica, vibraphone, and bass to give the trio 2013,” he explains, “I’ve climbed out from the dusty shadows of the a big, eclectic sound. The title tune — simple trumpet lines run Law Library and headed to the beach.” It would take a true Ebenezer against a repeated, fading synthesizer chord; curt, clashing vibraphone Scrooge to lambaste this almost excessively good-hearted album, lines; and a finger-snapping mix of percussion — provides a cool intropacked as it is with positive lyrics like: “When you put on a Santa suit, duction to the varied program. “Expression of Image” begins on tones you’re in for a surprise, in how you feel, and how you see the wonder in and lyricism that suggest Joe Zawinul’s title tune from Miles Davis’ In a children’s eyes/You’ll understand what it’s all for, and your holiday spirit will Silent Way before the synthesizers are joined by Cavalca’s moody melodica. be restored.” Though the combination of surf guitar and sleigh bells These atmospherics are soon replaced by a repeated synth figure, is about as harmonious as eggnog and turkey gravy, these songs waggressive percussion, and exchanges between trumpet and manage to counter their inherent saccharinity with sincerity. some of the most inventive melodica ever heard. The recordThe watercolor cover art created by Savell’s 82-year-old ing’s longest piece, “Dialogue,” the closest thing to a straight mother also increases the album’s endearment factor. jazz tune on the disc, employs tasteful piano phrases and Like ugly holiday Sea Sun Greetings makes a good stocking stuffer for an ever-changing yet facile bass line in framing a wild mix people who love jangly Christmas tunes, and it could of percussive variations. “Fragments of Autumn” is the sweaters, pop remakes of also serve as an alternative to coal for those who have collection’s moodiest piece, and “Hymn of the Inventrouble getting into the holiday spirit. — Loren Bienvenu tions” is a spare showcase for Cavalca’s lyrical melodica Christmas music induce play. Though recorded a bit thin, Synthesis is worth seekPALESTRINA Missa O Magnum Mysterium (Coro) ing out. It’s not the same old thing. — Bill Kohlhaase warm and cozy feelings In his lifetime, which extended from about 1525 until 1594, Giovanni Pierluigi da Palestrina occupied a niche KARRIN ALLYSON Yuletide Hideaway (ObliqSound) in some and shudders apart from other composers, the purity of his counterHere’s a basically wholesome and romantic (but never point suggesting musical piety that found favor among insipid) collection of holiday songs by a vocalist Santa of nausea in others. church fathers. He worked as music director for several Feans have enjoyed in local performances over the past 15 popes, beginning with Julius II, who commissioned years. Karrin Allyson’s first Christmas album features playMichelangelo to paint the Sistine Chapel ceiling, beneath ers who go back years with her — Rod Fleeman, guitar; Chris which Palestrina would often lead his singers. The composer’s outCaswell, keyboards; Todd Strait, drums; and Gerald Spaits, acoustic put includes at least 104 Mass settings, of which the five-voiced Missa O bass — as well as the veteran electric bassist Leland Sklar (Linda RonMagnum Misterium remains unaccountably obscure. The superb choral group stadt, Willie Nelson). She starts things off with the title cut, an original written The Sixteen, directed by Harry Christophers, includes it in the fourth volwith Caswell, her bright and sexy vocals describing wreaths, elves, and ume of its recorded exploration of Palestrina, an installment devoted reindeer in a house decorated for the yule season, and she ends with a mostly to music for the Christmas season. This Mass is a parody of an fabulous blue note. “Christmas Bells Are Ringing” offers some beauearlier (and more famous) Palestrina motet setting of the O Magnum tiful unison work by the leader and Fleeman, who wrote this piece. Mysterium text. Christophers already included that motet in the secThere’s a moody arrangement of “Winter Wonderland,” Allyson’s ond volume of this series, but it would have made sense to duplialtered and bluesy melodic lines contrasting with a tentative, cate it here in proximity to the Mass. Anyway, the performances repeating figure from the rhythm section. In “This Time of Year,” are exquisite throughout, perhaps reaching their summits in a Allyson sings, “Twinkling lights through frosted windowpanes, glorious double-choir setting of the antiphon seem to dance for all the lovers walking Ave regina caelorum and finely shaded rendihand in hand, lost in Christmas-time tions of three of the composer’s settings from romance.” It might sound sappy, but it’s a the erotic Song of Songs, which the church warm, lovely song. Another high point is sanctioned for performance as long as people “It’s Love, It’s Christmas” by the great Bill understood the poems were aimed Evans. There are no “bombs” here. Yuleat the Virgin Mary rather than tide Hideaway is a spirited, charming at more attainable women. addition to the holiday CD shelf. — James M. Keller — Paul Weideman
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PASATIEMPO I December 13 -19, 2013
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Loren Bienvenu I For The New Mexican
Sympathy for the devils
Las Posadas’ main mischief maker says he’s misunderstood
W
hen the devil comes to Santa Fe for Las Posadas every winter, he makes sure to pack special extra-warm asbestos underwear. Las Posadas, translated as “the inns,” is a traditional pageant portraying the efforts of Joseph and the pregnant Mary to find shelter. Their pilgrimage takes them in a circuit around the Santa Fe Plaza, accompanied by a donkey and a supportive crowd of well-wishers, while a series of devils — three this year — heckle them and send them on their way from various downtown rooftops. Eventually, Mary and Joseph find sanctuary at the Palace of the Governors, and celebrants, including the devils, can drink cider and sing carols around a bonfire. To advance this year’s event, which begins at 5:30 p.m. Sunday, Dec. 15, and in the interests of balanced journalism, it only seemed fair to elicit the devils’ perspectives on the event. One of the three was surprisingly easy to track down. There was no need to follow hoof prints through the snow or to intone, “Satan, I summon thee!” He was readily discovered at a desk in the offices of The New Mexican, Mexican blending in perfectly. Once his true identity was uncovered, this particular devil was more than eager to toot his own horn(s). Pasatiempo: Pasatiempo You don’t look particularly devilish. Are you actually evil? Devil: Well, I have a devil-may-care attitude. I like to cause mischief and high jinks, but I don’t think I’m evil. I’m certainly renowned for being evil. Frankly, I think I’m getting a bum rap. All that nonsense about Adam and Eve in the Garden of Evil, I mean Eden, with some snake. I didn’t give them that apple. I suggested they eat oranges. They should’ve taken my advice. With no clothes, we’d all be better off. Pasa: What’s your own preferred apparel? Devil: I have asbestos underwear that keeps me warm. I don it when I go north of the border. And, of course, horns and a tail. Some devils prefer a pitchfork, but I carry an Indiana Jones whip. Pasa:: Tell me about Las Posadas. You send Joseph and Mary away from all these inns — Devil: Whoa, whoa, whoa. Let’s get this straight. Look at Santa Fe. This is a major tourist destination. Do you know how many hotels there are here? Surely they are going to be able to find a place to stay. I’m just trying to save them from the outrageous expense of some of these places. They charge $200 or $250 a night! That’s outright devilish.
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PASATIEMPO I ????????? ??-??, 2013
Let the festivities begin
Pasa: So you’re trying to steer them toward more affordable places, like those out on Cerrillos Road? Devil: You got it. The Thunderbird Lodge. Or Motel 6, which I like to call Motel 666. Pasa: Tell me what happened last year. We were expecting you, but you never showed up. Was it stage fright? Devil: There was a huge snowstorm, and the event got canceled. Turns out Mary and Joseph and the donkey couldn’t get down from Española to do the gig. So I swung by one of the downtown bars and met up with some of Santa Fe’s more comely vixens. I can’t remember all their names, but they remember mine. We had a devilish time. Pasa: Is there a friendly rivalry between you and the other two devils? Devil: Well, I think we all know what we do best. One is very good at making deviled eggs. One makes devil’s food cake. And I’m responsible for some great phrases like “give the devil his due” and “the devil wears Prada,” which was turned into a major motion picture. In fact, if you go on IMDB, you’ll see I’m in a thousand films. Even more than Dracula and Sherlock Holmes. Pasa: Those are some of your main rivals, right? Except in Santa Fe, I imagine the list might include Zozobra, too. Devil: Yes, but that guy burns me up. And that’s why the townspeople burn him up. Pasa: You two don’t get along? Devil: Well, he’s only around for 24 hours. I’m around for 24 hours a day every day. And he can’t handle the heat. He should move north. To the north pole, even. He could give Santa and his elves some help. Pasa: Tell me about Santa: Is he really just this happy fat guy, or is he more complex than that? Devil: What, you’re asking me to psychoanalyze a mythical character? When parents tell their little children about Santa, they want them to believe some weird fat guy dressed in red — which happens to be the devil’s favorite color — comes sneaking down the chimney and leaves presents. Let me tell you, if some fat guy is breaking into your house on Christmas Eve, through the chimney or otherwise, he is not there to leave presents; he is there to take presents. And I’m hoping all the kiddies will read this article, realize there is no Santa, start crying to their parents, and get the newspaper a lot of unfavorable publicity and letters to the editor. Pasa: So you’re behind those big bags of letters that come in every week? Devil: I’m only behind the crank calls and crank letters that seem to be written by delusional people.
Las Posadas caps a weekend of holiday fun that begins Friday, Dec. 13, courtesy of the Palace of the Governors. Beginning at 5:30 p.m., Santa and Mrs. Claus drop by the Palace (105 Palace Ave.) for an action-packed evening complete with crafts, piñatas, and entertainment. Performing a mix of carols and classical music are Coro de Agua Fría, Santa Fe Talent Education youth members, Schola Cantorum, EPIK Youth, and ensembles from the New Mexico School for the Arts. From 10 a.m. to 4 p.m. Saturday, Dec. 14, and 10 a.m. to 3 p.m. Sunday, Dec. 15, the New Mexico History Museum hosts the Young Native Artists Holiday Show & Sale in the Meem Community Room (105 Washington Ave.). The event is billed by the museum as a chance to “see what the children and grandchildren of the Palace Portal artists have created for your holiday gift-giving. Get in on the ground floor of collecting from the next generation of Native artists.” There is no charge for any of these events, but donations of nonperishable food items are encouraged for Friday’s Las Posadas festivities. More details are available at www.nmhistorymuseum.org/calendar and by calling 505-476-5200. — L.B.
details ▼ Las Posadas ▼ 5:30 p.m. Sunday, Dec. 15 ▼ Procession around the Plaza, concludes with a reception in the Palace of the Governors Courtyard (enter through the Blue Gate on Lincoln Ave.) ▼ No charge; 505-476-5200
Above and opposite page, Las Posadas, Santa Fe, New Mexico, December 2011; courtesy Palace of the Governors Photo Archives (NMHM/DCA)
continued on Page 34 PASATIEMPOMAGAZINE.COM
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The Apprentice Devil (New Mexico History Museum/Palace of the Governors’ cleaning crew member Mauricio Rosales) I’m from Mexico — Torreón — and I’ve done this before in my country, and it was fun. Las Posadas is special, because it’s when we all get together, have posole and tamales, and spend time with our families. This is going to be my first time seeing it here. I’m probably going to be a scary diablo, and afterward I’ll return to normal. I like to act, but it’s going to be a challenge. I’m more of an angel than a devil.
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PASATIEMPO I December 13 -19, 2013
Pasa: Is there a part of you that feels left out from the camaraderie of Las Posadas? Devil: When you’re asked to make a special appearance in Santa Fe, you don’t turn it down. This is a prime time for me to convert some devout worshippers over to my side. A lot of people believe God created the devil to tempt people. Let’s go back to Adam and Eve. Particularly Eve. I’m still tempting Eves all over town, and some of them are tempting me. Pasa: What kind of mischief do you have in mind for after the event? Devil: Well, one of the many things I’m planning for the new year is to mix up everyone’s income-tax returns. I also plan to get into La Fonda and switch everyone’s hotel keys one night. Plus I’m going to make grass magically grow next spring so people around Santa Fe have to buy lawn mowers. Pasa: Is that the worst of it? Devil: Remember the Obamacare website mess up? That was me. The water-main break on Cerrillos Road a couple of weeks ago? Me. Pasa: Have you been dabbling your fingers in local politics at all? Devil: Well, the whole mayoral race, with the city councilors and all their antics? That’s me. Lengthy school board meetings? That’s my doing. Pasa: Given how busy you are, seems like you must spend more time here than in hell. Devil: Actually there is no hell. There’s just Gallup, New Mexico. Pasa: Gallup’s not so bad. Is that where you live the rest of the year? Devil: Either there or Newark, New Jersey. Pasa: Well, thanks for your time. Break a cloven-hoofed leg on Sunday. Devil: Anytime you need me, just call me. The other two devils were harder to track down in person, but they did answer their “hell phones.” Here’s what they had to say:
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Las Posadas, continued from Page 33
The Artistic Devil (woodworker and sculptor Roger Atkins) This year will be my third year. Las Posadas is really very peaceful, at least from my perspective. I get a view that no one else gets except for other devils — being up on a roof and looking down at the actors who play Mary and Joseph. They have these wonderful, serene smiles on their faces while they’re looking up at you. So it’s not really about being a devilish devil when you get down to it. I’m more of a happy devil, a laughing sort of “get outta here” devil, so it’s relatively easy for me to get into character. … I put on some Styrofoam horns I made that are like bull horns they’re so big. Then I wear a red coat, black turtleneck, and some shades. ◀
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James M. Keller I The New Mexican
Sketches ofSpain
‘Unseen traditions’ of works on paper make exclusive U.S. showing
IN
the hierarchy of relative prestige that reigns over two-dimensional artworks, prints and drawings (often linked together under the term “works on paper”) generally take a back seat to paintings, which can more readily grab a viewer’s attention through their glamorous and diverse possibilities of color and scale. Nonetheless, prints and drawings exert a magnetism all their own. Enthusiasts of the field are among the most detail-oriented of art connoisseurs, deriving pleasure from the slightest swirl of a pen on paper or the subtle variations that distinguish successive impressions made by a single engraving plate. For the next three months, Santa Feans will have an opportunity to see what the quiet fuss is all about thanks to Renaissance to Goya: Prints and Drawings From Spain, an extensive exhibition opening Saturday, Dec. 14, at the New Mexico Museum of Art. The exhibition comprises 132 works from the collection of the British Museum in London, which unveiled it in September 2012. After that, it moved to the Museo Nacional del Prado in Madrid and the Art Gallery of New South Wales in Sydney, Australia, before arriving in Santa Fe, the only American city in which it will be displayed. After the show closes here, on March 9, 2014, the works return home to London. The exhibition’s focus on prints and drawings from Spain would seem natural to a city with the heritage of Santa Fe, but for the art world at large it was not an obvious choice. Although such old masters as Velázquez, Murillo, Zurbarán, and Ribera are well known to art lovers, those artists are famous
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Francisco de Goya: They Say Yes and Give their Hand to the First Comer (Los Caprichos), circa 1797-1798, etching and burnished aquatint Top, Francisco de Herrera the Younger: Design for an Overmantel, circa 1670-1680, watercolor with pen, brown and black ink over black chalk, on several conjoined sheets
almost exclusively for their paintings. Few museumgoers have spent much time focusing on the works on paper by those famous figures, all of whom are represented in the show. The British Museum is one of the world’s greatest repositories of Spanish works on paper. Still, in the foreword to the catalog prepared to accompany the show, the museum’s director states: “The British Museum’s Old Master prints and drawings are such a celebrated part of its collection that it comes as something of a surprise that the present exhibition is the first large-scale evaluation of its Spanish holdings.” The curator for the show is Mark P. McDonald, who serves as the British Museum’s curator of Old Master prints and Spanish drawings. “I take care of art on paper from the 16th century through the 18th century,” he explained in a recent telephone conversation. “My main job involves not things Spanish, but it’s my specialist interest, you could say. The main part of my job is Italian and French prints. We know so much more about them than about Spanish prints, but Spanish art is a great interest of mine.” Although limiting the show to 132 items involved painful selectivity, one senses something encyclopedic in what McDonald achieved. “Encyclopedic” is certainly the right word to describe the weighty, lavishly produced catalog. It documents a great many artists who qualify as obscure even to historians, including some whom McDonald insists deserve substantial reputations that have so far eluded them: the 16th-century master Alonso Berruguete, the 17th-century figures Francisco Camilo and Sebastián continued on Page 38
Vicente Carducho: Saint Bruno Praying in La Torre – Calabria, 1626-1632, pen and black ink, chalk and brown wash, heightened with white, squared for transfer; images courtesy New Mexico Museum of Art
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Sketches of Spain, continued from Page 36 de Herrera Barnuevo, the 18th-century artist José Camarón y Bononat. In all, the show presents a panorama of Spanish works on paper from the mid16th century through the first quarter of the 19th. The artist represented by the most works by far — 26 pieces — is the one whose prints and drawings will be most familiar to viewers, Francisco de Goya. His images of political luminaries, bullfights, nightmares, and political violence are among the most famous in the entire field of works on paper, but they are often viewed as emerging out of nowhere, works of genius created by spontaneous generation. Although they stand as the destination of this exhibition, McDonald hopes they may now appear as less solitary achievements, as works that emerge out of a vibrant national tradition. “This is the first time ever,” he said, “that so many Spanish prints and drawings are being shown in an arthistorical forum, so to speak. Spain sort of dropped off the map in this field. This exhibition has been a great way to place Spain back on the artistic map through showing such marvelous, high-quality, fascinating prints and drawings. My goal in the show is to explore how unseen traditions can be so exciting.” In a conversation with Pasatiempo, McDonald shared further thoughts on Renaissance to Goya: Prints and Drawings From Spain. 38
PASATIEMPO I December 13 -19, 2013
Pasatiempo: It strikes one as strange that Spanish prints and drawings prior to Goya have been so steadfastly ignored, even by scholars in Spain. Why do you think this happened? Mark P. McDonald: It is a hard question to answer. I think it comes down to two factors. The first is the inaccessibility of Spanish art collections; many scholars did not know these things even existed. The second problem is that there are far fewer Spanish prints and drawings as compared to Italy. In Spain, there was not the same historical tendency to keep such works safe and sound, to keep them intact. All through Spain I have seen evidence of marvelous prints and drawings being treated fairly badly and sometimes evidence of works that have simply not survived. Those two factors join to ensure that works on paper have not taken center stage as they have in, for example, Italy or Germany. Pasa: And yet it seems that, at least in some cases, prints and drawings were far from occasional entries in an artist’s output. The 17th-century master José de Ribera produced more than a hundred prints, many of them completely independent from paintings — not preliminary efforts connected to more developed works but rather self-standing, final artworks in their own right. Are there historical reasons that explain why some of these artists were more involved in this area than others?
Antonio Palomino: Ahimelec Giving to David the Sword of Goliath, circa 1711, pen and brown ink and gray wash Top, Francisco de Goya: Rocky Outcrop and Leaning Trees, before 1810, etching and burnished aquatint
Opposite page, from top, Fernando Brambila and Juan Gálvez: Agustina of Aragon, 1808-1814, etching and aquatint; José García Hidalgo: Studies of the Female Nude, 1693, etching
McDonald: I think a far greater drawing practice took place than we think of. There is no way those huge 17th-century paintings could have been made without being sketched out first in drawings. I’m quite certain that many more were made in each case but have not survived. This may be because, compared to Italy, Spain had far fewer students who surrounded the masters and eagerly collected their drawings; the apprentice system in Spain was not so structured. In Italy, we find students fighting over drawings by certain masters. Then, too, in 16th-century Florence, for example, we find artists who were famous precisely for their sketching and drawing; so their work in these areas was sought out by collectors in their city and also in surrounding towns, which were relatively accessible. Spain is a more vast country, and its cities were fairly cut off from each other. The result was that there was not so much artistic exchange. Pasa: How did the British Museum become such a repository of Spanish works on paper? McDonald: Many of the finer Spanish drawings were sold in Spain to foreigners. Most of the strongest drawings in our collection came to us in the 19th century, especially from the 1820s through the 1850s. At that time, there were merchants in Spain specifically targeting foreign buyers. For centuries in England, there had been a strong interest in collecting drawings, so these merchants were playing into an established market. Pasa: Your own scholarship includes a study of a huge collection of prints amassed in Seville in the early 16th century by Ferdinand Columbus, son of the explorer. Was he truly an exception? Were there not early collectors of prints and drawings in Spain after him? McDonald: Ferdinand Columbus — my other passion! He died in 1539, and he spent years traveling through Italy and Germany, buying prints, which he sent back to Seville for his personal archives there. He had an inventory of 3,200-odd prints, most of which he acquired by 1525. He was the earliest known art-on-paper collector anywhere, basically. And he was based in Spain, so we can say that interest in collecting works on paper did start earlier there than elsewhere. He sort of started something in Spain, but after him, interest in this area developed more strongly among collectors in Rome, Paris, and Germany. Pasa: Because drawings in particular were sometimes produced as preliminary studies for eventual paintings, do you find that they are often unsigned? Is attribution a big challenge in this period of Spanish drawings? McDonald: I’ve torn out quite a few strands of hair over this. It is a thorny, complex problem. There are very many finished drawings for which we lack certain attribution, although we may gain answers in years to come. My study doesn’t go into attribution too much. I’m more keen to talk about things we know about than about things we don’t know about. Pasa: We think of prints as artworks, but there was also a more practical, commercial aspect to printmaking. Printing books, for example, was a form of printmaking, and your show includes a wonderful hand-colored woodcut, made in Madrid
in 1587, of an uncut sheet of playing cards. Were the same artists active in “artistic” and “commercial” printmaking? McDonald: We need to understand prints through their function. A sheet of playing cards is clearly not the same as a top-end engraving. And yet, an engraver’s activity could cover both top-end artistic pieces and more commercial pieces like playing cards or maps. If made at the same time, a print’s value is informed by its function. I try to not go on too much about high culture versus low culture, but we should not view this field just in terms of top-end prints. A printmaker making spectacular engravings might also make prints with another purpose; if someone was paying, they’d say, fine. And even talking about artistic production, you will find during those centuries some cheaper prints in top-end collections and some expensive prints in more ordinary collections. There was no clear-cut distinction between top-end and low-end. Pasa: When we look at prints and drawings by Goya, we have no trouble identifying their Spanish themes, and we recognize them more-or-less automatically as Spanish. But when you look at works on paper from the two centuries preceding Goya, what are some characteristics that leap out as quintessentially Spanish? McDonald: In drawings, there is a preponderant use of pen and ink. Quite often the drawings don’t have a terribly “finished” quality; they are more likely to seem to be exploratory studies. Obviously we have some highly finished drawings, but not too many. And, generally speaking, they are on quite small sheets of paper. So: pen and ink, smaller sheets, a not highly finished feel. In terms of subject, the Spanish artists were strongly attracted to architectural and saintly subjects, and we have very few genre subjects and few landscapes. Pasa: Apart from Goya, your show does not focus on famous artists. Indeed, a few reviewers have worried that the show is overwhelmed by a preponderance of obscure names. Would I be correct to assume that you do not agree with them? McDonald: I don’t agree at all. The exhibition opens a brand new subject, and all new subjects have the same problem: they are not established in the canon of acceptability, and so they don’t automatically have “unquestioned” status. Almost no person will question the quality of a 16th-century Italian drawing, although in my view quite a few are scrappy and marginal. But because they are so well established, nobody will object to them. If you are obsessed with just masterpieces of famous artists, then you shall see nothing else. Unknown does not mean not good. ◀
details ▼ Renaissance to Goya: Prints and Drawings from Spain ▼ Opening reception noon-5 p.m. Saturday, Dec. 14; exhibit through March 9, 2014 ▼ New Mexico Museum of Art, 107 W. Palace Ave. ▼ Opening day no charge, afterward by museum admission (no charge Sundays to N.M. residents); 505-476-5072, www.nmartmuseum.org
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ART OF SPACE
Paul Weideman
2013: A spaces odyssey he real-estate market in Santa Fe now is very slow compared with that of the pre-recession mid-2000s, but new houses are being built here and there. An especially active segment is for smaller contemporary homes, according to Gabriel Browne, the principal of Praxis Architects. His 1,615-square-foot residence for James David and Gary Peese fits the description. It’s basically contemporized Santa Fe style, with sharp-edged corners, silver anodized-aluminum windows, and a casita stuccoed a deep gray-green. Inside, the house — which received the annual Honor Award from the American Institute of ArchitectsSanta Fe on Dec. 12 — exhibits some dramatic flair. One example is the staircase. The clients, who are fans of the Dutch designer Axel Vervoordt, “had a vision of what they call ‘elemental,’ so they didn’t want veneers or what I call thin finishes,” Browne said. The 40
PASATIEMPO I December 13 -19, 2013
Award-winning David/Peese residence (inset, interior stairway) by Praxis Architects; photo courtesy Laurie Allegretti
Right, Archaeo Architects house in St. George, Utah; photo courtesy Robert Reck; below, two views of the Spears Architects work on the Seton Castle ruins; photo courtesy Beverley Spears
staircase is simply composed of thick slabs of wood and sheets of black steel, with two bends. “We called it the origami staircase because the vision is of a long, thin piece of steel that sort of wraps upward.” There’s an interesting story behind the house, on Hadisway Avenue in the Fort Marcy area. One day, after more than a year of planning work, Browne was standing with the clients on their lot. He had discovered that the area was still zoned for 21 units per acre and mentioned that this would permit the owner of the neighboring lot to tear down the two old, existing buildings and put up six new units — right across from the clients’ main view-window. David and Peese asked the architect to keep an eye out in case that lot came on the market. They departed and, just 20 minutes later, a Realtor friend approached Browne. “It was Dia Winograd. She was my neighbor when I was 7 years old, growing up in Dixon,” Browne said. “I asked her what she was doing there, and she told me she was about to list that lot. It turns out it was owned by other old hippie friends of ours from Dixon. Their grandmother had lived in the house there.”
The clients probably hoped to be able to purchase the lot in a few months, or perhaps weeks, but Browne called them barely a half-hour after they left, and they ended up buying it. The job on the new lot involved remodeling both a concrete-block casita and a 1960s adobe main building, a house that Browne described as “classic hippie-built.” Is that just a casual descriptive term, or is it something that qualifies as a style? “I have a Ph.D. in hippiebuilt, and I think it’s a vernacular,” Browne said. “It adopted the vernacular techniques but added decorative flourishes that are unique. That was very much what was going on when I was growing up in Dixon, between 1969 and maybe 1985, when I went away to school. You weren’t an adult until you built your own house.” Another handmade house, one that boasted a personality best described as ultra-eclectic, was the subject of a singular “renovation” that brought a 2013 AIA-
Santa Fe Merit Award to Spears Architects. This was the 1930s building known as Seton Castle, the home and education center of famed naturalist Ernest Thompson Seton. It burned down in 2005, two years after the property was purchased by the Academy for the Love of Learning. “The fire totally decimated the building, but the stone walls were still standing,” said Beverley Spears, who won the award for her design work to stabilize the castle ruins. “The site was cleaned up, but then the academy had the decision about what to do with the ruins. It was decided to stabilize them and keep that as a memorial to Seton but also as almost a standing sculpture for meditation and certain events. One two-story wall is kind of on a hillside, so it was a rather complex situation.”
Her additions often served more than one purpose. One example was stabilizing the walls of the former library, which was the heart of Seton Castle. This was done with hefty, hollow steel tubes placed to recall the vigas that had burned. Similarly, the west-facing porch was rebuilt in rugged steel, and plate steel was employed to line windows — both for support and appearance. “The question was how to stabilize the walls for safety and permanence and make the space navigable, usable,” Spears said. “There was a lot that went into it structurally, and we wanted to be in keeping with the original house.” continued on Page 42
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Freeman residence in Corrales by Krupnick Studio; photo courtesy Michael Freeman
The second of three Merit Awards was given to Krupnick Studio for its Freeman residence in Corrales. “The interesting thing about this and all my projects since this one is that I fully engage the client as a design partner,” Michael Krupnick said. “Instead of being the great architect with all the grand ideas, we sit down as a team all the way through.” His clients, an engineer and a sustainable-building consultant, had a pretty solid idea of what the home would be. It had to be durable, green, and maintenance free. They and the architect came up with the concept and floor plan in two days. Details of appearance took a few months to iron out. “Aesthetics comes second, but it’s the only thing that matters in the end,” Krupnick said. “My idea of green is that if it’s not beautiful, it’s not green, because it’s going to get torn down. I saw way too many awesome ’60s adobes with solar sunrooms and Trombe walls that were so ugly that everyone tore them down as soon as they could.” The Freeman house has lots of insulation and solar panels and was awarded the highest LEED for Homes certification, Platinum. “It’s an awesome house: humble, clean, green, and soft and sexy in some areas. It looks and feels like concrete block, and that fits into the neighborhood, with corrugated metal and concrete block and pipe fencing around the property. “The clients wanted an award-winning, fun architectural piece [which includes a 19-foot cantilevered roof off the kitchen and dining room], but the neighbors say it looks like a horse barn. It’s exciting that it worked out so well.” The third AIA-Santa Fe Merit Award recipient was still farther afield — a residence in St. George, Utah, by Archaeo Architects, Santa Fe. A set of very rigid covenants in the Kayenta subdivision made this a challenge. “They virtually don’t want the houses to be seen, so there’s a 12-foot height restriction and many stylistic restrictions,” said Jon Dick, Archaeo’s principal. “You can’t even have an exposed bulb visible from the exterior.” The house is essentially in the Santa Fe style. “I gestured to the historical vernacular of the hacienda courtyard. I tried to break up the massing to make it look as if there are several structures collected around a courtyard, but in fact it’s all one.” Dick’s strategies for admitting views of the area’s tremendous red-rock formations and bringing light into the abode are the use of broad, butt-glazed corner windows and, in other places, narrow windows that extend upward and transition into skylights. The architect pushed for traditional pigmented plaster on the interior walls. Nobody in St. George does that, and the team ended up using Santa Lucia Plasterers (Gustavo Duran) in Santa Fe. “The floors are pigmented concrete, but in the kitchen they’re black walnut. We found some monks in the northeast who harvest the walnut environmentally, using horse and wagon, and the clients loved that.” AIA-Santa Fe awarded honorable mentions to three projects: College Town, a 129,000-square-foot residential/commercial project near Florida State University in Tallahassee, by Krupnick Studio; the rebuilding of the historic, fire-damaged Santo Domingo Trading Post by Spears Architects; and the new Santa Fe Trails bus shelters by Autotroph Design (Alexander Dzurec, principal). ◀
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Michael Abatemarco I The New Mexican
Whistler’s etchings show his place in 19th-century revival of artform
ince the world began there have only been two supreme etchers — Rembrandt and Whistler,” Joseph Pennell writes in his 1919 book Etchers and Etching. Pennell, an etcher and a friend and biographer of James McNeill Whistler (1834-1903), asserts that Whistler’s genius was in employing etching for the expression of ideas and impressions using a minimal number of lines. Etching is about line. If an artist uses fewer lines to convey a landscape or a portrait or a genre scene, every line must count and, as Pennell writes, “every bit of it has life and meaning and character.” Pennell is one of a number of
Whistler’s contemporaries whose works are included in the exhibition Whistler and Company, on view at Argos Studio/Gallery through Jan. 4. The show draws from the extensive print collection of Robert Bell, an ophthalmologist and lecturer on fine art prints at New Mexico Highlands University. It is a chronologically arranged body of work that places Whistler amid a 19th-century etching revival and emphasizes his sphere of influence. Whistler and Company is Argos’ eighth in a series of historic print exhibits based on Bell’s collection. The show covers Whistler’s early years as well as his time in France and England. It includes what is possibly Whistler’s earliest print, The Coast Survey Plate, a commissioned etching made for the United States Coast and Geodetic Survey, in which the inex-
Above left, James McNeill Whistler: Self-Portrait, 1859, etching; above right, M. Dornac: Whistler in His Studio, period reproduction
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perienced printmaker doodled in the margins of the plate. This act might have contributed to his dismissal from the project, which was intended as a series of etchings of coastal and topographical maps. But Maria Naylor, author of Etchings of James McNeill Whistler, writes that the dismissal was the result of his repeated absences from the job. Whistler, a native of Lowell, Massachusetts, was something of an irascible figure whose critics often became his enemies. When the artist arrived in England in the 1850s, he spent time with his brother-in-law Francis Seymour Haden, who was considered a prominent force in the revival of etching in England because of his dedication to the craft. Haden helped found the Royal Society of Painter-Etchers and Engravers. His work was published in Paris by Alfred Cadart, who ran a gallery
the company he kept
Thomas Way: Portrait of Whistler, charcoal
Seymour Haden: Old Chelsea (Out of Whistler’s Window), 1867, etching
Mortimer Menpes: Portrait, Old Woman, Normandy, 1880s, drypoint
for etchers that included works by Impressionists Berthe Morisot and Édouard Manet. Etchings were an affordable art form for the middle class, and with well-known artists treating the medium as fine art, prints became the rage. The Cadart Gallery, an etching by Adolphe Martial Potémont, depicts throngs of Parisians lining up to buy prints from the gallery. “I put that print in the show to show that the etching revival was underway by the time Whistler came over to Paris,” Bell told Pasatiempo. “Cadart never published Whistler’s prints. He published a lot of Haden’s prints.” Included in the section that covers Whistler’s years in France is a self-portrait dating to 1859, possibly the artist’s first self-portrait done as an etching. Some of Whistler’s work from the late 1850s was published as a collection called The French Set; six examples Above, Whistler: Sunlight Soap, 1905, etching, drypoint
from this series are included in the exhibit — genre scenes in which Whistler chose the underprivileged lower classes and old tenement housing as his subjects. His friends and acquaintances in Paris included Impressionists Camille Pissaro, Mary Cassatt, and the early modernist Auguste Rodin. Examples of their etchings are included in the exhibit. Whistler’s work clearly affected the etchings of other artists. After his return to England in the late 1850s, he followed the publication of The French Set with a series of etchings of the Thames, published individually at first, and then as a set. These were among the works praised by Pennell for Whistler’s handling of line. Whistler’s Thames images clearly show how line is used continued on Page 46 Paul Helleu: Portrait of Whistler, 1897, drypoint
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If an artist uses fewer lines to convey a landscape or a portrait or a genre scene, every line must count.
Whistler: La Vielle aux Loques, 1858, etching; top, U.S. Coastal Survey Plate with margin sketches by Whistler, 1854, etching, engraving
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Whistler, continued from Page 45 economically to suggest a setting on the water without the need for fine detail and also to suggest tonal ranges. Douglas Ian Smart’s etchings of the Thames, made much later, show Whistler’s influence in terms of style and subject matter. Whistler’s Nocturnes, a series that included nighttime scenes of the Thames, shows the impact of Japanese woodblock printing on the artist’s work. Nocturne in Blue and Gold — Old Battersea Bridge, a color lithograph made by a cataloger of Whistler’s named Thomas Robert Way from an original pastel by Whistler, shows the innovative use of flecked paint to portray harbor lights and fireworks that characterized Whistler’s style at the time. It was, in part, this approach to material that led artist and critic John Ruskin to write in a published letter, “I have seen, and heard, much of Cockney impudence before now; but never expected to hear a coxcomb ask two hundred guineas for flinging a pot of paint in the public’s face.” Whistler responded to the criticism by suing Ruskin for libel. He won the case but was only awarded a farthing, worth about one fourth of a penny, in damages. The case ruined him financially and rendered his Nocturnes unmarketable. He was lampooned in popular magazines, including Punch, a weekly British magazine of humor and satire that ran a woodcut of the Whistler/Ruskin trial depicting the artist with whistles for legs. A caricature by Leslie Ward, done as a lithograph in 1878 for Vanity Fair and titled A Symphony, shows the effete, monocled artist with a long cigarette in his hand — an image of the man that became indelible. Despite the setback caused by the trial, Whistler would recover. “He recovered by getting an advance from the Fine Art Society, [which] told him it would pay him to do 12 etchings of Venice,”
Bell said. “He stayed for just about a year, and he did many more etchings and pastels. He had a show as soon as he got back. The etchings were criticized as being unfinished. A couple of months later, he showed the pastels, which were very successful.” The Venice etchings, like his earlier work, contain a lot of white space that reads as water and sky. Whistler added just enough detail to render a complete scene using the subtlest of form to suggest architecture and movement on the calm waters of the Venice canals. Younger etchers followed suit, including Pennell, Hedley Fitton, and James McBey, all of whom are represented in the exhibit. “You can see the stylistic influence,” Bell said. “The James McBey etching of Venice can be substituted for one of Whistler’s. It was almost done as a homage to Whistler.” More than 90 prints are on view in Whistler and Company, making this a rare opportunity to see many prints by Whistler and other artists in one location. While Whistler was certainly a master of the etching medium, Pennell’s effusive praise amounts to idolatry. He positions Whistler as an artist who broke in on an existing scene and became its paragon. “Whistler and Rembrandt left no followers,” he writes. “They cannot be followed — that is, imitated — in their greatness.” Whistler and Company reveals that other artists did try to follow, but few achieved Whistler’s prominence. ◀
details ▼ Whistler and Company ▼ Exhibit continues through Jan. 4, 2014; tour by Robert Bell 7 p.m. Monday, Dec. 30 (reservations required) ▼ Argos Studio/Gallery, 1211 Luisa St. ▼ No charge; 505-988-1814
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James M. Keller I The New Mexican
Monsters, monsters everywhere Sea beasties and the maps they haunt 48
PASATIEMPO I December 13 -19, 2013
e have all seen them in reproductions, those maps of a geographically naive world in which the waves of immeasurable oceans are populated by fearsome creatures. What may not have crossed our minds is that there exists a subculture of people who study these fantastical beasts and discuss them exhaustively with one another — and, more amazing still, that they do so with no apparent sense of bemusement or irony. In the introduction to his opulently illustrated volume Sea Monsters on Medieval and Renaissance Maps, published in June, Chet Van Duzer writes of these cartographic creatures, “Curiously, the subject has been little studied.” And yet his copious endnotes suggest that scholars have indeed been cultivating a vigorous dialogue on the topic, communicating in the pages of arcane journals through such flirtatiously titled articles as “Animals in Context: Beasts on the Hereford Map and Medieval Natural History,” “The Sea Monsters of Olaus Magnus: Classifying Wonder in the Natural World of Sixteenth Century Europe,” and “Erudition on Display: The ‘Scientific’ Illustrations in Pico della Mirandola’s Manuscript of Pliny the Elder’s Natural History.” That scholarly round robin seems to be getting ever more active, by the way. Only a few weeks after Van Duzer’s book was published, a related one appeared: Joseph Nigg’s Sea Monsters: A Voyage Around the World’s Most Beguiling Map, from the University of Chicago Press. Whereas Nigg trains his microscope on the organisms inhabiting a single map — the Carta Marina produced by Olaus Magnus in Sweden sometime between 1527 and 1539 — Van Duzer stakes a claim as a generalist. He casts his net wide through the oceans of maps produced by European cartographers beginning with a series of mappaemundi (“maps of the world”) illustrating medieval manuscripts of the Commentary on the Apocalypse by Beatus of Liébana. The most striking among them is the “Gerona Beatus mappamundi” from the year 975. Here, the known bits of Europe, Africa, and Asia — separated by the Mediterranean, Nile, and Tanais — float entirely encircled by the ocean. In that moat-like sea we find images of ships and of more-or-less recognizable fishes, but also of stranger creatures: for example, the serra (or “sawfish”), which would swim beneath boats and slice them in half with its serrated fin (so Isidore of Seville assured his readers), or such terrestrial-aquatic hybrids as the marine chicken and the marine dog. Crossbreeds of that sort grew logically from the enduringly influential observations of the natural world promulgated by Pliny the Elder (A.D. 23-79); “so the vulgar notion may be true,” he wrote, “that anything which is produced in any other department of Nature, may be found in the sea as well.” From there, Van Duzer works his way through a plethora of historical maps, which fall into three categories: mappaemundi, which provided a general idea of the extent of the world; nautical charts (or portolan charts), which offered relatively detailed guidance for the navigation of shorelines and coastal cities; and maps of the ports themselves (of which Van Duzer considers only one example, an 11th-century sketch-map of the Italian port of Brindisi). “It is important to emphasize that the majority of medieval maps do not have sea monsters,” he cautions. Still, those that do are numerous, and our ancestors found that they served a laudable educational purpose. In his 1510 treatise De cardinalatu, for instance, the author Paolo Cortesi proposed that the palaces of cardinals include among their decorations world images or maps of recent geographical discoveries. He writes:
The same holds true for paintings that show the remarkable nature of various creatures, in which the diligence of observation is the more praiseworthy the less familiar the species portrayed in the paintings. In these types of curiosities and tales, therefore, the praiseworthy depictions are those that allow the intellect to be sharpened through interpretation, and through whose learned delineation the mind is made more erudite. While it cannot be said that Van Duzer’s prose is spirited, it is scrupulously precise, more given to description and historical minutiae than to the interpretation Cortesi hoped such images might inspire. Chapter headings suggest a degree of levity not conveyed in the text itself, but the information is not without interest. A section titled “How to Buy a Sea Monster,” for example, considers a legal document penned in Florence in 1400. It clarifies that the pricing of a luxury map reflected the number of illustrative figures included in the painting and that the inclusion of an inordinately large number of such illustrations encouraged the artist to dig deeper into his imagination. Writes Van Duzer: “It seems likely that when an artist was paid to paint a large number of sea monsters on a map, he would do so without seeking information on works of natural history about where a particular sea monster had been seen. That is, payment for a large number of sea monsters changed their nature, tending to separate them from their geographical or historical sources, and thus reducing their geographical significance on the resulting map.” In the world of sea-monsters-on-maps people, it is best to simply accept that the authenticity of a creature is predicated on its pedigree in historical scientific sources rather than on whether or not it actually existed. It would seem impolite to object that a hybrid fish-pig-dog one might find on an early map never actually swam the seas, even if some natural-history treatise suggested that it did. A redefined position on reality allows readers to go
Top, illustration of the aquatic monk, the aquatic bishop, and the merman with aquatic forelegs, in Conrad Gesner’s Historiae Animalium Liber IIII. qui est de Piscium & Aquatilium animantium natura, 1558 Below, a hybrid sea monster that is half lion, half fish in the Mosaic of Neptune in Room Four of the Baths of Neptune in Ostia Antica, second century Opposite page, a ship landing on a whale mistaken for an island in an early 13th-century bestiary Images from Sea Monsters on Medieval and Renaissance Maps by Chet Van Duzer, published by The British Library, courtesy the author
continued on Page 50
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Right, St. Brendan’s ship on the back of a whale, and his men praying, in Honorius Philoponus’ Nova typis transacta navigatio, 1621 Below, from top, a winged sea dragon with huge rabbit ears on Gastaldi’s Cosmographia Universalis et Exactissima iuxta postremam neotericorum traditio[n]em, circa 1561 An ichthyocentaur playing a viol on the map of Scandinavia in Ortelius’s Theatrum orbis terrarum, 1571 A menacing sea monster on Gastaldi’s map of Africa in the 1563 edition of Ramusio’s Navigazioni
Sea monsters, continued from Page 49 ahead and luxuriate in tales that do us no harm — and especially to delight in the accompanying images — even if those stories and pictures would have struck terror into the hearts of Renaissance mariners. Take, for example, the improbable legend inscribed on a richly decorated nautical chart made in 1413 by the Catalan cartographer Mecia de Viladestes, which amplifies on the ancient belief that whales could be mistaken for land masses: This sea is called “mar bocceano,” and therein are found great fish, which sailors take to be small islands and take up their quarters on these fish, and the sailors land on these islands and make fires, and cause such heat that the fish feels it and sets itself in motion, and they have no time to get on board and are lost; and those who know this, land on the said fish, and there make thongs of its back and make fast the head of the ship’s anchor, and in this way they flay the skin off it, whereof they make sraianes [ropes?] for their ships, and of this skin are made good coverings for haystacks. Variations on this marine myth recur quite a bit, sometimes citing St. Brendan as the first person to perch a boat on a whale. Martin Behaim’s terrestrial globe, constructed in 1492, incorporates a text that leads to a happier ending for the sailors: “He [St. Brendan] is said to have landed on this fish, thought it was dry land, and lit a fire on this fish. When the back of the fish began to burn, it plunged into the sea. The people reembarked in their boats and fled to the ship. This event is not reported by the Portuguese infidels.” The earlier sea monsters Van Duzer considers are depicted in illuminations, drawn or painted on manuscript maps. The painting of sea monsters eventually emerged as a specialist’s pursuit. In 50
PASATIEMPO I December 13 -19, 2013
considering Pierre Descelier’s “large ... and gloriously coloured manuscript world map of 1550,” Van Duzer finds that it “is not very rich in sea monsters.” But the sirens and monsters it does include are clearly overpainted in a style markedly different from the paint application on the underlying map, evidence (Van Duzer argues) “of a specialist in sea monsters in Descelier’s atélier.” By that time, mapmaking had largely intersected with the field of printmaking. Some of the most elaborate depictions of sea monsters on maps are found on 16th-century maps printed as engravings or from woodblocks. A few persisted even into the 17th century, when Honorius Philoponus’ Nova typis transacta navigatio (published in Linz in 1621) included a map of the eastern Atlantic that conflates the St. Brendan legend with a depiction of the missionary journeys of the monk (or friar) Bernardo Buil, who has set up an entire altar on the back of an aquatic beast. “But with the close of the sixteenth century,” reports Van Duzer, “the period of the most florid development and widest use of sea monsters on maps had come to an end.” By then, these creatures had graced maps for hundreds of years, often depicted side by side with ships. The ships persisted, receding from the cartographer’s realm only in the 18th century. “In fact,” Van Duzer writes, “the two motifs are to a certain extent antithetical: while sea monsters on maps discourage human sea travel by indicating its grave dangers and uncertainties, most images of ships on maps boldly affirm the ability of humans to traverse the watery element, encouraging new voyages and even affirming political control over the seas.” ◀ “Sea Monsters on Medieval and Renaissance Maps” by Chet Van Duzer is published by The British Library.
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Holidays at the Palace
Christmas at the
Palace
Join a candlelit procession around the Plaza, recreating Mary and Joseph’s search for an inn, and stay for carols and cookies in the Palace Courtyard. Free. Sunday, Dec. 15, 5:30 – 7 pm
Young Natives Art Show & Sale Santa Fe’s beloved tradition, with hot cider, live music, piñatas, and a visit by Santa, in the Palace and its Courtyard. Free. Food-drive donations welcomed. Friday, December 13, 5:30 – 8 pm
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Las Posadas
These events are made possible through the generous support of the Museum of New Mexico Foundation and Los Compadres del Palacio.
On the Historic Santa Fe Plaza
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nmhistorymuseum.org
Creations from the next generation of Portal artisans, perfect for gift-giving. In the Meem Community Room. Saturday, Dec.14, 10 am–4 pm; Sunday, Dec.15, 10 am–3 pm
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INSPIRATION COMPLEX A R T I S T
R O S S
C H A N E Y
Michael Abatemarco I The New Mexican
oss Chaney, the current artist in residence at the Museum of Contemporary Native Arts, grew up in Oklahoma. He is a member of the Osage and Cherokee tribes and overcame severe dyslexia as a child, going on to pursue a career in business. Chaney, an economic-development specialist for the city of Santa Fe, is a self-taught artist whose work appears simple on the surface, with a free-flowing sense of color, form, and line. In his renderings of people and faces he contrasts bright colors with black, expressing melancholy emotions. In his nonfigurative pieces he explores color relationships and patterns. Chaney’s sculptures are representational, but his sumi-e ink drawings and acrylic canvases are abstractions. In contrast with many of his Native contemporaries, Chaney creates art that is not centered on anything specifically Indian. His work is conceptual, subliminal, and spontaneous. His background is in international
Ross Chaney in the resident artist studio at the Museum of Contemporary Native Art; photo by Kathleen Willard; top, Untitled (detail), 2013, sumi-e ink on paper
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PASATIEMPO I December 13 -19, 2013
relations and political science, interests that led him to receive a master’s degree in international relations from the Ritsumeikan University in Kyoto. On Sunday, Dec. 15, Chaney opens his studio at MoCNA to the public and gives a talk about his process at the museum. Pasatiempo: Do the ceramic pieces in your studio practice relate to the works on paper? Ross Chaney: I started working at Santa Fe Clay earlier this year. The idea was to go from the ink and the paintings and then go to the sculpture. What came out of it were these masks and faces. I also made three characters with two faces or two sides to their heads. The idea is that these characters are sculpting the masks and faces because they’re trying to make them look more human. Pasa: The paintings and drawings have less figuration than the clay. What are some of the themes informing this work? Chaney: An immediate theme is complexity theory, or fractals, to be more specific. It’s seeing repeated patterns. No matter how indepth you look or how far you pull out, it’s
connected. They share the space even though it doesn’t seem like it when you take just one part of the whole. That’s a general theme with the community. Working in one part of the community relates to the others. It’s all a system that’s connected. So I balance out the artwork with my nonprofit and community work. The theme there is on health. But I’m mostly interested in children’s mental health. Pasa: This interest prompted you to work with youth and help them work through grief. Is this something you experienced yourself as a child? Chaney: It stemmed from when my parents died. My dad died when I was 14. My mom died when I was 18. He had a heart attack, and my mom had terminal cancer. It was pretty intense for a teenager to get the information, at 17, that your mother has terminal cancer. At 19, I had to figure out, in order just to stay sane, what my goals should be. I was interested in business through high school. I had gone through three semesters of college. I thought, well, economic development for continued on Page 54
Right, details of untitled works in progress by Chaney using acrylics on canvas; photos by the artist
Ross Chaney, continued from Page 53
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tribes, because that will fund all the other programs. At the same time, what I didn’t realize until years later was that you have to process that grief that you experienced. Unresolved grief can create problems. I’ve worked with Gerard’s House, the children’s grief center in Santa Fe, since 2004 to help local kids process their grief. I work with 3-year-olds to 20-year-olds. Pasa: You never pursued a degree in fine arts, but is art making an activity that interested you as a child, or did this interest develop later on? Chaney: I’ve always been artistic. I grew up in the 1980s with a sense of, OK, you need to go out and go to school. That’s the avenue to opportunities. And the avenue to a job is a business degree. So I didn’t study art in college, because that wasn’t congruent with the thinking as far as this 1980s business track. Business wasn’t something my parents put me on. That was the construct of the time. I won a Woodrow Wilson Fellowship, and its focus was on politics and international affairs. They wanted me to do what I’m doing now, which is go work for a municipality and be involved in economic development or policy development. I studied economic development of the region of East Asia. I went to Japan and studied business and law. I was going to a lot of Japanese gardens and shrines and admiring the artwork, but I still wasn’t taking classes or doing artwork. It wasn’t until 10 or 12 years ago that I really started focusing on the artwork as a balance between all that math and structure. Pasa: What was it like for you at a young age having to deal with your dyslexia? Obviously it didn’t prevent you from earning several graduate degrees. Chaney: I changed around schools a lot. The teachers determined that I had some kind of autism or severe learning disability, so they took me out of my regular classes and put me with severe learning disability children. And it just wasn’t the case. I had dyslexia and I couldn’t read and write or spell, but I wasn’t severely learning impaired. The point was, I hated school, avoided school, and did everything I could to get out as quickly as possible. I’ve spent so much time in structure, theory, and business and those kinds of cultures that I really didn’t want art school to be like that. I wanted to find out on my own and make my own mistakes. So I spent money on supplies and not on course hours. Pasa: While tribal culture and heritage are not explicit themes in your work, are there ways in which they have informed it? Chaney: Absolutely tribal culture has an influence, but it’s not something I’m trying to translate or retranslate. I grew up on the Osage reservation. Every summer in June there’s the I’Lon-Schka dances with the Osage. The house I lived in was right around the corner from the dance grounds. It’s a part of my memory. One thing that came out two or three years ago was having this memory of Oklahoma and being in the third grade and having Indian art education classes. We would paint these kachinas and things — nothing related to me specifically as Cherokee or Osage. I was seeing how some of those taught themes came back in some of my later work, and I thought, Where is this image coming from? Maybe it is Native iconography. How do you separate from that context of Native American art and just have a conversation as a human who is Native American and a tribal member without necessarily making the expected art? Pasa: How would you describe your working process? Do you begin with an idea or an image in your mind to work from? Chaney: It’s more like starting out with what you know when you begin. Maybe you’re drawing a face, or drawing a head, or a pattern. But then it’s more experimentation: figuring out the colors, the palette, and the mix. I made some basic rules early on, and one was not to be a perfectionist. If I dropped it or smeared it, let it be. And another was not to show or sell it. I wanted it to be a learning process with the material itself. ◀
details ▼ Ross Chaney open-studio event ▼ Studio opens noon Sunday, Dec. 15, artist talk at 2 p.m.; then studio open by appointment through December
on the P laza
Ph: 505.983.4562
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PASATIEMPO I December 13 -19, 2013
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▼ Museum of Contemporary Native Arts, 108 Cathedral Place, 505-983-1666
60 E. San Francisco St. SantaFeGoldworks.com
▼ No charge Dec. 15; then by museum admission
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movIng Images film reviews
Damned if you do Jonathan Richards I For The New Mexican Faust, drama, not rated, in German with subtitles, The Screen, 3.5 chiles The camera comes drifting down over a mythical landscape, following a handkerchief floating on gentle breezes, toward a village nestled in a forest. It’s like a bit of Forrest Gump fantasy or the opening of an animated fairy tale. Next thing you know, you’re in a dingy, squalid space and dead, gray male genitalia fill the screen. Behind them, a hand mucks around in a gaping body cavity, pulling out organs and gore. The rooting hand belongs to Dr. Heinrich Faust ( Johannes Zeiler, resembling a cross between Ralph Fiennes and Frodo Baggins), who is performing an autopsy while wrangling with his assistant Wagner (Georg Friedrich) about the exact location of the soul. This is not going to be a fairy tale after all. Faust is the final film in what director Aleksandr Sokurov calls a tetralogy of power. The first three entries dealt with historical subjects — Hitler (Moloch, 1999), Lenin (Taurus, 2001), and Hirohito (The Sun, 2005). The fourth takes on Goethe’s tale of the human lust for power. In classic Greek theater, a tetralogy consisted of three tragedies followed by a satyr play, which was essentially a bawdy burlesque. Sokurov’s quartet fits that description. Sokurov (perhaps best known here for the remarkable Russian Ark, his 2002 historical drama that tours the Hermitage and Russian history in a single 96-minute take) plunges us into a dark, filthy, crowded town, where despair and misery are rank and the odors are so manifest they almost
Johannes Zeiler
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PASATIEMPO I December 13 -19, 2013
Real housewife of devilly thrills: Hanna Schygulla
overpower the limitations of cinema to gag you. The period is imprecise; the feeling is medieval, but some costumes suggest something like early 19thcentury Germany. Medicine is certainly primitive. Faust visits the hospital, a filthy ramshackle place where livestock roam freely through the wards and his doctor father (Sigurður Skúlason) is stretching a patient on a rack. “It’s a good method,” the senior Faust replies to his son’s protest. “I’ve tested it on many patients.” “How many have survived?” “I’ve never counted.” The roots of all evil in this benighted town are poverty and hunger. Faust visits the local pawn establishment to see if he can raise some money with a few of his possessions, but the pawnbroker, a grotesque named Mauricius, is not interested in anything he has to offer. Not anything material, that is. Mauricius (deliciously played by Anton Adasinsky, a Soviet-era rock star) is the devil, although he modestly rejects so pretentious a title. He’s a lumpy, pear-shaped fellow with a pale, pinched face and the lumbering gait of an arthritic kangaroo. He is willing to make Faust an offer on his soul, and Faust, a man of science who scoffs at religion, is amenable to the deal. After correcting a number of spelling and grammatical mistakes in the moneylender’s contract, he signs it in his own blood and receives a purse of gold in return. A lust for power, money, and sex — that unholy trinity of human yearning — is what drives Faust to make his devil’s bargain. Mauricius takes him on a tour of a public laundry and bathhouse, and while the devil disrobes to bathe and reveals his inhuman
anatomy, Faust sees and is smitten with the beautiful laundress Margarete (Isolda Dychauk). Later, Faust’s Mephistophelian contract gives him the power to seduce the fair maid. In a shot reminiscent of the male autopsy scene, we get a close-up view of the naked maiden’s dewy mound, but this time the image is bathed in light and suffused with promise. The bleak, dark palette that pervades the rest of the movie is the work of the great Bruno Delbonnel (whose work is also on display in the Coen brothers’ Inside Llewyn Davis), and he paints this narrative with a gloomy intensity that recalls Rembrandt and El Greco. The bustling squalor and human folly of Sokurov’s mise-en-scene also suggest Bruegel and Bosch. He overdoes this physicality in some scenes, spilling over into a distracting slapstick of people squeezing past and tangling up with one another, including an image of a traffic jam involving a funeral procession and a cart full of pigs that could call to mind Woody Allen. Comedy aside, there’s a lot of darkness, both visual and spiritual, to this tale. The devil turns out to be a creature of limitations, after all. His pawnshop is cluttered to the rafters with the stuff of human misery, but, as he complains to Faust, “the things I have do not belong to me. They could be redeemed at any minute.” The languages of pawn and of religion share a certain lexicon. When it came out in 2011, Sokurov’s Faust won the Golden Lion at the Venice Film Festival, where it drew a distinctly mixed critical and public reception. It’s not an across-the-board crowd pleaser. But love it or hate it, this is a visually splendid, hallucinatory picture that will stick with you. ◀
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4
Nebraska, comedy-drama, rated R, Regal DeVargas, 3 chiles Woody Grant has won a million dollars. That’s what it says, in big, bold letters, in the direct-mail letter he has received from the Publishers Clearing House. And he’s determined to get to Lincoln, Nebraska, to collect his winnings. Woody (Bruce Dern) is in his late 70s, a bit addled with a touch of dementia helped along by a lifetime of heavy drinking. He doesn’t drive. So he sets out on foot from his home in Billings, Montana, walking along the highway, where the cops keep picking him up a few miles from home and bringing him back. His scolding wife, Kate ( June Squibb), tells him he’s nuts, and his sons, Ross (Bob Odenkirk) and David (SNL’s Will Forte), try to convince him that it’s a scam, but Woody won’t be budged, and every chance he gets, he sets out for Nebraska. Finally David agrees to drive him there, partly to prove to him he’s wrong, partly to spend a little quality time together on the road. This is the slender setup for Alexander Payne’s (The Descendants, Sideways) sweet, biting, funny, wistful comedy-drama of a fading, receding American Midwest. The characters are strong, including the aging denizens of Woody’s old hometown of Hawthorne, Nebraska, where they stop en route. Among the standouts are Stacy Keach as Woody’s old service-station business partner and Angela McEwan as his high-school sweetheart. Important as any of the characters is the gorgeous black-and-white photography by Phedon Papamichael, which renders the landscape in muted, evocative charcoal sketches and brings out the lonely, nostalgic feeling of an era and a generation disappearing into the mists of the past. It’s like The Last Picture Show revisited 60 years later, with the teenagers now in their dotage. Payne had to fight to get his way with the B&W, and along with Noah Baumbach’s Frances Ha, this may be a harbinger of good things to come in resurrecting this evocative form. Dern carves out a cantankerous old coot in Woody, as stony and uncommunicative as the faces on Mount Rushmore, where David stops along the way. He’s not likable, but Dern reveals glimpses of depths and layers that make you care. Forte keeps David in character, never leaning for a moment on his comic’s arsenal. The script by Bob Nelson is beautifully crafted, with flashes of wit and well-controlled pathos. There are a few touches that baffle or irritate, including David’s inability to explain the “misunderstanding” about the million dollars to the denizens of Hawthorne, who think their old native son has struck it rich and are looking to cash in. But Nelson and Payne and their strong cast keep the negatives at bay, and they’ve drawn a memorable landscape of Americana. ◀
EUROPEAN FILM AWARDS NOMINATIONS BEST BEST DIRECTOR BEST WRITER BEST ACTOR PAOLO SORRENTINO PAOLO SORRENTINO • UMBERTO CONTARELLO TONI SERVILLO PICTURE
BRITISH INDEPENDENT FILM AWARDS NOMINATIONS
BEST INTERNATIONAL FILM
“THE YEAR’S “A RADIANTWORK. “OUTLANDISHLY GRANDEST, DROP-DEADGORGEOUS. ENTERTAINING MOST EXHILARATING Luxuriously, seductively, Moves to the insistent FOREIGN FILM.” stunningly cinematic.” beat of life.” Richard & Mary Corliss, TIME
KennethTuran,LOSANGELESTIMES
“NOTHING SHORT OF SUBLIME.”
Manohla Dargis, THE NEW YORK TIMES
“MIGHT JUST BE THE MOST UNFORGETTABLE FILM OF THE YEAR.”
Ella Taylor, NPR.org
BilgeEbiri,NEWYORKMAGAZINE
A FILM BY
PAOLO SORRENTINO
WWW.THEGREATBEAUTY.COM
OFFICIAL ITALIAN ENTRY FOR THE 86TH ACADEMY AWARDS ® ~A.O. Scott
COMING SOON TO CCA
★★★★★
‘‘
THE BEST FILM OF ~ Mick LaSalle
2013.”
FINAL SHOWS THIS WEEKEND!!! Fri-Sat Dec 13-14
12:30p - The Great Beauty 1:00p - Following the Ninth* 3:00p - American Promise* 3:30p - Blue is the Warmest Color 5:45p - Following the Ninth* (followed by Q&A) 7:00p - The Great Beauty 8:00p - Following the Ninth* (with Intro)
• Chomsky/Gondry: Is The Man Who Is Tall Happy? • Some Velvet Morning • Great Expectations • Haute Cuisine • I Am Divine & much more!!!
Sun Dec 15
12:30p - Following the Ninth* 1:15p - The Great Beauty 2:30p - Following the Ninth*
Mon Dec 16
Cinema Closed
Tues-Thurs Dec 17-19
1:00p - The Great Beauty 1:30p - Following the Ninth* 3:30p - Following the Ninth* 4:00p - The Great Beauty 6:00p - Following the Ninth* 7:00p - The Great Beauty 8:00p - Following the Ninth* * indicates shows will be in The Studio, our new screening room for $8.00, or $6.00 CCA Members!
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— compiled by Robert Ker
FOLLOWING THE NINTH: IN THE FOOTSTEPS OF BEETHOVEN’S FINAL SYMPHONY Kerry Candaele’s film takes viewers around the world in pursuit of finding out what makes Beethoven’s Ninth Symphony so universally loved. Candaele appears at the 5:45 p.m. and 8 p.m. screenings on Friday and Saturday, Dec. 13 and 14. Not rated. 90 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) THE HOBBIT: THE DESOLATION OF SMAUG Do you remember reading the sprawling Hobbit trilogy when you were a child? Probably not, since it was a single thin book. Don’t tell director Peter Jackson, who has expanded it into epic cinema. For this sequel he’s brought the elves (including Orlando Bloom’s Legolas) aboard. Martin Freeman and Ian McKellan return as Bilbo and Gandalf, respectively, while Benedict Cumberbatch voices the dragon Smaug. Rated PG-13. 160 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española.(Not reviewed)
Zen and the art of elfery: Orlando Bloom in The Hobbit: The Desolation of Smaug, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week AMERICAN PROMISE Race and class are explored in this documentary by African Americans Joe Brewster and Michèle Stephenson as they follow their son Idris and his friend Seun through 13 years of privateschool education. Not rated. 142 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) ANCHORMAN 2: THE LEGEND CONTINUES We hope you’ve stayed classy, Santa Fe, because Ron Burgundy (Will Ferrell) is back, and he’s got the whole Channel 4 news team (Paul Rudd, Steve Carell, David Koechner, and Christina Applegate) with him. This sequel to the much-loved 2004 comedy finds the gang headed to cable news and the 1980s. Don’t act like you’re not impressed. Opens Tuesday, Dec. 17. Rated PG-13. 119 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) CHRISTMAS WITH THE DEAD Here is an often clever, sometimes disturbing, and occasionally sweet take on the zombie-apocalypse genre, with lonely Texan Calvin (Damian Maffei) determined to decorate his
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house for Christmas despite the ubiquitous presence of flesh-eating ghouls all around the joint. Brad Maule is just terrific as Calvin’s newfound living friend who survived the apocalypse because he was wearing 3-D glasses. The film is based on Joe Lansdale’s short story (it’s somewhat different), and Lansdale co-produced the film. It runs out of ideas and steam near the end, but zombie-film fans will like it all the same. 11 p.m. Friday and Saturday, Dec. 13 and 14, only. Not rated. 86 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Nott) FAUST This is the final film in what director Aleksandr Sokurov (Russian Ark) calls a tetralogy of power. The first three entries deal with historical subjects — Hitler (Moloch, 1999), Lenin (Taurus, 2001), and Hirohito (The Sun, 2005). This one takes on the root of all that evil, in Goethe’s tale of the human lust for power. A tetralogy in classic Greek theater consisted of three tragedies followed by a bawdy burlesque. Sokurov’s quartet fits that description. Despite a heavy, permeating darkness, it’s a ribald and sometimes almost slapstick rendering of the Faust myth set in a Bruegelian landscape of poverty and squalor. Not rated. 134 minutes. In German with subtitles. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 56.
THE LAST DAYS ON MARS That title sounds like a metaphor, suggesting a possible indie psychodrama. Unfortunately, the film’s name is entirely literal, which makes it boring but also fitting, because the movie is really boring. There are astronauts, and they are on Mars. No one likes one another, and everyone’s tone of voice sounds either tired or annoyed. Then suddenly there are zombies, a turn of events not ridiculous enough to offer any campy fun. The talented cast, which includes Liev Schreiber and Olivia Williams, also seems really bored. Rated PG-13. 98 minutes. Jean Cocteau Cinema, Santa Fe. ( Jennifer Levin) THE MET LIVE IN HD: FALSTAFF Ambrogio Maestri stars in James Levine’s staging of Verdi’s opera, which is broadcast live from the Met. The cast also includes Angela Meade, Stephanie Blythe, and Lisette Oropesa. 11 a.m. Saturday, Dec. 14, with a 6 p.m. encore. Lensic Performing Arts Center, Santa Fe. (Not reviewed) NEBRASKA Woody Grant (Bruce Dern) has won a million dollars, or so his letter from Publishers Clearing House says, and he’s determined to go to Lincoln, Nebraska, to claim his prize. His son David (Will Forte) agrees to drive him, partly to prove to him he’s wrong, partly to spend a little quality time with his father on the road. This is the slender setup for a sweet, biting, funny, wistful comedy-drama of a fading, receding American Midwest from Alexander Payne (The Descendants). As important as any of the characters is the gorgeous black-and-white photography that
renders the landscape in muted, evocative charcoal washes and brings out the lonely, nostalgic feeling of an era and a generation disappearing into the past. It’s like The Last Picture Show revisited 60 years later, with the teenagers now in their dotage. Rated R. 115 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) See review, Page 57. PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of Verdi’s Les vêpres siciliennes from London’s Royal Opera House. Lianna Haroutounian and Bryan Hymel star. 11 a.m. Sunday, Dec. 15, only. Not rated. 270 minutes, including two intermissions. The Screen, Santa Fe. (Not reviewed) THE PRIME MINISTERS: THE PIONEERS Ambassador Yehuda Avner — who served as a chief aide and speechwriter to Israeli Prime Ministers Levi Eshkol, Golda Meir, Yitzhak Rabin, Menachem Begin, and Shimon Peres — serves as the center of this documentary. Sandra Bullock, Michael Douglas, and Leonard Nimoy are among the stars lending their voices. Not rated. 115 minutes. The Screen, Santa Fe. (Not reviewed)
move-’em-out action — which felt at home in the Stallone and Schwarzenegger era — gets old by the end. Rated R. 137 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) ALL IS LOST A man (Robert Redford) is stranded on a crippled vessel somewhere in the Indian Ocean in this often-enthralling drama from writer and director J.C. Chandor (Margin Call). All Is Lost is basically Robert Redford against the sea, and it relies on good old-fashioned storytelling to keep you involved. It’s a gutsy project that trusts its audience to trust it back, but be warned: the final third of the film gets a bit repetitious — in a most soggy manner. Rated PG-13. 106 minutes. The Screen, Santa Fe. (Robert Nott)
RICHARD II This Royal Shakespeare Company performance is broadcast from Stratford-Upon-Avon. David Tennant (Dr. Who) plays the title role. 2:30 p.m. Sunday, Dec. 15, and 7 p.m. Tuesday, Dec. 17, only. Jean Cocteau Cinema, Santa Fe. (Not reviewed)
BLUE IS THE WARMEST COLOR Abdellatif Kechiche’s emotionally rich drama tells the story of Adèle (Adèle Exarchopoulos), a high-school student whose burgeoning sexuality leads her on a journey of self-discovery after she meets Emma (Léa Seydoux), a lesbian whose openness brings Adèle out of her shell. Raw passion ignites the screen, and despite its graphic sex scenes, Blue Is the Warmest Color never strays into gimmicks or sentimentality. It’s as honest a film as you are likely to see this year. 3 p.m. Friday and Saturday, Dec. 13 and 14, only. Rated NC-17. 179 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco)
TYLER PERRY’S A MADEA CHRISTMAS What would Christmas be without a new Madea movie? Fortunately, we’ll never have to find out, because Tyler Perry seems to give us a new one every year. In this outing, Madea (Tyler Perry) takes guff from nobody yet again — this time at Christmas. Rated PG-13. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
THE BOOK THIEF In the last 10 years, few novels have been as beloved or heralded as Markus Zusak’s 2005 young-adult book about a girl in Nazi Germany who helps her foster parents hide a Jewish man. The film version stars Sophie Nélisse as the girl and Geoffrey Rush and Emily Watson as the parents. Rated PG-13. 131 minutes. Regal DeVargas, Santa Fe. (Not reviewed)
now in theaters ALIENS James Cameron’s 1986 sequel to the sci-fi classic Alien— in which Ridley (Sigourney Weaver) once more finds herself surrounded by creepy crawlies, except this time she’s accompanied by a military unit — was once a staple of every young boy’s VHS collection. It still has plenty of thrills but hasn’t aged so well. Cameron is a special-effects genius who thinks visually and there’s lots of good gore, but the constant shoot-’em-up,
THE BROKEN CIRCLE BREAKDOWN Be sure to bring your hankies to the theater for this Belgian film with artful cinematography and a fantastic soundtrack. Didier ( Johan Heldenbergh) and Elise (Veerie Baetens) fall in love, have a baby, and perform in a bluegrass band until tragedy strikes. Director Felix Van Groeningen throws time in a blender, whirring around from the middle to the beginning and back. This and the sometimes soulful, sometimes toe-tapping tunes save the story from being like a Lifetime movie of the week. Ultimately, it becomes a meditation on life’s heaviest questions. Not rated. 111 minutes. In Flemish with subtitles. Jean Cocteau Cinema, Santa Fe. (Laurel Gladden)
CAPTAIN PHILLIPS Director Paul Greengrass knows how to turn newspaper headlines into whiteknuckle thrillers, having earned accolades with 2006’s United 93. This time he tells the story of Captain Richard Phillips (Tom Hanks), whose freighter was hijacked by Somali pirates in 2009. Rated PG-13. 133 minutes. Regal DeVargas, Santa Fe. (Not reviewed) DALLAS BUYERS CLUB In 1985, a cocky homophobic sex-, booze-, and drug-addicted Texas redneck named Ron Woodroof was diagnosed with HIV, then known almost exclusively as “the gay disease.” His reaction to the diagnosis, and his battle against the big-hospital/ big-pharma/FDA cartel that put profit ahead of patients, is the basis for this remarkable story. Taking it to the next level are the terrific performances of Matthew McConaughey as Woodroof and Jared Leto as his sweet but steely transvestite sidekick Rayon. Rated R. 117 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) DELIVERY MAN You’re not going to believe this, but in Vince Vaughn’s latest film, he plays a smartalecky slacker who learns to take responsibility for himself and others. In this case, it’s a lot of others: his character discovers that he fathered 533 children through donations to a sperm bank some 20 years earlier. Now he has to make up for lost daddy time. Rated PG-13. 103 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) ENOUGH SAID Fans of Woody Allen’s rom-coms for adult audiences should embrace this charmer about two divorced empty-nesters ( Julia Louis-Dreyfus and, in his final performance, James Gandolfini) who fall for each other and then find that middle-age relationships come fraught with baggage and defense mechanisms. Louis-Dreyfus shows more depth and Gandolfini more softness than either one’s iconic TV roles would suggest; the two head a terrific cast that includes Catherine Keener and Toni Collette. Nicole Holofcener directs them all with a generous spirit. The results are moving, honest, and often very funny. Rated PG-13. 93 minutes. Regal DeVargas, Santa Fe. (Robert Ker) FROZEN Disney’s latest animated fable — and the first to be co-directed by a woman, Jennifer Lee — is a strange one: it is a tale of misunderstanding with a complicated setup but no real villain or central conflict. Two princess sisters in a fantasy kingdom are separated continued on Page 60
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when one is revealed to have magical powers to summon cold, snow, and ice. With the help of a big lug ( Jonathan Groff), the younger woman (Kristen Bell) must pull her older sis out of her wintery withdrawal from society. The wacky sidekick (a talking snowman voiced by Josh Gad) is actually funny, and the character animation is wonderful. The film is a breeze, despite the awkward first act and uneven songs. Rated PG. 108 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) GRAVITY You’ve never seen a movie like this before. Tense and gripping but also tranquil and meditative, this thriller from director Alfonso Cuarón centers on two astronauts (George Clooney and Sandra Bullock) whose shuttle is destroyed while they are on a space walk. The resulting struggle to survive — like the special effects of the film itself — showcases humankind’s vast resourcefulness and potential. Cuarón’s story also celebrates how small, yet still important, we all are. Rated PG-13. 91 minutes. Screens in 3-D only at Regal Stadium 14, Santa Fe. (Robert Ker) THE GREAT BEAUTY Paolo Sorrentino’s (Il Divo) breathtaking excursion through Roman high life is a sad, funny, sexy, heartbreaking, and exquisite look at a society dancing as fast as it can to keep up with a past that can’t be caught or even quite remembered. Our guide through this funhouse labyrinth of beauty, debauchery, pretension, and yearning is Jep Gambardella (Toni Servillo), an aging writer and bon vivant who made a literary splash with a slim novel 40 years ago and hasn’t been able to think of anything worth writing about since. La Grande Bellezza is a conscious and masterful updating of Fellini, a worthy 21st-century version of the dolce vita that the master painted in the middle of the 20th. Not rated. 142 minutes. In Italian with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) HOMEFRONT James Franco has had a weird, wild year on the silver screen, between traveling to Oz (Oz the Great and Powerful), chillin’ during spring break (Spring Breakers), adapting William Faulker (As I Lay Dying), and facing the end of the world with his pals (This Is the End). Now he takes on his most unlikely
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part yet: the bad guy in a Jason Statham action pic. Rated R. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE HUNGER GAMES: CATCHING FIRE This is a rare case of a movie that’s just as good as — possibly better than — the book on which it’s based. Defiant Katniss ( Jennifer Lawrence) has unwittingly inspired unrest in Panem, a dystopian nation where a totalitarian government punishes its citizens for their rebellion by forcing children to compete in an annual televised battle to the death. To dampen Katniss’ fire, sinister President Snow (Donald Sutherland) and new Head Gamemaker Plutarch Heavensbee (the always-welcome Philip Seymour Hoffman) force her back into the arena. The phony-looking costumes and clumsy camerawork of the first film are long gone, thanks to a bigger budget and a better director (Francis Lawrence). Rated PG-13. 146 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Laurel Gladden) OUT OF THE FURNACE Originality is not the strong suit of this tough, gritty Rust Belt revenge melodrama about two brothers caught in the cold quicksand of the dead American dream, but some startlingly good performances give it life. Christian Bale is Russell, who does time for a DWI with tragic consequences, and Casey Affleck is his kid brother Rodney, a damaged veteran of four tours in Iraq whose life is in tatters and whose fists are his only resource. The excellent cast is rounded out by Zoe Saldana, Sam Shepard, Willem Dafoe, and a riveting Woody Harrelson, who takes his patented psychopath persona to new evil heights. Director Scott Cooper (Crazy Heart), whose last outing won Jeff Bridges an Oscar, knows how to direct actors, but he still has trouble with the subtleties of storytelling. Rated R. 116 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) PHILOMENA Steve Coogan plays a down-on-his-luck journalist who takes on a human-interest story by bringing an Irish woman ( Judi Dench) to America to find her long-estranged son. The film is marketed as a lighthearted, odd-couple comedy — and there are laughs — but the material runs much deeper and darker than that. Before director Stephen Frears (The Queen) is done taking us on all of his unpredictable and oftenrewarding turns, we’ve pondered aging, forgiveness, the existence of God, the complexities of the Christian faith, and how different perspectives paint a distorted picture of one’s life. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THOR: THE DARK WORLD The Marvel movie machine chugs along, and at this point it seems as if the filmmakers are
more concerned with not derailing the gravy train than they are with making a great movie. Marvel is dependable; you may not leave the theater feeling inspired, but you won’t want a refund. And so it goes with the latest Thor picture, which is visually drab (the bold colors of The Avengers are gone) except when the hammer starts flying and plodding and predictable except when it attempts humor. Overall it rates as “Fine, I guess.” Rated PG-13. 111 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) 12 YEARS A SLAVE Director Steve McQueen takes us into America’s slave trade with the same clinical observation and exquisite composition that he used in his previous features, Hunger and Shame. Unfortunately, he tarnishes his adaptation of Solomon Northup’s 1853 autobiography — about the free-born man’s stint as a slave after being captured and shipped south — with too many movie moments, from the horror-film-like score and celebrity cameos to the happy ending, blunting the impact and putting his intentions into question. There’s fine acting all around, from Chiwetel Ejiofor’s star turn as Northup and Michael Fassbender’s villainous landowner to newcomer Lupita Nyong’o’s portrait of suffering. Rated R. 133 minutes. Regal DeVargas, Santa Fe. (Robert Ker) WHEN THE IRON BIRD FLIES: TIBETAN BUDDHISM ARRIVES IN THE WEST Through personal stories, this documentary describes the impact that Tibetan Buddhism’s core teachings has had on the lives of participants in the U.S., allowing them to maintain a measure of peace and relief from the trials and demands of contemporary life. Historic footage of the Chinese takeover of Tibet and plenty of talking heads offer a picture of how an international community has embraced an ancient practice from a once-remote kingdom. Not rated. 96 minutes. Jean Cocteau Cinema, Santa Fe. (Michael Abatemarco)
other screenings DreamCatcher Ghost Phone. Jean Cocteau Cinema 6:20 p.m. Wednesday & Thursday, Dec. 18 & 19: The Crash Reel. Regal Stadium 14 7 p.m. Thursday, Dec. 19: American Hustle. 7 & 10 p.m. Thursday, Dec. 19: Saving Mr. Banks. ◀
LIEV What’s shoWing Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room
1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org American Promise (NR) Fri. and Sat. 3 p.m. Blue Is the Warmest Color (NC-17) Fri. and Sat. 3:30 p.m. Following the Ninth: In the Footsteps of Beethoven’s Final Symphony (NR) Fri. and Sat.
1 p.m., 5:45 p.m., 8 p.m. Sun. 12:30 p.m., 2:30 p.m. Tue. to Thurs. 1:30 p.m., 3:30 p.m., 6 p.m., 8 p.m. The Great Beauty (NR) Fri. and Sat. 12:30 p.m., 7 p.m. Sun. 1:15 p.m. Mon. Tue. to Thurs. 1 p.m., 4 p.m., 7 p.m. JeAn CoCteAu CinemA
418 Montezuma Ave., 505-466-5528 Aliens (R) Fri. and Sat. 8:30 p.m. Mon. 8:30 p.m. The Broken Circle Breakdown (NR) Fri. and Sat. 4:15 p.m. Sun. 8:30 p.m. Wed. 8:30 p.m. Thurs. 4:15 p.m. Christmas with the Dead (NR) Fri. and Sat. 11 p.m. The Crash Reel (NR) Wed. and Thurs. 6:20 p.m. The Last Days on Mars (R) Fri. to Mon. 6:20 p.m. Wed. 4:15 p.m. Thurs. 8:30 p.m. Royal Shakespeare Company: Richard II (NR) Sun. 2:30 p.m. Tue. 7 p.m. When the Iron Bird Flies (NR) Fri. and Sat. 2 p.m. Wed. and Thurs. 2 p.m. regAl deVArgAS
562 N. Guadalupe St., 505-988-2775, www.fandango.com 12 Years a Slave (R) Fri. and Sat. 12:50 p.m., 3:50 p.m., 6:50 p.m., 9:45 p.m. Sun. to Thurs. 12:50 p.m., 3:50 p.m., 6:50 p.m. The BookThief (PG-13) Fri. and Sat. 12:30 p.m., 3:30 p.m., 6:30 p.m., 9:25 p.m. Sun. to Thurs. 12:30 p.m., 3:30 p.m., 6:30 p.m. Captain Phillips (PG-13) Fri. and Sat. 12:40 p.m., 3:40 p.m., 6:40 p.m., 9:35 p.m. Sun. to Thurs. 12:40 p.m., 3:40 p.m., 6:40 p.m. Enough Said (PG-13) Fri. and Sat. 12:35 p.m., 3 p.m., 5:15 p.m., 7:30 p.m., 9:50 p.m. Sun. to Thurs. 12:35 p.m., 3 p.m., 5:15 p.m., 7:30 p.m. Nebraska (R) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7 p.m., 9:40 p.m. Sun. to Thurs. 1:10 p.m., 4:10 p.m., 7 p.m. Philomena (PG-13) Fri. and Sat. 1 p.m., 3:15 p.m., 5:30 p.m., 7:45 p.m., 10 p.m. Sun. to Thurs. 1 p.m., 3:15 p.m., 5:30 p.m., 7:45 p.m. regAl StAdium 14
3474 Zafarano Drive, 505-424-6296, www.fandango.com American Hustle (R) Thurs. 7 p.m Anchorman 2:The Legend Continues (PG-13) Tue. 9 p.m. Wed. and Thurs. 10:50 a.m., 1:40 p.m., 4:30 p.m., 7:20 p.m., 10:10 p.m. Dallas Buyers Club (R) Fri. to Mon. 1:35 p.m., 4:25 p.m., 7:20 p.m., 10:05 p.m. Delivery Man (PG-13) Fri. to Mon. 11:50 a.m., 2:20 p.m., 4:50 p.m., 7:40 p.m. Frozen (PG) Fri. to Mon. 11:45 a.m., 2:40 p.m., 5:15 p.m., 7:50 p.m., 10:30 p.m. Frozen 3D (PG) Fri. to Mon. 11:15 a.m., 2 p.m., 4:40 p.m. Gravity 3D (PG-13) Fri. to Mon. 12:15 p.m., 2:35 p.m., 4:55 p.m., 7:15 p.m., 9:50 p.m. The Hobbit:The Desolation of Smaug 3D (PG-13) Fri. to Mon. 12 p.m., 1 p.m., 4 p.m., 5 p.m., 8 p.m., 9 p.m.
The Hobbit:The Desolation of Smaug HFR 3D
(PG-13) Fri. to Mon. 11 a.m., 3 p.m., 7 p.m., 10:45 p.m. The Hobbit:The Desolation of Smaug (PG-13) Fri. to Sun. 11:30 a.m., 12:30 p.m., 3:30 p.m., 4:30 p.m., 7:30 p.m., 8:30 p.m., 11:15 p.m. Mon. 11:30 a.m., 12:30 p.m., 3:30 p.m., 4:30 p.m., 7:30 p.m., 8:30 p.m. Homefront (R) Fri. to Mon. 10:15 p.m. The Hunger Games: Catching Fire (PG-13) Fri. to Sun. 1 p.m., 4:25 p.m., 7:15 p.m., 7:40 p.m., 10:30 p.m., 11 p.m. Mon. 1 p.m., 4:25 p.m., 7:15 p.m., 7:40 p.m., 10:30 p.m. Out of the Furnace (R) Fri. to Mon. 11:35 a.m., 2:15 p.m., 4:55 p.m., 7:45 p.m., 10:30 p.m. Saving Mr. Banks (PG-13) Thurs. 7 p.m., 10 p.m. Thor:The Dark World (PG-13) Fri. to Mon. 1:30 p.m., 4:20 p.m., 7:25 p.m., 10:25 p.m. Tyler Perry’s A Madea Christmas (PG-13) Fri. to Mon. 12:10 p.m., 2:40 p.m., 5:15 p.m., 7:45 p.m., 10:20 p.m. the SCreen
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com All Is Lost (PG-13) Fri. 5:20 p.m. Mon. to Thurs. 4:15 p.m. Faust (NR) Fri. 2:40 p.m., 7:35 p.m. Sun. to Thurs. 6:30 p.m. Performance at The Screen: Royal Opera’s Les vêpres siciliennes Sun. 11 a.m. The Prime Ministers:The Pioneers (NR) Fri. and Sat. 12:15 p.m. Sun. 4 p.m. Mon. to Thurs. 1:45 p.m. mitChell dreAmCAtCher CinemA (eSpAñolA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com Frozen (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. Frozen 3D (PG) Sat. and Sun. 2 p.m. Ghost Phone: Phone Calls from the Dead (NR) Fri. 4:55 p.m., 7:25 p.m., 9:40 p.m. Sat. 2:10 p.m., 4:55 p.m., 7:25 p.m., 9:40 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. The Hobbit:The Desolation of Smaug 3D (PG-13) Fri. 6:55 p.m. Sat. and Sun. 1:55 p.m., 6:55 p.m. Mon. and Tue. 6:55 p.m. The Hobbit:The Desolation of Smaug (PG-13) Fri. 4:25 p.m., 6:55 p.m., 9:25 p.m. Sat. 1:55 p.m., 4:25 p.m., 6:55 p.m., 9:25 p.m. Sun. 1:55 p.m., 4:25 p.m., 6:55 p.m. Mon. and Tue. 4:25 p.m., 6:55 p.m. Homefront (R) Fri. 4:50 p.m., 7:20 p.m., 9:45 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:20 p.m., 9:45 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. The Hunger Games: Catching Fire (PG-13) Fri. 4:40 p.m., 6:50 p.m., 8 p.m., 9:55 p.m. Sat. 2:30 p.m., 4:40 p.m., 6:50 p.m., 8 p.m., 9:55 p.m. Sun. 2:30 p.m., 4:40 p.m., 6:50 p.m. Mon. and Tue. 4:40 p.m., 6:50 p.m. Thor:The Dark World (PG-13) 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. Tyler Perry’s A Madea Christmas (PG-13) Fri. 4:45 p.m., 7:15 p.m., 9:50 p.m. Sat. 2:25 p.m., 4:45 p.m., 7:15 p.m., 9:50 p.m. Sun. 2:25 p.m., 4:45 p.m., 7:15 p.m. Mon. and Tue. 4:45 p.m., 7:15 p.m.
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ATTENTION AMPAS AND GUILD MEMBERS: Your card and picture ID will admit you and a guest to any performance as follows (subject to seating availability): REGAL will admit: AMPAS, DGA, PGA, SAG Nom Com and WGA (Mon-Thur only). Please check newspaper circuit listing for theatre locations & showtimes. Theatre list subject to change.
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61
RESTAURANT REVIEW Bill Kohlhaase I The New Mexican
Yo soy vegan
Thai Vegan 1710 Cerrillos Road, 505-954-1780 Lunch 11 a.m.-2:30 p.m. MondaysSaturdays; dinner 5-9 p.m. daily Takeout available Vegetarian only Handicapped-accessible Noise level: meditative No alcohol Credit cards, no checks
•
The Short Order Thai Vegan makes full use of meat substitutes in its cleanly prepared, vegetarian offerings. Soy chicken, beef, and fish can be added to the usual Thai favorites: pad Thai noodles; red, green, and yellow curries; meatless larb salad; and stir-fried noodles. These mock meats are surprisingly like the real thing in taste, appearance, and texture. The best dishes here have no pretensions to meat, and the kitchen does a good job with tofu. The vegetables in these dishes — abundant green and red peppers, carrots, mushrooms, and fresh basil — are all of the quality and expert preparation that one would expect from a vegan restaurant. Recommended: spring rolls, tom kha kai soup, spicy noodle with pepper beef, basil leaves with tofu, and lentil loaf.
Ratings range from 0 to 4 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.
62
PASATIEMPO I December 13 -19, 2013
Meat substitutes have come a long way since the days when we wannabe hippies embraced vegetarianism. Back then, the only mock meats available were bean bits sold as soy burger and gray dog-food-sized chunks of vegetarian “chicken” imported from China. Now we have Quorn, Tofurky, Boca Burgers, and Soyrizo. Researchers at the University of Missouri have dedicated themselves to creating a product that duplicates not only the taste and appearance of chicken meat but its characteristic stringiness as well. Oh, brave new meatless-meat world! Thai Vegan, a sister establishment to a pair of restaurants with the same name in Albuquerque, proves you can have your mock meat and eat it, too. Located at the site of the old Dara Thai restaurant, it sports deep red walls wonderfully contrasted by black tablecloths. The menu is strictly vegan and claims its dishes are gluten free and made without monosodium glutamate, a flavoring critical to some of those old-school meat substitutes. In addition to Thai favorites, it offers wraps and burgers. French fries are prominently pictured on the menu. You might want to clarify that bit about things being gluten free if you order the homemade wheat meat “cowboy burger.” Wheat meat, or seitan, is usually made with high-gluten flour. The servers — you’re never sure which one will pop up at your table next — are glad to answer questions. The soy chicken, shrimp, beef, and fish you add to pad Thai noodles, curry, and tom kha soup are almost — almost — like the real thing. The shrimp is firm and features the characteristic pink streaking (a server told us that the color comes from tomato juice). The strips of pepper beef have much of the chewiness of actual meat. The vegan fish even carries a dark skin. No, you won’t be fooled into thinking you’re eating the real thing. But the experience is approximate in taste, texture, and appearance. Let’s just say Thai Vegan gives people who don’t eat meat a chance to enjoy the next best thing, even if there’s still a palpable difference between the real and the manufactured. While America is seeing a Thai food revival based on duck, sausage meats, intriguing sauces, and deep-fried fish and pork belly, Thai Vegan sticks with the familiar. Innovation is held to its use of mock meats. Otherwise, it’s like a traditional Thai restaurant that offers the choice of chicken or shrimp with your rice noodles. Dishes sport lots of veggies, a heavy touch of sweetness, and a light touch with spice (unless you request some heat). The steak’s peppery flavor fits beautifully with flat noodles stir-fried with garlic, mushrooms, lots of green pepper, tomato, and basil. The chew of the soy steak coupled with the crisp bell peppers was a textural thrill. The shrimp went almost unnoticed in the pad Thai, and the sauce barely suggested peanuts. A green curry with fake fish was thick with shards of firm onion that resembled noodles. The coconut-milk sauce was mildly
spicy and tasted more of basil than anything else. Slices of fish suggested kelp. Choosing chicken or shrimp instead might have been a better choice. A big bowl of coconut-milk tom kha kai soup was a heady mix of flavors and was swimming with cabbage, mushrooms, and scalloped rounds of carrot. Tough chunks of ginger imparted distinctive flavor but had to be removed; likewise the stringy bamboo shoots. The soup’s soy chicken was hardly chickenlike, either in texture or flavor. Some of the best dishes here are those without mock meat. An order of basil leaves with bell peppers, garlic, and mint hosted perfectly fried tofu that was neither tough nor rubbery. A grand tempura plate included pumpkin as well as broccoli and zucchini, fried perfectly but in an undistinguished tempura batter. Small spring rolls are a savory blend of cabbage, ground carrot, mung bean noodles, and shiitake mushrooms. They’re best eaten without a dip in the terribly sweet chili sauce. The lentil loaf is enjoyably savory. Salads that come with the lunch and dinner combinations aren’t the usual mix of baby greens but rather crisp torn leaves tossed with a vinegary dressing. The crafted pile of brown rice recalled the best rice of our aspiringvegan days, firm and nutty. The banana spring rolls we tried for dessert were just what we expected: bananas tucked inside spring roll wrappers and deep-fried, the banana warm and flavorful at the edges and cool or even cold at the center. You don’t have to be a vegetarian to enjoy Thai Vegan. And if you’re a devoted vegetarian craving meat, this may be as close as you’ll get. ◀
Check, please Dinner for two at Thai Vegan: Grand tempura .......................................... $ Tom kha kai soup with soy chicken ........... $ Basil leaves with tofu ................................. $ Spicy noodle with pepper steak ................. $ Pot, jasmine tea ......................................... $ TOTAL ....................................................... $ (before tax and tip)
9.95 12.95 10.95 11.95 2.25 48.05
Lunch for two, another visit: Spring rolls (6) .......................................... $ Pad Thai noodles with shrimp ................... $ Green curry with fish ................................. $ Banana spring rolls .................................... $ TOTAL ....................................................... $ (before tax and tip)
6.95 11.95 13.95 6.95 39.80
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A BAroque ChristmAs
At the loretto ChApel Handel Telemann Purcell molTer TradiTional carols Santa Fe Pro Musica Baroque Ensemble Deborah Domanski, mezzo-soprano Dianna Grabowski, mezzo-soprano december 20 – december 24 concerts at 6pm & 8pm each evening
the BrAndenBurg ConCertos At st. FrAniCs Auditorium
JoHann sebasTian bacH THe six brandenburg concerTos, bWV 1046-1051 Santa Fe Pro Musica Orchestra & Soloists Thomas O’Connor, conductor Meet the Music with Thomas O’Connor one hour before each Brandenburg Concertos performance. saturday, december 28 at 6pm Learn more about the music you love! sunday, december 29 at 3pm Major Lodging Sponsor:
$20, $35, $45, $65 (add $5 per ticket for Christmas Eve), Holiday Package: Attend both concerts and receive a 10% discount (Pro Musica Box Office only)! Santa Fe Pro Musica Box Office: 505.988.4640 Tickets Santa Fe at the Lensic: 505.988.1234 | www.santafepromusica.com 64
PASATIEMPO I December 13 - 19, 2013
The 2013-2014 Season is partially funded by New Mexico Arts (a Division of the Department of Cultural Affairs) and the National Endowment for the Arts.
Lodging Partner:
pasa week Friday, Dec. 13
Joe R. Lansdale The author reads from The Thicket, 6:30 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, Sanbusco Center, 505-428-0321. (See Subtexts, Page 20.)
GALLERY/MUSEUM OPENINGS
Buffalo Tracks and Susan Swift Antique Indian Art 924 Paseo de Peralta, Suite 1, 505-983-6106. On the Edge: The Anasazi of Southwest Utah, photographs by Steven Parmer. Casweck Galleries 203 W. Water St. 505-988-2966. Winter in Santa Fe: Haiku in Form, paintings and poems by Chuck Volz, reception 5:30 p.m. David Richard Gallery 544 S. Guadalupe St., 505-983-9555. Unity, paintings by Leon Berkowitz, reception 5-7 p.m., through Jan. 25. GF Contemporary 707 Canyon Rd., 505-983-3707. Holiday group show. Green River Pottery 1710 Lena St., 505-795-7755. TEA: New Stoneware for the Holidays, pottery by Theo Helmstadter, reception 4-6 p.m. Janet Williams Pottery 1424 Paseo de Peralta, 505-988-7687. Holiday group show, reception 3-7 p.m. Marji Gallery 453 Cerrillos Rd., 505-983-1012. Horse Games, an exhibition of new work featuring horses by artist H Margret, reception 5-7 p.m., through Dec. 31. Marvelous Hair Designs 500 Market St., Suite 108, 505-820-6070. Group show, mixed-media wall sculpture, reception 5:30-7:30 p.m. Red Dot Gallery 826 Canyon Rd., 505-820-7338. Third annual holiday group show, including work by IAIA and SFCC students and faculty, reception 4:30-6:30 p.m., through Feb. 15. The William & Joseph Gallery 727 Canyon Rd., 505-982-9404. A Prayer for the Wild Things, works by Natasha Isenhour, reception 5-7 p.m., through December. Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111. Privacy and Secrets, annual group show, reception 5-7 p.m., through Jan. 10.
CLASSICAL MUSIC
Arias, Carols, and Songs Holiday selections performed by former Santa Fe Opera apprentices Sara Heaton, Joshua Dennis, and Joseph Dennis; plus the St. John’s Cathedral Choir and Choristers, 5:30 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., no charge, donations welcome, 505-982-8544, Ext. 16. Santa Fe Women’s Ensemble Winter Festival of Song, choral music, 7 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $20-$35, discounts available, 505-988-1234, ticketssantfe.org.
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
EVENTS
Christmas at the Palace Live music, craft projects, refreshments, and quality time with Santa and Mrs. Claus, 5:30-8 p.m., Palace of the Governors, 105 Palace Ave., museumofnewmexico.org. (See story, Page 32.) Glow Special outdoor lighting event running Thursday-Saturday through Jan. 4; includes an exhibit by ceramic sculptor Christy Hengst, 5-8 p.m., Santa Fe Botanical Garden, 725 Camino Lejo, $8 in advance and at the door, children 12 and under no charge, santafebotanicalgarden.org, 505-471-9103. Tribute to Sallie Bingham Dinner honoring the author; proceeds benefit the New Mexico Committee of National Museum of Women in the Arts scholarship fund, 6 p.m., La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., $100, 505-988-1234, ticketssantafe.org.
NIGHTLIFE
Eight Modern shows work by Rebecca Shore, 231 Delgado St.
IN CONCERT
New Mexico Gay Men’s Chorus My Winter Song to You, holiday concert, 7 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $20, nmgmc.org. Robot Heartbeat Electronic dance music and multimedia performance by Santa Fe Community College students, 7-10 p.m., Warehouse 21, 1614 Paseo de Peralta, no charge, 505-989-4423.
THEATER/DANCE
A Christmas Carol Santa Fe Playhouse presents Charles Dickens’ classic adapted by Doris Baizley, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20; discounts available; santafeplayhouse.org, 505-988-4262, continues Saturday, Sunday, and Thursday.
Paula Poundstone The stand-up comedian presents her Ha, Ha, Ho, Ho Holiday Comedy Show, 7:30 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $27.50 and $35, ticketssantafe.org, 505-988-1234. (See story, Page 22.) Twelfth Night St. John’s College students present Shakespeare’s comedy, 7:30 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, no charge, continues Saturday and Sunday.
BOOKS/TALKS
2014: Heart of the Metamorphosis With astrologers Heather Roan Robbins (of Pasatiempo) and Arielle Guttman, 6:45 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $12 at sophiavenus.com, $15 at the door, 612-615-2604.
(See Page 66 for addresses.) Café Café Guitarist Michael Tait Tafoya, 6 p.m., no cover. ¡Chispa! at El Mesón Three Faces of Jazz, 7:30 p.m., no cover. Cowgirl BBQ John Craigie, California folk music 5-7:30 p.m., Jay Boy Adams and Zenobia with Mister Sister, R & B and blues, 8 p.m., no cover. Hotel Santa Fe Guitarist/flutist Ronald Roybal, 7 p.m., no cover. La Fiesta Lounge at La Fonda Wise Guys, rock and roll, 8 p.m., no cover. La Posada de Santa Fe Resort and Spa Nacha Mendez Trio, pan-Latin rhythms, 6:30-9:30 p.m., no cover. Low ‘n’ Slow Lowrider Bar at Hotel Chimayó Le Chat Lunatique, energetic Gypsy jazz, 9:30 p.m., no cover. Mine Shaft Tavern DJ Sass-a-Frass, 5 p.m.; Broomdust Caravan, honky-tonk and blues, 7 p.m., no cover. Rouge Cat DJ Miguel Migs, 9 p.m., call for cover. Second Street Brewery at the Railyard Acadian Drifters, blues and bluegrass, 7 p.m., no cover. Vanessie Doug Montgomery, piano and vocals; Bob Finnie, Great American Songbook and pop standards, 6-11 p.m., call for cover. ▶▶▶▶▶▶▶▶
Pasa’s Little Black Book......... 66 Elsewhere............................ 68 People Who Need People..... 68 Pasa Kids............................ 68 In the Wings....................... 69
At the Galleries.................... 70 Libraries............................. 70 Museums & Art Spaces........ 70 Exhibitionism...................... 71
calendar guidelines Please submit information and listings for Pasa Week
no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 505-820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 505-986-3019; or send an email to pasa@ sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter. PASATIEMPOMAGAZINE.COM
65
14 Saturday GALLERY/MUSEUM OPENINGS
Canyon Road Art Brokerage 618 Canyon Rd., 505-995-1111. The Mystical Medium: Watercolor, works by Pari Morse, reception 1-3 p.m., through Dec. 28. New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Renaissance to Goya: Prints and Drawings from Spain, reception noon-5 p.m., admission free during the opening. (See story, Page 36.)
IN CONCERT
Dan Hicks “Holidaze in Hicksville” The singer-songwriter delivers his offbeat mix of swing, jazz, folk, and country music, 7:30 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $34-$44, 505-988-1234, ticketssantafe.org. Flamingo Pink Dreamy lullaby-folk; singer Hazel Ra opens the show, 8 p.m., High Mayhem Emerging Arts, 2811 Siler Ln., $5-$10 sliding scale, highmayhem.org. The Met Live in HD James Levine conducts Verdi’s opera Falstaff, 11 a.m. and 6 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $22-$28, ticketssantafe.org, 505-988-1234. Santa Fe Desert Chorale The 2013 Winter Festival opens with Carols and Lullabies, 8 p.m., Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place, $15-$65; discounts available, desertchorale.org, 505-988-2282. Santa Fe Women’s Ensemble Winter Festival of Song, choral music, 3 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $25, discounts available, 505-988-1234, ticketssantfe.org.
317 Aztec 20-0150 317 Aztec St., 505-8 e Inn th at ge un Lo Agoyo E. Alameda St., 3 30 a ed on the Alam 505-984-2121 nt & Bar Anasazi Restaura Anasazi, the of Inn d Rosewoo e., 505-988-3030 113 Washington Av Betterday Coffee 5-555-1234 50 905 W. Alameda St., nch Resort Ra e Bishop’s Lodg Lodge Rd., ps ho Bis 97 12 a & Sp 77 505-983-63 Café Café 5-466-1391 500 Sandoval St., 50 ó ay Casa Chim 5-428-0391 409 W. Water St., 50 ón es ¡Chispa! at El M 505-983-6756 e., Av ton ing ash 213 W Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. te Café The Den at Coyo 5-983-1615 50 , St. 132 W. Water Duel Brewing 5-474-5301 1228 Parkway Dr., 50 lton Hi e El Cañon at th 88-2811 5-9 50 , St. al ov nd 100 Sa
66
PASATIEMPO I December 13-19, 2013
THEATER/DANCE
A Christmas Carol Santa Fe Playhouse presents Charles Dickens’ classic adapted by Doris Baizley, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20; discounts available; santafeplayhouse.org, 505-988-4262, continues Sunday. Destination Sochi: To Russia With Love Ice show celebrating the upcoming 2014 Winter Games, presented by the Santa Fe Skating Club, 4 p.m., Genoveva Chavez Community Center, 3221 Rodeo Road, $12, ages 2-11 $7, santafeskatingclub.org, continues Sunday. Jewels of Bellydance Bellydancing showcase, 8 p.m., The Dance Barns, 1140 Alto St., $15-$25, 505-988-1234, ticketssantafe.org. Twelfth Night St. John’s College students present Shakespeare’s comedy, 7:30 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, no charge, continues Sunday.
BOOKS/TALKS
Opera Guild lecture Jerry Ferraccio discusses Verdi’s Falstaff in advance of the Met Live in HD simulcast, 9:30 a.m., Collected Works Bookstore, 202 Galisteo St., $5 suggested donation, 505-988-4226.
EVENTS
Contra dance New England-style folk dance with music by Cheap Shots, beginners class 7 p.m., dance 7:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $9, students $5, 505-820-3535. Fourth Annual Santa Fe Alternative Gift Market Shoppers can make donations in varying price ranges in honor of friends and family, 9 a.m.-8 p.m., DeVargas Center, 564 N. Guadalupe St., 505-983-4671.
Pasa’s little black book Spa Eldorado Hotel & St., 505-988-4455 o isc nc 309 W. San Fra El Farol 5-983-9912 808 Canyon Rd., 50 ill Gr & El Paseo Bar 92-2848 5-9 50 , St. teo lis Ga 208 Evangelo’s o St., 505-982-9014 200 W. San Francisc erging Arts High Mayhem Em -2047 38 5-4 50 ., 2811 Siler Ln Hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters Iconik Coffee Ro -0996 28 5-4 50 , St. na Le 1600 La Boca 5-982-3433 72 W. Marcy St., 50 ina La Casa Sena Cant 5-988-9232 50 e., Av e 125 E. Palac at La Fonda La Fiesta Lounge , 505-982-5511 St. o isc 100 E. San Franc a Fe Resort nt Sa La Posada de Ave., 505-986-0000 e and Spa 330 E. Palac g Arts Center Lensic Performin St., 505-988-1234 o 211 W. San Francisc e Lodge Th at ge un Lo e Lodg Francis Dr., St. N. 0 75 Fe at Santa 505-992-5800
Glow Special outdoor lighting event running Thursday-Saturday through Jan. 4; includes an exhibit by ceramic sculptor Christy Hengst, 5-8 p.m., Santa Fe Botanical Garden, 725 Camino Lejo, $8 in advance and at the door, children 12 and under no charge, santafebotanicalgarden.org, 505-471-9103. Hibernation Hike Hike and learn how animals survive during the winter months; meet at the main parking lot, one-half mile north of Cerrillos Village on County Road 59, 10 a.m.-noon, Cerrillos Hills State Park, 16 miles south of Santa Fe off NM 14, $5 per vehicle, 505-474-0196. Light Among the Ruins Walls and paths through the ancient pueblo are adorned with farolitos; plus traditional Pueblo dances, Native American flute music, and food, 5-9 p.m., Jemez Historic Site, NM 4, visit nmmonuments.org for information and directions, no charge. Pueblo of Tesuque Flea Market Friday-Sunday through the year, 9 a.m.-4 p.m., 15 Flea Market Rd., no charge, pueblooftesuquefleamarket.com. Santa Fe Farmers Market 8 a.m.-1 p.m., Railyard Plaza and Farmers Market Pavilion, 1607 Paseo de Peralta, santafefarmersmarket.com. Santa Fe Mugs Christy Hengst’s Sense of Place in Santa Fe project; using interviews and photographs, Hengst creates personalized mugs showing special spots in Santa Fe, 2-5 p.m., Tune-Up Café, 1115 Hickox St., mugs available for purchase, 505-920-5765. Senior animals holiday celebration Refreshments and wagging tails, 3-7 p.m.; tree lighting at 4:30 p.m., Kindred Spirits Animal Sanctuary, 3749-A NM 14, kindredspiritsnm.org, 505-471-5366.
Low ‘n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St., 505-984-5050 Mine Shaft Tavern 2846 NM 14, Madrid, 505-473-0743 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Garrett’s Desert Inn 311 Old Santa Fe Trail, 505-982-1851 Omira Bar & Grill 1005 S. St. Francis St., 505-780-5483 Palace Restaurant & Saloon 142 W. Palace Ave., 505-428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 505-986-0022 Pranzo Italian Grill 540 Montezuma Ave., 505-984-2645 Rouge Cat 101 W. Marcy St., 505-983-6603 San Francisco Street Bar & Grill 50 E. San Francisco St., 505-982-2044 Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705 Second Street Brewer y 1814 Second St., 505-982-3030
Trader Walt’s Southwestern & International Marketplace More than 100 vendor booths with antiques, folk and fine art, books, jewelry, and snacks, 8 a.m.-3 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, no charge. Vista Grande Social Club Dancing with the Salsa Stars, fundraiser and dance party, featuring Calle 66 and DJ P.A. Trix, 8 p.m., La Tienda Performance Space, 7 Caliente Rd., $10 cover; additional donations suggested, 505-501-3636. Young Native Artists Holiday Show & Sale Children and grandchildren of Palace of the Governors portal artists sell holiday gifts; 10 a.m.-4 p.m., New Mexico History Museum, 105 Washington Ave., no charge. Your Personal Picture Astrology workshop with Arielle Guttman and Pasatiempo’s Heather Roan Robbins; bring your chart or your birth info, 1-5 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, $48 at sophiavenus.com, $55 at the door, 612-615-2604.
NIGHTLIFE
(See addresses below.) Anasazi Restaurant & Bar Guitarist Jesus Bas, 7-10 p.m., no cover. ¡Chispa! at El Mesón Shades of Tjader, Brazilian jazz quintet, 7:30 p.m., no cover. Cowgirl BBQ Hot Club of Santa Fe, swing, Gypsy jazz, and bluegrass, 2-5 p.m.; Broomdust Caravan, juke-joint honky-tonk, biker-bar rock and roll, 8:30 p.m., no cover. El Farol Tone and Company jam band, 9 p.m., no cover.
Second Street Brewery at the Railyard 1607 Paseo de Peralta, 505-989-3278 Steaksmith at El Gancho 104-B Old Las Vegas Highway, 505-988-3333 Sweetwater Harvest Kitchen 1512-B Pacheco St., 505-795-7383 Taberna La Boca 125 Lincoln Ave., 505-988-7102 Thunderbird Bar & Grill 50 Lincoln Ave., 505-490-6550 Tiny’s 1005 St. Francis Dr., 505-983-9817 The Underground at Evangelo’s 200 W. San Francisco St., 505-819-1597 Upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Vanessie 427 W. Water St., 505-982-9966 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia Diner 326 S. Guadalupe St., 505-988-7008
Hotel Santa Fe Guitarist/flutist Ronald Roybal, 7 p.m., no cover. La Casa Sena Cantina “Silver Bellas” holiday show with Bella Gigante, 8:30 p.m., $10 cover. La Fiesta Lounge at La Fonda Wise Guys, rock and roll, 8 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio with vocalist Whitney Carroll Malone and bassist Asher Barreras, 6-9 p.m., no cover. Low ‘n’ Slow Lowrider Bar at Hotel Chimayó Isabella and Her Fellas, R & B, 9:30 p.m., no cover. Palace Restaurant & Saloon Local cover band Chango, 10 p.m., call for cover Pranzo Italian Grill Geist Cabaret with pianist David Geist, 6-9 p.m., call for cover. Second Street Brewery Second Street anniversary party with Railyard Reunion at 5-7 p.m. and Swing Soleil at 8-10 p.m., no cover. Sweetwater Harvest Kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover. Upper Crust Pizza Gerry Carthy, tenor guitar and flute, 6-9 p.m., no cover.
Evangelo’s Blues/rock/R & B jam band Tone & Company, 8:30 p.m., call for cover. La Casa Sena Cantina Jazz Sunday with the Arlen Asher Trio, 11:30 a.m.-1:30 p.m., no cover. La Fiesta Lounge at La Fonda Weekly classic movie night, 6-10 p.m., no cover. La Posada de Santa Fe Resort and Spa Cowboy singer and guitarist Wiley Jim, 7 p.m., no cover. Vanessie Pianist/vocalist Doug Montgomery, 6:30-10:30 p.m., call for cover.
16 Monday BOOKS/TALKS
Southwest Seminars lecture Our Spiritual Relationship With the Earth, lecture by Leo Killsback, Arizona State University assistant professor of American Indian studies, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12, southwestseminars.org, 505-466-2775.
EVENTS
15 Sunday
Man With the Ugly Nose, by Sophia Livingston, Eggman & Walrus Art Emporium, 130 W. Palace Ave.
GALLERY/MUSEUM OPENINGS
Twelfth Night St. John’s College students present William Shakespeare’s comedy, 3 p.m., Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, no charge. Winter Flamenco Recital María Benítez Institute for Spanish Arts students perform; plus performances by Flamenco’s Next Generation, 3:30 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $16, youth and seniors $11, 505-467-3773, institutespanisharts.org.
Gallery N2 901 W. San Mateo Rd., 505-603-2769. The Hidden Landscape, paintings and prints by Albert Hopkins, reception noon7 p.m., through December.
CLASSICAL MUSIC
Música Antigua de Albuquerque The ensemble presents Marvel Not, Joseph, a program of Christmas music from the Middle Ages and Renaissance, 4:30 p.m., Christ Lutheran Church, 1701 Arroyo Chamiso, $16, discounts available, 505-842-9613. Opera in HD Les Vêpres Siciliennes, Verdi’s opera live from the Royal Opera House in London, 11 a.m., The Screen, 1600 St. Michael’s Dr., $20; discounts available, thescreensf.com, 505-473-6494.
IN CONCERT
The Big Holiday Sing Performances by the Santa Fe Desert Chorale, the UNM Concert Choir, and the UNM Children’s Choir; plus carol sing-alongs with audience members, 4 p.m., Cristo Rey Catholic Church, 1120 Canyon Rd., $20-$25, discounts available, desertchorale.org, 505-988-2282. Santa Fe Symphony Orchestra & Chorus A program of holiday favorites, 4 p.m.; preconcert lecture at 3 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, ticketssantafe.org, 505-988-1234.
THEATER/DANCE
A Christmas Carol Santa Fe Playhouse presents Charles Dickens’ classic adapted by Doris Baizley, 4 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20; discounts available; santafeplayhouse.org, 505-988-4262, continues Thursday. Destination Sochi: To Russia With Love Ice show celebrating the upcoming 2014 Winter Games, presented by the Santa Fe Skating Club, 1 p.m., Genoveva Chavez Community Center, 3221 Rodeo Road, $12, ages 2-11 $7, santafeskatingclub.org.
BOOKS/TALKS
Collected Works Christmas Players Readings of holiday stories and poems by Ali MacGraw, Jonathan Richards, Bob Martin, and Carol McGiffin, 4 p.m., Collected Works Bookstore, 202 Galisteo St., no charge, 505-988-4226. Detonography: The Explosive Art of Evelyn Rosenberg The artist speaks about making sculpture with the help of explosives, 2 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, no charge, 505-982-1338. New Mexico Water Policy in a Changing Environment Talk by New Mexico state senator Peter Wirth, 11 a.m., Collected Works Bookstore, 202 Galisteo St., no charge, 505-577-3917, journeysantafe.com. Ross Chaney The museum’s artist-inresidence speaks about his work and opens his studio to the public, noon-4 p.m., Museum of Contemporary Native Arts, 108 Cathedral Place, no charge, 505-983-1666; studio open by appointment and by museum admission through the remainder of December (See story, Page 52.) Santa Fe Poets 2 Santa Fe poet laureate Jon Davis hosts the second of six readings featuring local poets, 3-4:30 p.m., Institute of American Indian Arts, 83 Avan Nu Po Rd., no charge, 505-424-2365.
EVENTS
Fourth Annual Santa Fe Alternative Gift Market Shoppers can make donations in varying price ranges in honor of friends and family, 10 a.m.-6 p.m., DeVargas Center, 564 N. Guadalupe St., 505-983-4671.
Israeli folk dancing Weekly on Sundays, 8 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5 donation at the door, 505-466-2920. Jewels of Bellydance workshops Workshop 1: Bollywood, 9-11 a.m.; workshop 2: Oriental opening, noon-1:30; workshop 3: drum solo, 1:30-3:30 p.m.; presented by Jindra Bellydance, The Dance Barns, 1140 Alto St., $25 per workshop, ticketssantafe.org, 505-988-1234. Las Posadas Re-creation of Joseph and Mary’s search for an inn, Santa Fe Plaza, followed by hot cider, cookies, and carols in the Palace of the Governors courtyard, 5:30-7 p.m., no charge. Pueblo of Tesuque Flea Market Friday-Sunday through the year, 9 a.m.4 p.m., 15 Flea Market Rd., no charge, pueblooftesuquefleamarket.com. Railyard Artisan Market 10 a.m.-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, no charge. Santa Fe Artists Emergency Medical Fund Auction More than 125 Santa Fe artists provide works for the auction, held to benefit artists in need, 4-6:30 p.m., Yares Art Projects, 123 Grant Ave., no charge; contributions welcome, shariart1@gmail.com. Young Native Artists Holiday Show & Sale Children and grandchildren of Palace of the Governors portal artists sell holiday gifts, 10 a.m.-3 p.m., New Mexico History Museum, 105 Washington Ave., no charge.
NIGHTLIFE
(See Page 66 for addresses.) Betterday Coffee Round Mountain, two-man singing folk orchestra, 11 a.m., no cover. Cowgirl BBQ Zenobia, gospel, soul, and R & B, noon-3 p.m.; 50-Watt Whale, rock and roll, 8 p.m., no cover. El Farol Pan-Latin chanteuse Nacha Mendez, 7-10 p.m., no cover.
Weekly all-ages informal swing dancing Lessons 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance only $3, lesson and dance $8, 505-473-0955.
NIGHTLIFE
(See Page 66 for addresses.) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, weekly, 8 p.m., no cover. Duel Brewing James Baker, Delta blues with Raven Redfox, 6-8 p.m., no cover. Vanessie Pianist/vocalist Doug Montgomery, 6:30-10:30 p.m., call for cover.
17 Tuesday IN CONCERT
The Lighter Side of Christmas “A Rat Pack Christmas” with members of the Santa Fe Desert Chorale, 6 p.m., LewAllen Contemporary, 125 W. Palace Ave., $80, desertchorale.org, 505-988-2282. Schola Cantorum of Santa Fe Away in a Manger, Gregorian chant, Renaissance polyphony, and a cappella settings of familiar carols, 7 p.m., Loretto Chapel, 207 Old Santa Fe Trail, $20, discounts available, schola-sf.org.
BOOKS/TALKS
Place-Names of New Mexico Cerrillos Hills State Park hosts author Bob Julyan, co-sponsored by the New Mexico Humanities Council and the Department of Cultural Affairs, 2-4 p.m., Visitor Center, 37 Main St., 16 miles south of Santa Fe off NM 14, donations welcome, 505-474-0196.
EVENTS
International folk dances Weekly on Tuesdays, dance 8 p.m., lessons 7 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5 donation at the door, 505-501-5081 or 505-466-2920.
NIGHTLIFE
(See Page 66 for addresses.) Cowgirl BBQ Merry-making folk nomads The Hollands, 8 p.m., no cover. El Farol Canyon Road Blues Jam, 8:30 p.m., no cover. Palace Restaurant & Saloon Alex Maryol Band, rockin’ blues, 7:30 p.m., call for cover. ▶▶▶▶▶▶▶▶
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▶ People who need people
18 Wednesday gallery/museum openings
siTe santa Fe 1606 Paseo de Peralta, 505-989-1199. Alan Shields’ Maze installation, accompanied by the film Into the Maze, through Jan. 12.
artists
MasterWorks of New Mexico 2014 Open to all New Mexico artists; accepting miniatures, pastels, watercolors, and oil/acrylic; digital entries deadline Jan. 31; miniatures must be shipped by March 15, hand-delivered by March 22; for prospectus and information visit masterworksnm.org.
BooKs/TalKs
Brainpower & Brownbags The monthly series continues with photographer Cliff Mills on Deconstructing Hacienda de los Martinez, Ranchitos de Taos, noon, Fray Angélico Chávez History Library, Palace of the Governors, 120 Washington Ave., no charge. Visualizing survivance Historian Amy Lonetree speaks on Reclaiming Ho-Chunk History Through the Photographs of Charles Van Schaick, noon-1 p.m., School for Advanced Research, 660 Garcia St., 505-954-7203.
Donations/Volunteers
eVenTs
Holiday open house Ring in the season with Cerrillos Hills State Park staff, 4-6 p.m., Visitor Center, 37 Main St., 16 miles south of Santa Fe off NM 14, 505-474-0196, donations welcome.
nigHTliFe
(See Page 66 for addresses) el Farol Nacha Mendez with Santastico, 8 p.m., no cover. la posada de santa Fe resort and spa Omar Villanueva, Latin fusion, 7 p.m., no cover.
19 Thursday in ConCerT
Concordia santa Fe The jazz ensemble presents The Nutcracker (Swing)!, Duke Ellington’s version of Tchaikovsky’s Nutcracker Suite, 7 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $35, students $20, 505-988-1234, ticketssantafe.org. santa Fe Desert Chorale Carols and Lullabies, 8 p.m., Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place, $15-$65; discounts available, desertchorale.org, 505-988-2282.
THeaTer/DanCe
A Christmas Carol Santa Fe Playhouse presents Charles Dickens’ classic adapted by Doris Baizley, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20; discounts available; santafeplayhouse.org, 505-988-4262.
BooKs/TalKs
Don Waters The author reads from his novel Sunland, 6 p.m., Collected Works Bookstore, 202 Galisteo St., no charge, 505-988-4226. (See story, Page 18.)
eVenTs
arts and Crafts Fair Handmade gifts; proceeds benefit needy families in the Adelante program, 4-7 p.m., El Museo Cultural de Santa Fe, 555 Camino de la Familia, 505-986-9719. glow Special outdoor lighting event running Thursday-Saturday through Jan. 4; includes an exhibit by ceramic sculptor Christy Hengst, 5-8 p.m., Santa Fe Botanical Garden, 725 Camino Lejo, $8 in advance and at the door, children 12 and under no charge, santafebotanicalgarden.org, 505-471-9103.
nigHTliFe
(See Page 66 for addresses.) Café Café Los Primos Trio, traditional Latin rhythms, 6 p.m., no cover. ¡Chispa! at el mesón Bert Dalton and Milo Jaramillo, jazz piano and upright base, 7 p.m., no cover. 68
PASATIEMPO I December 13-19, 2013
Photograph by Peter Boehringer in the Placitas Artists Series, opening reception on Dec. 15.
Cowgirl BBQ Folk singer Gann Brewer, 8 p.m., no cover. la Boca Pan-Latin chanteuse Nacha Mendez, 7 p.m., no cover. la posada de santa Fe resort and spa Pat Malone Trio, 6-9 p.m., no cover. low ‘n’ slow lowrider Bar at Hotel Chimayó de santa Fe Gerry Carthy, tenor guitar and flute, 9 p.m., call for cover. The matador DJ Inky Inc. spinning soul, punk, and ska, 8:30 p.m., no cover. palace restaurant & saloon Limelight karaoke, 9:30 p.m., call for cover. rouge Cat Miguel Migs, soul-based electronic music, 9:30 p.m., call for cover. Vanessie Pianist David Geist, 6:30-10:30 p.m., call for cover.
▶ Elsewhere AlbuquErquE
Barnum Musical Theatre Southwest presents the Tony-winning show, 7:30 p.m. Friday, Dec. 13, 300 San Pedro N.E., $22, discounts available, 505-265-9119, musicaltheatresw.com. Chatter sunday Works by Britten, Dowland, and Turina, featuring guitarist Matthew Rohde and soprano Ingela Onstad; poetry reading by Demetria Martinez follows, 10:30 a.m. Sunday, Dec. 15, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterchamber.org. Dan Hicks “Holidaze in Hicksville” The singer-songwriter offers his offbeat mix of swing, jazz, folk, and country music, 7:30 p.m. Sunday, Dec. 15, 1025 Broadway Blvd. S.E., $27 and $33, ampconcerts.org or holdmyticket.com, 505-886-1251. Festival of Voices The New Mexico Symphonic Chorus performs works of Mendelssohn and Respighi, with special guests from the Albuquerque Youth Symphony and Albuquerque Bel Canto Choir, 3 p.m. Sunday, Dec. 15, UNM Campus, 203 Cornell Dr. S.E., $12-$60, 505-925-5858, nmschorus.org.
national Hispanic Cultural Center En la Cocina With San Pascual, works by New Mexico artists. Open 10 a.m.-5 p.m. Tuesday-Sunday. 1701 Fourth St. S.W. Vienna Teng The singer and pianist performs; preconcert interview by John Dillon and Vivian Nesbit, 7:30 p.m. Friday, Dec. 13, Outpost Performance Space, 210 Yale Blvd. S.E., $27.50 in advance, $33 day of show, ampconcerts.org or holdmyticket.com, 505-886-1251.
PlAcitAs
placitas artists series Group show by Peter Boehringer, Lisa Chernoff, Dana Patterson Roth, and Adriana Scassellati; reception 2 p.m., Sunday, Dec. 15, 3 p.m. concert by the Stu MacAskie Trio and the David Felberg Quartet, NM 165, $20, students $15, placitasartistsseries.org, 505-867-8080.
tAos
e.l. Blumenschein Home and museum 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, 222 Ledoux St., adults $8, under 16 $4, children under 5 no charge. Four Birthdays & an anniversary The Taos Chamber Music Group celebrates the Harwood’s anniversary and four Sagittarius birthdays (of Beethoven, Berlioz, Jongen, and TCMG flutist and director Nancy Laupheimer); Laupheimer performs with pianist Gleb Ivanov, violinist L.P. How, and cellist Sally Guenther, 5 p.m. Saturday, Dec. 14, 238 Ledoux St., $20 in advance, $22 at the door, $12 for children under 16, taoschambermusicgroup.org. Taos art museum and Fechin House The Animal World of Eugenie Glaman, etchings and paintings, through March 2, 10 a.m.-4 p.m. 227 Paseo del Pueblo Norte, by museum admission.
truchAs
ghost pony gallery Holiday on the High Road, group show of works by gallery artists, through Sunday, Dec. 15, 1634 NM 76, 505-689-1704. offCenter Contemporary art & photography One-year anniversary open house and holiday sale of multimedia work and photographic prints by Joan Zalenski and guest artists, 10 a.m.-5 p.m. Saturday and Sunday, Dec. 14-15, 1654 NM 76, 505-689-1107.
Fight Illiteracy Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at lvsf.org, or call 505-428-1353. Georgia O’Keeffe Museum docent training Join the volunteers in the galleries, offer tours, and provide interpretations, Thursdays 8:30 a.m.-noon through March 6, contact szurick@okeeffemuseum.org, 505-946-1007. Santa Fe Humane Society and Animal Shelter Dogs desperately need individuals to take them on daily walks; all shifts available, call Katherine at 505-983-4309, Ext. 128. Santa Fe Stories Project The Santa Fe V.I.P. seeks submissions of material on the post-World War II era in Santa Fe; for information and to submit stories or images, visit santafestories.com; submissions accepted until April. Smith’s Food & Drug Stores Now through Dec. 28, customers can add a donation of $1, $5, or $10 to their grocery purchases; all contributions will be converted to Smith’s gift cards and given to The Food Depot; call 505-471-1633, Ext. 10, for details. St. Elizabeth Shelter Help with meal preparation at residential facilities and emergency shelters; other duties also available; contact Rosario, 505-982-6611, Ext. 108, volunteer@steshelter.org.
Filmmakers/performers/Writers
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.
▶ Pasa Kids Christmas at the palace Live music, refreshments, and quality time with Santa and Mrs. Claus, 5:30-8 p.m. Friday, Dec. 13, Palace of the Governors, 105 Palace Ave., museumofnewmexico.org. (See story, Page 32.) Holiday craft and decoration making For kids 3 and up. 11 a.m.-noon Saturday, Dec. 14, Bee Hive Kids Books, 328 Montezuma Ave., no charge. santa’s Village Santa visits the Railyard for holiday crafts, activities, and music; join Santa for the ride back to Albuquerque on the 3:28 train. 9 a.m.-5 p.m. Saturday, Dec. 14, Railyard Plaza and Farmers Market Pavilion, 1607 Paseo de Peralta, no charge for Railyard event; train fare based on zones, nmrailrunner.com. night Before Christmas storytime For ages 3 and up; optional PJs dress code. Thursday, Dec. 19, Bee Hive Kids Books, 328 Montezuma Ave., no charge. ◀
In the wings Ringing in the holidays
santa Fe Pro Musica Baroque ensemble A Baroque Christmas, featuring mezzo-sopranos Deborah Domanski and Dianna Grabowski, 8 p.m. Friday, Dec. 20, Loretto Chapel, 207 Old Santa Fe Trail, $20-$65, advance tickets available at the SFPM box office, 505-988-4640, Ext. 1000, santafepromusica.com, or at the Lensic box office, 505-988-1234, ticketssantafe.org. The Nutcracker Aspen Santa Fe Ballet presents the holiday favorite, 2 and 7:30 p.m. Saturday, Dec. 21, and 1 and 5 p.m. Sunday, Dec. 22, Lensic Performing Arts Center, 211 W. San Francisco St., $25-$72, aspensantafeballet.com or ticketssantafe.org, 505-988-1234. Christmas eve with the santa Fe Concert association orchestra and Caroline goulding Music of Beethoven, 5 p.m. Tuesday, Dec. 24, Lensic Performing Arts Center, 211 W. San Francisco St., $25-$95, 505-988-1234, ticketssantafe.org. Flix & Chopstix Christmas-day event hosted by the Santa Fe Jewish Film Festival: Mel Brooks’ Blazing Saddles and Young Frankenstein, followed by Chinese dinner catered by Yummy Café, 2 p.m. Wednesday, Dec. 25, Center for Contemporary Arts, 1050 Old Pecos Trail, $10-$36 in advance, santafejff.org. new year’s eve gala Four-course dinner, champagne toast, and entertainment by Doug Montgomery, David Geist, Julie Trujillo, and John Randal, 6 p.m. Tuesday, Dec. 31, Vanessie, 427 W. Water St., $135 per person, 505-982-9966.
MUsiC
Chuscales Local flamenco guitarist in Forever in My Heart, an annual flamenco holiday concert, visit chuscales.com for details, 7:30 p.m. Friday, Dec. 20, El Museo Cultural de Santa Fe, 555 Camino de la Familia, $30 in advance at brownpapertickets.com. Music Café Vocal series Susan Abod with Bert Dalton on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m. Friday, Dec. 20., Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org. santa Fe Concert association Family Concert series SFCA Orchestra dress rehearsal; music of Beethoven and Ezra Shcolnik, 2 p.m. Tuesday, Dec. 24, Lensic Performing Arts Center, 211 W. San Francisco St., $10, 505-984-8759 or 505-988-1234, ticketssantafe.org. santa Fe Concert association Family Concert series SFCA Orchestra dress rehearsal; music of Poulenc and Brahms; plus music from Camelot and Guys and Dolls, 2 p.m. Tuesday, Dec. 31, Lensic Performing Arts Center, 211 W. San Francisco St., $10, 505-984-8759 or 505-988-1234, ticketssantafe.org. serenata of santa Fe Harpsichord Fandango featuring Kathleen McIntosh, with special guest mezzo-soprano Consuelo Sañudo, 3 p.m. Sunday, Jan. 5, El Museo Cultural de Santa Fe, 555 Camino de la Familia, $25, ticketssantafe.org, 505-988-1234. The Barber of Seville The Santa Fe Concert Association presents Rossini’s opera, dress rehearsal 6:30 p.m. Wednesday, Jan. 8; performances 7 p.m.
Friday, Jan. 10, and 2 p.m. Saturday and Sunday, Jan. 11-12, Scottish Rite Center, 463 Paseo de Peralta, no charge, santafeconcerts.org. the sing-along of the nibelung Santa Fe Concert Association director Joseph Illick leads a sing-along through Wagner’s Ring Cycle; experienced Wagnerians and beginners are welcome; 7:30 p.m. Thursday, Jan. 16, United Church of Santa Fe, 1804 Arroyo Chamiso, $20, 505-988-1234, ticketssantafe.org. santa Fe symphony Bruckner’s Symphony No. 4 and Mozart’s Exsultate Jubilate, with Santa Fe Opera apprentice Rachel Hall, 4 p.m. Sunday, Jan. 19; free preconcert lecture at 3 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$70, ticketssantafe.org, 505-988-1234. Pink Martini Latin, jazz, and classic pop orchestra, 7:30 p.m. Monday, Jan. 20, Lensic Performing Arts Center, 211 W. San Francisco St., $54-$84, 505-988-1234, ticketssantafe.org. Joshua Roman The cellist performs with pianist Andrius Zlabys; presented by the Los Alamos Concert Association, 4 p.m. Friday, Jan. 24, Los Alamos High School Campus, 1300 Diamond Dr., $30, ticketssantafe.org, 505-988-1234.
Upcoming events santa Fe Pro Musica Classical weekend with music of Vaughan Williams, Barber, and Beethoven, featuring violinist Cármelo de los Santos, 6 p.m. Saturday, Jan. 25, 3 p.m. Sunday, Jan. 26, Lensic Performing Arts Center, 211 W. San Francisco St., $15-$65, 505-988-1234, ticketssantafe.org. Ray Wylie hubbard Country, folk, and blues, 7:30 p.m. Sunday, Jan. 26, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $25 in advance, brownpapertickets.com, $29 at the door. santa Fe Concert association Family Concert series Mozart and Mendelssohn violin concertos with soloists Ezra Shcolnik and Phoenix Avalon, 4 p.m. Sunday, Jan. 26, United Church of Santa Fe, 1804 Arroyo Chamiso, $10, 505-984-8759 or 505-988-1234, ticketssantafe.org. Canticum novum winter concerts The chorus and orchestra perform works by Mozart, Schubert, Cimarosa, Hovhaness, and Holst; preconcert lecture by Oliver Prezant one hour ahead of show, 7 p.m. Saturday, Feb. 1, and 3 p.m. Sunday, Feb. 2, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $25 and $35, discounts available, ticketssantafe.org, 505-988-1234. the Met live in hd Dvoˇrák’s Rusalka, 11 a.m. and 6 p.m. Saturday, Feb. 8, Lensic Performing Arts Center, 211 W. San Francisco St., $22-$28, 505-988-1234, ticketssantafe.org. serenata of santa Fe Twists and Turns, music of Brahms, Herrmann, and Tower, 3 p.m. Sunday, Feb. 9, Scottish Rite Center, 463 Paseo de Peralta, $25, 505-988-1234, ticketssantafe.org.
sharon Jones and the dap-Kings Soul and funk; Valerie June opens, 7:30 p.m. Tuesday, Mar. 18, Lensic Performing Arts Center, 211 W. San Francisco St., $34-$54, 505-988-1234, ticketssantafe.org. Curtis on tour The Santa Fe Concert Association presents students from the Curtis Institute of Music, performing works by Mozart, Poulenc, and others, 7:30 p.m. Wednesday, March 19, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$40, ticketssantafe.org, 505-988-1234.
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Annie Presented by Musical Theatre Works Santa Fe, 7 p.m. Friday, Dec. 20, Greer Garson Theatre, 1600 St. Michael’s Dr., $15 in advance at musicaltheatreworks.net, student discounts available, $20 at the door, 505-946-0488. I Can Hear You ... But I’m Not Listening Jennifer Jasper presents her unscripted one-woman show, 8 p.m. Thursday and Friday, Jan. 9-10, Teatro Paraguas Studio, 3205 Calle Marie, $18, $15 seniors and students, 505-424-1601. King Laz Susana Guillaume’s one-woman show about negotiating the rocky terrain of old age, sickness, and death, 7:30 p.m. Friday and Saturday, Jan. 17-18, 4 p.m. Sunday, Jan. 19, Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 santafeplayhouse.org. Benchwarmers 13 Festival of eight 15-minute playlets by local playwrights, Feb. 6-March 2, Santa Fe Playhouse, 142 E. De Vargas St., santafeplayhouse.org. Les Liaisons Dangereuses Playwright Christopher Hampton’s adaptation of the novel about seduction and revenge, 7 p.m. Friday and Saturday and 2 p.m. Sunday, March 7-16, Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, $5 students and seniors, ticketsantafe.org, 505-988-1234.
haPPenings
caroline goulding performs at the Lensic on Dec. 24. © Lisa mazzucco
lannan Foundation in Pursuit of Cultural Freedom series Bryan Stevenson of the Equal Justice Initiative in conversation with Liliana Segura, editor at The Nation magazine, 7 p.m. Wednesday, Jan. 15, Lensic Performing Arts Center, 211 W. San Francisco St., $6; seniors and students $3, ticketssantafe.org, 505-988-1234. souper Bowl XX Annual Food Depot fundraiser; local-chefprepared soups and recipes, noon-2 p.m. Saturday, Feb. 1, Santa Fe Community Convention Center, 201 W. Marcy St., $30 in advance, $35 at the door; children ages -6-12 $10, 505-471-1633. lannan literary series Author George Saunders in conversation with New York Times Magazine deputy editor Joel Lovell, 7 p.m. Wednesday, Feb. 12, Lensic Performing Arts Center, 211 W. San Francisco St., $6; seniors and students $3, ticketssantafe.org, 505-988-1234. edible art tour (eat) Members of the Santa Fe Gallery Association team with local restaurants; stroll from doorway to doorway or take shuttle buses between downtown and Canyon Road; 5-8 p.m. Friday, Feb. 21, EAT $35; EAT and Fashion Feast dance party, $70, artfeast.com, 505-603-4643.
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AT THE GALLERIES AT THE GALLERIES
A Gallery Santa Fe 154 W. Marcy St., Suite 104, 505-603-7744. Paintings by Alice van Buren and Norbert Voelkel, through Jan. 1. Andrew Smith Gallery 122 Grant Ave., 505-984-1234. Mannequin, Lee Friedlander’s photographic series, through Jan. 5. Argos Studio/Gallery 1211 Luisa St., 505-988-1814. Whistler and Company, etchings and lithographs by J.A.M. Whistler with a selection of works by his contemporaries, through Jan 4. (See story, Page 44.) Eggman & Walrus Art Emporium 130 W. Palace Ave., second floor, 505-660-0048. Winter Schnopps and Pops, group show, through March 1. Ellsworth Gallery 215 E. Palace Ave., 505-989-7900. Kathryn Stedham: Alluvium, gestural abstract paintings, through Jan. 4. Legends Santa Fe 125 Lincoln Ave., 505-983-5639. Weaving Water, mixed media by Sarah Sense, through Jan. 6. Patina Gallery 131 W. Palace Ave., 505-986-3432. Abstraction, mobiles and photographs by Ivan Barnett, through Dec. 27. Peyton Wright Gallery 237 E. Palace Ave., 505-989-9888. Art of Devotion, historic art of the Americas, through March 9. Photo-eye Gallery 370-A Garcia St., 505-988-5159. Photo Objects & Small Prints, group show, REDD, contemporary jewelry designs by Rachelle Thiewes and Julia M. Barello, through Feb. 1. Pop Gallery 142 Lincoln Ave., 505-820-0788. Wild Rumpus, 50th-anniversary tribute to author and illustrator Maurice Sendak, through December. Santa Fe Clay 545 Camino de la Familia, 505-984-1122. Repsher + Repsher, works by Matt and David Repsher; Small Treasures, group show of gallery artists; through Dec. 14. Santa Fe Community College School of Arts and Design Visual Arts Gallery 6401 Richards Ave., 505-428-1501. From the Inside, Part II, works by faculty members, through Jan. 15. Scheinbaum & Russek 812 Camino Acoma, 505-988-5116. Santa Fe Legacy, prints and photographs by Gustave Baumann, Gerald Cassidy, Louie Ewing, Laura Gilpin, Kate Krasin, Eliot Porter, and Todd Webb, through Jan. 31. Ventana Fine Art 400 Canyon Rd., 505-983-8815. Watercolors by Tom Noble, through Dec. 21. Vivo Contemporary 725 Canyon Rd., 505-982-1320. As Though Ice Burned, group show of works by gallery artists, through Jan. 28. William R. Talbot Fine Art 129 W. San Francisco St., second floor, 505-982-1559. Under a Western Sky: Photographs by Craig Varjabedian, through Jan. 10.
LIbRARIES Beaumont and Nancy Newhall Library Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 505-474-5052. Open by appointment. Catherine McElvain Library School for Advanced Research, 660 Garcia St., 505-954-7205. Open Monday-Friday, call for hours. Chase Art History Library Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 505-473-6569. Open Monday-Friday, call for hours. 70
PASATIEMPO I December 13-19, 2013
Gerbert contemporary shows paintings by colin cochran, 558 canyon Rd.
Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 505-984-6041. Visit stjohnscollege.edu for hours of operation, $40 fee to nonstudents and nonfaculty. Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 505-476-5090. Open 1-5 p.m. Tuesday-Friday. Laboratory of Anthropology Library Museum of Indian Arts & Culture, 505-476-1264. Open 1-5 p.m. Monday-Friday, by museum admission. New Mexico State Library 1209 Camino Carlos Rey, 505-476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. MondayFriday. Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 505-467-6825. Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours. Santa Fe Community College Library 6401 Richards Ave., 505-428-1352. Open Monday-Friday, call for hours. Santa Fe Institute 1399 Hyde Park Rd., 505-984-8800. Open 1-5 p.m. Monday-Friday to current students (call for details). Visit santafe.edu/library for online catalog. Santa Fe Public Library, Main Branch 145 Washington Ave., 505-955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.-6 p.m. Friday-Saturday, 1-5 p.m. Sunday. Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St. 505-955-4860. Open 10 a.m.-8 p.m. MondayWednesday, 10 a.m.-6 p.m. Thursday-Saturday. Closed Sunday. Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 505-955-2810. Open 10 a.m.-8 p.m. MondayThursday, 10 a.m.-6 p.m. Friday-Saturday. Closed Sunday. Supreme Court Law Library 237 Don Gaspar Ave., 505-827-4850. Online catalog available at supremecourtlawlibrary.org. Open 8 a.m.-5 p.m. Monday-Friday.
MuSEuMS & ARTSpAcES MUSEUMS & ART SPACES
Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338. Atomic Surplus, multidisciplinary group exhibit surveying the global nuclear legacy • Tony Price and the Black Hole, exhibit of ephemera from the Los Alamos Black Hole salvage yard and works from the estate of Tony Price, through Jan. 5. Call for hours or see ccasantafe.org. Georgia O’Keeffe Museum 217 Johnson St., 505-946-1039. Modern Nature: Georgia O’Keeffe and Lake George, through Jan. 26. 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 Place, 505-983-1666. 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; Cannupa Hanska Luger: Stereotype: Misconceptions of the Native American; exhibits continue through December. 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 International Folk Art 706 Camino Lejo, Museum Hill, 505-476-1200. Let’s Talk About This: Folk Artists Respond to HIV/AIDS, collaborative community exhibit, through Jan. 5 • Tako Kichi: Kite Crazy in Japan, exhibition of Japanese kites, through March • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s Brazilian collection, through August 10. 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; no charge for NM residents over 60 on Wednesdays; no charge for NM residents on Sundays; school groups no charge.
Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 505-982-2226. Filigree & Finery: The Art of Adornment in New Mexico, through spring 2014 • 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, through May 27 • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late colonial period re-creation. Open 10 a.m.-5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 505-476-5200. Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9 • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge on Wednesdays for NM residents over 60; NM residents no charge on Sundays; free admission 5-8 p.m. Fridays. New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Renaissance to Goya: Prints and Drawings from Spain, opening reception noon-5 p.m. Saturday, Dec. 14 • Collecting Is Curiosity/ Inquiry • A Life in Pictures: Four Photography Collections, through Jan. 19 • 50 Works for 50 States: New Mexico, through April 13 • Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Jan. 12 • It’s About Time: 14,000 Years of Art in New Mexico, through January. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. 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 Place, 505-988-8900. Gathering of Dolls: A History of Native Dolls, through April 27. Open 10 a.m.-5 p.m. Tuesday-Sunday. $10 admission. Poeh Museum 78 Cities of Gold Rd., 505-455-3334. Doing Being Sharing Laughing, group show, through January. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted. SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. Alan Shields’ installation Maze, accompanied by the film Into the Maze, opening Wednesday, Dec. 18, through Jan. 12. Open Thursday and Saturday 10 a.m.-5 p.m., Friday 10 a.m.-7 p.m., and Sunday noon-5 p.m. $10; seniors and students $5; no charge 10 a.m.-noon Saturday; no charge Friday. Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13. Open 10 a.m.-5 p.m., daily, donations accepted.
exHIbItIoNISm
A peek at what’s showing around town
Leon berkowitz (1911-1987): Cup 4, 1974, oil on canvas. David Richard Gallery (544 S. Guadalupe St.) presents Unity, an exhibition of Leon Berkowitz’s paintings from the series The Unities. Subtle, harmonious color transitions inspired by the slow shifts of light and mood observed in natural environments define the series, which Berkowitz began in the 1970s and continued into the 1980s. The opening reception is at 5 p.m. on Friday, Dec. 13. Call 505-983-9555.
Cary Cluett: Untitled, 2013, maple, galvanized steel, fiberglass, and aluminum. Cary Cluett presents Group Show Two, an exhibition of mixed-media wall sculpture by various artists including Cluett, Samayra Sinclaire, and Elizabeth Fiset. The show is at Marvelous Hair Designs (500 Market St., Suite 108, in the Railyard) and opens with a reception on Friday, Dec. 13, at 5:30 p.m. Call 505-820-6070.
Patty Hammarstedt: Sink Into the Ice, 2013, mixed media. As Though Ice Burned is an exhibition of gallery artists at Vivo Contemporary (725 Canyon Road). The show includes work by Paul Biagi, Ilse Bolle, Barrie Brown, and others working in calligraphy, collage, glass, painting, mixed media, and other mediums. The exhibition’s title is derived from a line from the poem “The Cold Heaven” by William Butler Yeats: “Suddenly I saw the cold and rook-delighting heaven that seemed as though ice burned.” The show is on view through Jan. 28, 2014. Call 505-982-1320.
Natasha Isenhour: A Prayer for the Wild Things, 2013, oil on canvas. Birds and vessels such as cups and bowls are the subjects of Natasha Isenhour’s recent body of work, on view in the exhibit A Prayer for the Wild Things at The William and Joseph Gallery (727 Canyon Road). “Birds represent the epitome of compassion and strength through incredible adversity,” writes Isenhour, who works in oils and pastels. A portion of the sales go to benefit Santa Fe’s Interfaith Community Shelter. The exhibition opens Friday, Dec. 13, with a 5 p.m. reception. Call 505-982-9404.
Soledad Salamé: Atmosphere in Blue B, 2010, multimedia print. Zane Bennett Contemporary Art (435 S. Guadalupe St.) presents Privacy and Secrets, its annual group show. Included in the show are works by David Nakabayashi, Roger Atkins, Karen Yank, Rachel Stevens, and others that examine the dichotomy of public and private life in an age of increasing transparency. Privacy and Secrets opens on Friday, Dec. 13, with a reception at 5 p.m. Call 505-982-8111.
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PASATIEMPO I December 13 - 19, 2013
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