Pasatiempo, December 6, 2013 by The New Mexican

The New Mexicanâ&#x20AC;&#x2122;s Weekly Magazine of Arts, Entertainment & Culture

December 6, 2013

505.982.5948

Fabulous! Open everyday

clothing jewelry accessories

spirited cuisine

R I S T RLATE A L ATNITE E N I9-11 TE RISTRA Friday and Saturday nights sample our from 9-11 pm sample our NEW COCKTAIL MENU

N E Wfresh CO C K TA I Lflavors MENU ingredients fresh fresh ingredients fresh flavors

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come and celebrate any occasion

FALL & WINTER SAMPLE SALE! 50% OFF All Clothing & Accessories

lunch – monday thru saturday sunday brunch dinner nightly happy hour weekdays 4-6 pm

restaurant bar 231 washington avenue - reservations 505 984 1788

gift certificates, menus & special events online www.santacafé.com

PASATIEMPO I December 6 - 12, 2013

Dec. 6-8 Friday - Sunday ONLY Location: CASA NOVA 530 So. Guadalupe (Railyard District) Hours: 10am - 5pm Sunday 11am-4pm

FALL 2013 WORTHNEWYORK.COM

ON THE PLAZA

15% Locals Discount Open daily 11:30am till close Heated Balcony Happy Hour twice daily Taking reservations for Holiday Parties NFLTicket;Half Price Half Time on Bar Food and Draft Beer

505-490-6550 • ThunderbirdSantaFe.com • Facebook.com/ThunderbirdBarGrill 50 Lincoln Ave, on the Santa Fe Plaza

The Tradition Continues

b o t w i n

e y e s

CHAneL

trunk sHow!

e y e

g r o u p

o p t i c s s a n t a

f e

tHis sAturdAy, deC 7tH, 10:00 – 2:00 botwin eye group | eyes and optics santa Fe is proud to host CHAneL’s first ever eyewear trunk show! the entire CHAneL eyewear Collection will be on display in our showroom along with our CHAneL representative.

we will have special lens pricing for this event. Come join us!

Mon-Fri 8:00-6:00 Sat 8:30-12:00 444 St Michaels Dr

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Mon-Fri 8:00-6:00, Sat 8:30-12:00 444 St Michaels Drive

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101 W. SAN FRANCISCO ST.

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505-988-1866 OPeN eVeRYDAY PASATIEMPOMAGAZINE.COM

Winter Traditions r SUNDAY, DECEMBER 8, 2013

A Museum Hill Celebration of

Museum of Indian arts and culture

12–4 pm Gallery tour of Woven Identities, booksigning to follow with author/ curator Valerie Verzuh; Arnold Herrera (Cochiti Pueblo) and family, Willow wicker basketweaving; Ed Kabotie (Santa Clara Pueblo/

Photo by Addison Doty

Hopi) lecture and music; Ice Mountain Dance Group (Ohkay Owingeh Pueblo); Bea Duran (Tesuque Pueblo) hands-on activities. Call 476-1250 for more information or go to www.indianartsandculture.org

Museum of International Folk Art

1–4 pm Music with Mariachi Buenaventura and Camino de Paz Marimba Mexican Bark Painting Cards Origami Wreaths Hands-on projects for ages 3 – 103 Light Refreshments Call 476-1200 for more information or go to www.internationalfolkart.org Funded by the International Folk Art Foundation.

New Mexican residents with i.d. free on Sundays, children under 17 and MNMF members always free.

ON MUSEUM HILL (OFF OLD SANTA FE TRAIL)

Museum of Indian Arts and Culture 505-476-1250 | indianartsandculture.org 4

PASATIEMPO I December 6 - 12, 2013

505 476-1200 | InternationalFolkArt.org

Warmest Wishes this Holiday Season from Everyone at On Your Feet

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PASATIEMPOMAGAZINE.COM

THE SANTA FE NEW MEXICAN

December 6 - 12, 2013

www.pasatiempomagazine.com

On the cOver 36 A place in the sun “In the Indian tribes of the Southwestern United States, Leon Gaspard discovered the same intrinsic glamour that had attracted him to the nomadic tribes of Asia.” These words, from a 1974 exhibition catalog, describe the artist’s inspiration and unique worldview. Gaspard, born in Russia in 1882, spent his last 40 years living in Taos. A retrospective of his work continues at Nedra Matteucci Galleries through December. On the cover is Smolensk — Winter (The Bridge at Smolensk), a 1914 oil on canvas and board. Image courtesy Nedra Matteucci Galleries.

A lAnnAn event

MOvInG IMAGeS

18 Write club The Dark Room Collective

52 54 56 58

BOOKS And tAlKS 20 22 42 48

In Other Words Command and Control Sticks and stoned Thai Stick neighborhood watch Barrio de Analco Women who distress Dangerous Women

cAlendAr 65 Pasa Week

MUSIc And PerFOrMAnce 27 28 30 32 34

The Great Beauty The Punk Singer Weekend of a Champion Pasa Pics

And

Onstage The Second City Playing it all ways Warren Wolf terrell’s tune-Up Ready! Get! Go! A light take A Christmas Carol Pasa tempos CD Reviews

14 15 17 62

Art

dear Pasa Mixed Media Star codes restaurant review: Il Piatto

40 Art in review Dunham Aurelius 44 hanging in the balance Ivan Barnett

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

Jerry Ferraccio in Santa Fe Playhouse’s adaptation of A Christmas Carol; photo by carla Garcia

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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, david Masello, James McGrath Morris, robert nott, Jonathan richards, heather roan robbins, casey Sanchez, Michael Wade Simpson, Steve terrell, Khristaan d. villela

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PrOdUctIOn dan Gomez Pre-Press Manager

The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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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

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

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READINGS & CONVERSATIONS brings to Santa Fe a wide range of writers from the literary world of ﬁction, nonﬁction, and poetry to read from and discuss their work.

For Inspired Living & Giving

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NOTHING PERSONAL:

THE DARK ROOM COLLECTIVE REUNION TOUR with Natasha Trethewey, Major Jackson, Thomas Sayers Ellis, John Keene, Tisa Bryant and Sharan Strange with saxophonist James Brandon Lewis THURSDAY 12 DECEMBER AT 7PM LENSIC PERFORMING ARTS CENTER

The Dark Room Collective was formed in 1988 in Boston by a group of young African American poets as a means of providing community to both established and emerging writers in the form of a reading series. This 25th Anniversary event with nearly all of the original founding members marks the end of the group’s reunion tour. TICKETS ON SALE NOW

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

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PASATIEMPO I December 6 - 12, 2013

Moss Outdoor MOSS is is holding holding our MOSS our

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See See and and be be seen seen in in the the stunning stunning Monique Monique dress. dress. This satiny This satiny wonder wonder flatters flatters your your every every curve. curve. Come Come see see all all the the treasures treasures we we have have stocked stocked up up for for the holiday holiday party party scene! scene! the

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Tina Dávila Pottery

Studio Open House Two Saturdays Nov 30th & Dec 7th 10 am – 5 pm

9 3 3 N i c o le P l ac e , S a n t a Fe , N M 8 7 50 5 tinadav@q.com • 505.986.9856 Cash & checks please • no credit cards

25 Year Celebration Bash

Give your furry friends the gift of GOOD NUTRITION! (and don't forget the HolidayToys, too!)

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Dec 7th, 3-6 pm Fashion show by Ulis and Persephone Art Exhibit: The Infernal Veil by Blaise Auberson Bring this ad in for a surprise

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PASATIEMPO I December 6 - 12, 2013

Fit in 2 Free Months. Fit in 20 Reps. Fit in 10 Laps. Get Fit. Stay Fit. Quail Run Club fits your lifestyle by offering membership options that fit your needs and your schedule. Conveniently located, Quail Run features a fully equipped fitness center, ozone purified indoor lap pool, a complete schedule of classes, and special spa services. Call 505.986.2200 today for a tour.

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ART TOUR & SALE Friday Dec. 6 5-9 pm Sat. Dec. 7 10-4 pm Sunday Dec. 8 10-4 pm

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OT H E R A RT I S T S Liquid Light Glass: Jannine Cabossel Cia Friedrich • Marcy Albin • John Marks Devin & Ezri Horne • Danna Cooper Jeni Kittleson • Lala Curiosity Cabinet: Margot Guerrera

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Basketry Art of Western North America

By Valerie K. Verzuh

Highlighting Native American baskets made in the period 1870–1930 and representing the finest examples of basketry art from sixty western U.S. tribes. Sunday, Dec. 8 12– 2 p.m. Museum of Indian Arts & Culture on Museum Hill 710 Camino Lejo, Santa Fe

Tuesday thru Saturday 11:00 – 5:30 Closed Sunday & Monday

Museum of New Mexico Press 800.249.7737

For Information Call:

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Companion exhibit on display through February 23, 2014.

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PASATIEMPO I December 6 - 12, 2013

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THE DESERT CHORALE’S NEWEST A CAPPELLA ENSEMBLE Join us New Year’s weekend to welcome Deke Sharon and Voasis for an end-of-year a cappella spectacular.

DON’T MISS IN THE MIDNIGHT HOUR with Voasis produced by Deke Sharon, Music Producer of NBC’s The Sing-Off and Music Director of the hit comedy, Pitch Perfect

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DESERT CHORALE

Warehouse 21 – Santa Fe Dec 28, 29 4pm Dec 28, 29, 30, 31 8pm

DEKE SHARON ON THE SET OF NBC’S THE SING-OFF, WINTER 2013

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.

PASATIEMPOMAGAZINE.COM

DEAR PASA Curiouser and curiouser Many thanks for James McGrath Morris’ brilliant and charming bibliographical mystery story (“The Case of the Curious Courier,” Pasatiempo, Nov. 29). It’s simply perfect in every way — a moving recovery of a lost literary moment in New Mexico and a fine remembrance of things past. We loved it. Hal Espen and Caroline Fraser Santa Fe What a treat to find James McGrath Morris’ article in this morning’s Pasatiempo! His amazing detective skills and patient research uncovered the story of A Courier in New Mexico and the work of these dedicated women teaching children to love books. Only nine copies of this little gem exist! I hope the Museum of New Mexico Press or Sunstone would consider printing a facsimile edition along with a digital one so the “corpse” can be resurrected. I, for one, would sure like to have a copy. It’s amazing what these two women accomplished under the poverty in which they worked in that one-room schoolhouse in the Depression. And that here, near

where Padre Martínez printed the first book [in New Mexico] in the 19th century, they still had to struggle to “print” this hand-made gem. Because of their imaginative work with the tools of their time — the typewriter, the mimeograph, and the little hands of the students — we still have a material object with key traces of people’s lives preserved. I think of today’s kids using iPads in the classroom to create books. Great in so many ways — but will these digital books be here in the next century, or even in five years, given the ephemeral web? Ellen McCracken Santa Fe Kudos to James McGrath Morris for a well-researched and wonderfully written story. Like a novel it drew me in and held me, and like a good novel its end came all too soon. Mabel Parsons and Ann Nolan Clark apparently saw obstacles as opportunities and handled them with remarkable creativity and dexterity. We can all profit by their example. James Cleveland Watley Santa Fe

Letters to the Editor Letters for Dear Pasa should be mailed to K. Melcher, Pasatiempo, The New Mexican, P.O. Box 2048, Santa Fe, NM 87504, e-mailed to pasa@sfnewmexican.com, or faxed to 505-820-0803. Please include name, address, and phone numbers. Letters may be edited for clarity or length.

Experience the Magic of GLOW! Thurs.–Sat., 5–8pm Dec. 5–7, 12–14, 19–21, 26–28, Jan. 2–4 $5 members $8 non-members children 12 & under free

Music, cocoa & fun for the whole family 715 Camino Lejo • 505.471.9103 Tickets available at the door or online. www.santafebotanicalgarden.org/events/glow

TITLE SPONSORS: Thornburg Management · Nedra Matteucci Galleries · Hutton Broadcasting, LLC · Samuel Design Group 14

PASATIEMPO I December 6 -12, 2013

MIXED MEDIA

The Astrological Map of 2014 Friday, December 13

with astrologers Arielle Guttman and Heather Roan Robbins Talk: 2014-Heart of the Metamorphosis, a look at the year ahead. Friday Dec. 13 at 6:45 pm The 7 Drumbeats of Uranus/Pluto Continue in 2014 The Water Trines, The Venus Star, The Balance Challenge: Mars Rx in Libra Q&A with Arielle, Heather, guest astrologers Workshop: Your Personal Picture; Saturday Dec. 14 at 1-5 pm

Bring your chart for a personal overview – or send your birth info and we’ll create it. Tools will be provided to help you navigate through the transitional shift of 2014-2015 The Center for Spiritual Living, 505 Camino de los Marquez, Santa Fe, NM 87505 For info and tickets see www.sophiavenus.com/workshops Contact: Heather Roan Robbins, 612-615-2604 www.roanrobbins.com

Seeing new patients in our Santa Fe office! Appointments scheduled through Los Alamos office: 662-4351

Julia Barello; Drift (detail), wall installation, 2013, dyed medical imaging films; right, Rachelle Thiewes: bracelet (from the Heat series) steel, silver, and auto paint

Most insurance accepted! (not contracted with Tricare)

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Dr. Mark Bradley Ophthalmologist

Photo objets d’art

In his photographic series Conversations With History, David Emitt Adams explores relics of the recent past in the form of rusted tin cans found on the desert floor. He uses these as the surface for his photography: images of the places where the cans, silent witnesses to the slow passage of time, were found. “I use these objects to speak of human involvement with this landscape and create images on their surfaces through a labor-intensive 19th-century photographic process known as wet-plate collodion,” Adams writes on his website, www.davidemittadams.com. He is one of several photographers in Photo-eye Gallery’s group exhibition Photo Objects & Small Prints. The show also includes pieces by Jo Whaley, Raymond Meeks, and others who work in small scale or with photo transfers on objects such as vintage envelopes, layered silk, and rocks. Traditional photographic mediums such as gelatin silver prints, albumen prints, and Daguerreotypes are interspersed with nontraditional photo objects offering a broad spectrum of photo experimentation. Photo-eye also hosts the first in a series of pop-up exhibitions called REDD: Art Jewelry. Art Ornamentation. Obsession, curated by Mary Anne Redding, chair of the photography department at the Santa Fe University of Art and Design. Redding brings together inventive jewelry by artists Rachelle Thiewes (from two of her series, Heat and Mirage) and Julia Barello. Thiewes’ jewelry incorporates iridescent paint that catches the light, and Barello works with recycled x-ray and MRI film, turning imagery of the body’s insides into translucent designs for body adornment. Photo Objects & Small Prints and REDD open at Photo-eye Gallery (376-A Garcia St., 988-5159) with a 5 p.m. reception on Friday, Dec. 6. The shows runs through Feb. 1. — Michael Abatemarco

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PASATIEMPO I December 6 - 12, 2013

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This interesting week is alive with possibility. The astrological

wind shifts and reorganizes our priorities as Mars leaves competent but persnickety Virgo and enters egalitarian, peace-loving Libra, where it will be for an unusually long time. Mars in Libra usually decreases the general global feistiness but this time will oppose Uranus in Aries and square Pluto in Capricorn as it progresses, retrogrades, and progress again. We can expect a paradoxical Libran fight for peace, equality, and all that is fair and beautiful in the months ahead. Start this week as thoughtful Mercury forms a supportive trine to changemaster Uranus and encourages us to start afresh. Share wild ideas, listen to the filaments of hope and progress, and see what we can weave together. The weekend begins under a sociable Aquarius moon but with some confusion; we may feel foggy or uncertain about conditions or work under a misapprehension as Mercury squares Neptune. Catch up on emotional backlogs under a scattered and sensitive Pisces moon early in the week. Catch a wave of momentum as the moon enters motivational, reactive Aries on Tuesday. Later in the week, expansive Jupiter trines hardworking Saturn, encourages strange allies to work together, and offers us a chance to put some solid foundations under new constructions.

2 Locations Albuquerque 7520 Montgomery Blvd. Suite D-3 Mon - Thurs 505-883-7744

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Friday, Dec. 6: Tidy up details and then let them go. Take a step back and look at the big picture, but watch a tendency to philosophize away true feelings under an Aquarian moon. Keep signals clear and confirm facts as Mercury squares Neptune. Engage imagination, but watch the weather and a note of unreality. Find a safe way to be unrealistic tonight. Saturday, Dec. 7: Mars enters Libra; look for new beginnings, launch creative projects, and start decorating for the winter holidays. Let go of one path and pick up another. Interesting conversations take place midday as Mercury challenges Jupiter. Tonight the mood is sensitive and sociable, but we can lock stubborn horns as the moon semisquares Uranus and Pluto. Sunday, Dec. 8: Feelings flood as the moon conjuncts Neptune in Pisces. Meditation helps. We are reminded of our creativity, intuition, and vulnerability in some tangible way and are susceptible to (and will resent) guilt trips. Superficial logic can screen more personal motivation midday as the moon squares Mercury. Listen with the heart. Monday, Dec. 9: The vibe is positive but scattered, sensitive, and complicated; mixed feelings tug us in too many directions as the Pisces moon squares the sun. It helps to find a thread to follow. Figure out what to do, but stay open as to how to do it as the moon forms a serendipitous grand trine with Jupiter and Saturn. Tuesday, Dec. 10: Fresh ideas abound. We shift gears and can lose track as the moon enter Aries. Some may put plans into action, for better or worse, as Mercury trines Uranus. Tonight, a lid lifts off a bubbling pot as the moon conjuncts Uranus. What’s in the stew?

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Classical Realist Art Training in Santa Fe Portrait Painting in Oil & Figure Drawing from Life Ages 18 & up. All Levels. Beginners welcome Full and Part-time Study

www.theryderstudio.com (505) 474-3369 Anthony Ryder www.tonyryder.com

Wednesday, Dec. 11: The mood is volatile; stay on track and ride the wave. Keep personal priorities clear. People respond well to clear and honest signals — say what’s needed. Thursday, Dec. 12: It can hurt when beloveds put themselves first, but assume their intentions are good as the moon squares Venus. The vibe slows down, stabilizes, and gets cozier this afternoon as the moon enters Taurus. Speak from the heart, speak to the future, and give people time to get to their point. ◀ Heather Roan Robbins is in Santa Fe from Dec. 13 to Dec. 19. Visit www.roanrobbins.com.

PASATIEMPOMAGAZINE.COM

Bill Kohlhaase I The New Mexican

Write Club To get a feel for what it might have been like at a presentation of the Dark Room Collective, the group of poets that began gathering in 1988 in a Victorian house in Massachusetts, go to a collection of poetry from another African-American poetry collective, known as Cave Canem. In the introduction to the 2006 Cave Canem anthology Gathering Ground, poet Cornelius Eady paints the picture: “[Thomas Sayers] Ellis and Sharan Strange and others from the Dark Room Collective invited me to come and read for them at their space in Cambridge, Massachusetts. It was like being part of a Sunday revival meeting. A crowd showed up … some furniture got moved, some chairs unfolded, and Pow! Their living room turned into a salon.” The image of a Sunday revival meeting is particularly apt. When Strange and Ellis first began discussing the formation of a group in 1987 after attending the funeral of James Baldwin in France, they agreed that lineage, reviving the spirit of the great poets who went before them, was key. “In the beginning our purpose was to support a reading series which provided

The Dark Room Collective puts poetry in focus a forum for our ‘living literary ancestors and mentors,’ and to nurture and support each other,” Strange said in a 1997 interview with the Painted Bride Quarterly literary magazine. Those goals were soon expanded and are what has held the group together over the years, even as they’ve scattered around the country. “But it was the sustaining practice of writing in community just as much as the activism of building a community-based reading series for writers of color that kept us engaged in collectivity,” Strange said in the interview. The achievements of that community, with one of the members — Natasha Trethewey — winning the 2007 Pulitzer Prize for poetry and later being named Poet Laureate of the United States, are still being realized. Even back in 1996, Eady wrote in The New Yorker that the group “could turn well out to be as important to American letters as the Harlem Renaissance.” When the Collective’s reunion tour stops at the Lensic Performing Arts Center on Thursday, Dec. 12, as part of the Lannan Foundation’s literary series, many of its most recognized members will be in attendance. In

From left, John Keene, Thomas Sayers Ellis, Major Jackson, Sharan Strange, Tracy K. Smith, Janice Lowe, and Tisa Bryant

PASATIEMPO I December 6 -12, 2013

addition to Trethewey, Strange, and Ellis, Major Jackson, Tisa Bryant, and John Keene will join with saxophonist James Brandon Lewis to recreate those heady days of community as well as bring attendees up to date on their work. While they all come from that central circle of collaboration, their individual work is varied and personal, addressing different themes and subject matter. Jackson, whose 2006 collection Hoops employs the language and rhythms of basketball, has said that the poets he admires are skilled at storytelling. “Storytelling,” he writes in Angles of Ascent: A Norton Anthology of Contemporary African American Poetry, “no matter what genre of art is employed, is the one sovereign act of communication which commands so much of our total attention, that makes listening and awareness appear effortless on our behalf, where the present world collapses and another replaces it.” He demonstrates his ability to transport readers in a section from the long poem “Urban Renewal” entitled “Block Party”: Woofers stacked to pillars made a disco of a city block. Turn these rhymes down a notch and you can hear the child in me reverb on that sidewalk where a microphone mushroomed with a Caliban’s cipher. Those couplets could rock a party from here to Jamaica. Storytelling is also central in Strange’s work. Yet she does it with a different voice. In the preface to her poems in the Norton anthology, Strange writes, “Poetry is the quest for freedom, born of silence and stutter.” Her ability to write as speech, with all its tics and mannerisms, even while creating visual images, makes her accessible as well as visually perceptive. From “Froggy’s Class,” about a “crazy crone” teacher who encouraged Strange despite her being the only black in the classroom: She was an old maid, Froggy was, and she was mean, with bulging eyes that strained more when she got cross, and a lumpy sack of gland-swollen throat. Being singled out provides Strange with embarrassment and a lesson: Then after the year-end spelling test, which I alone aced, she railed against my all-white peers, summoned me to stand before the knuckleheads she said (or warned) might someday fall victim to my supervision Driving Strange home on the last day of school, Froggy pushes a “dusty bound notebook” into her student’s hand with an admonition, of which the future poet only catches “will make something/of yourself and college and proud.” In one of her most moving poems, “The Body,” Strange describes a man’s experience with AIDS as, “A sensual experience — dying — feeling his body/as a newness.” This realizing of the unexpected continues in the following verse: After her lover died the poet wrote, “But of course, there is that business of ‘going on living’ — one does it, almost unconsciously — something in the cells, I think.” In the cells … and I am reminded that even the smallest parts of the body are wombs.

Co-founder Ellis can be bluntly personal, with images that seem designed to slap readers into what’s being said. “View-Master” is dedicated, “for you, mother, thanks”: I guess I got it from her this habit of clenching my face into a fist, this brutal looking into, her way of seeing things, squinting — The most recognized of the group, Trethewey, is also the most concerned with the past. Her Pulitzer Prize-winner Native Guard deals with personal as well as historical memory. Many of the poems are about her mother. The title poem is the imagined perspective of a former slave, now a Union soldier, charged with guarding rebel captives: “For us a conscription/we have chose — jailers to those who still/would have us slaves. They are cautious, dreading/the sight of us.” Despite the often weighty scenes and subject matter, Trethewey has a surprisingly light and meaningful way with phrase and image. She isn’t afraid of rhymes. She opens “Flounder” with: Here, she said, put this on your head She handed me a hat. You ’bout as white as your dad, and you gone stay like that. And, verses later, finishes with a catch: Reeling and tugging hard at the fish that wriggled and tried to fight back. A flounder, she said, and you can tell ‘cause one of its sides is black. The other side is white,” she said. It landed with a thump. I stood there watching that fish flip-flop, Switch sides with every jump. That this won’t be a stodgy, academic reading of obscure verse is apparent from the inclusion of saxophonist James Brandon Lewis (he recently collaborated with Ellis on an as-yet unreleased recording, Divine Travels). Then there’s the passion heard in the poetry. Here’s Jackson again from “Block Party,“ speaking to a different season yet giving a glimpse of what to expect: “Did not that summer crowd bounce in ceremonial fits?” ◀

details ▼ Nothing Personal: The Dark Room Collective Reunion Tour ▼ 7 p.m. Thursday, Dec. 12 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $6, students & seniors $3; 505-988-1234, www.ticketssantafe.org

PASATIEMPOMAGAZINE.COM

In Other wOrds book reviews Command and Control: Nuclear Weapons, the Damascus Accident, and the Illusion of Safety by Eric Schlosser, The Penguin Press, 632 pages “The fallibility of human beings guarantees that no technological system will ever be infallible,” writes Eric Schlosser in Command and Control. In his latest book, the discerning investigative journalist behind Fast Food Nation and Reefer Madness tackles the dangerous technologies and high-risk systems involved with nuclear weapons. He does so with such thoroughness of detail that one feels sympathy for the fact checkers enlisted for the project; the book’s epilogue is followed by nearly 100 pages of notes and a bibliography compiling more than 500 reports, dissertations, documents, letters, oral histories, and books. Schlosser’s personal conclusions occur only in the epilogue after a comprehensive, accessible, and largely impassive historical synopsis of the United States’ love affair with nuclear arms. The nexus of his engaging historical approach is the idea of command and control — a military term for the organizational protocol of decision making and resource management — as applied to the development, storage, and authorization for use of nuclear weapons in this country. He argues that the conflict between acceptable risk and readiness is embedded within any system of command and control. How can a weapon of mass destruction in particular be designed with implemented safety mechanisms that do not hinder its effective operation? Schlosser writes of this decades-old quandary: “The need for a nuclear weapon to be safe and the need for it to be reliable were often in conflict. A safety mechanism that made a bomb less likely to explode during an accident could also, during wartime, render it more likely to be a dud. The contradiction between these two design goals was succinctly expressed by the words ‘always/never.’ Ideally, a nuclear weapon would always detonate when it was supposed to — and never detonate when it wasn’t supposed to.” Throughout the book, he offers plenty of evidence showing that over the years, most policy makers (and as a result, most weapons developers) have erred on the side of “always” over “never.”

The author goes to great lengths to explain the technical aspects of nuclear weapons, from the workings of the first bombs developed during the Manhattan Project to the nuances of the hydrogen bomb and intercontinental ballistic missiles. He even covers the functionings of the launching silos that house such missiles. Emphasizing the destructive potential of nuclear fission, Schlosser explains that because of the relatively unsophisticated design of Little Boy (the bomb that destroyed Hiroshima in 1945) only 1.38 percent of its nuclear core actually underwent fission. Still, “About eighty thousand people were killed in Hiroshima and more than two thirds of the buildings were destroyed because 0.7 grams of uranium-235 was turned into pure energy. A dollar bill weighs more than that.” His inclusion of technical specifications is not intended merely to inform — by outlining the complexity of nuclear systems, he makes it clear how sensitive they are to accidents and misuse. Acknowledging in the epilogue that it is a feat of military and civilian control measures that so far not a single American weapon has been stolen or accidentally detonated, Schlosser adds an important aside: “Nuclear weapons are the most dangerous technology ever invented. Anything less than 100 percent control of them, anything less than perfect safety and security, would be unacceptable.” And while no weapons have yet been stolen or accidentally detonated, the number of near catastrophes since the 1940s is staggering. Between the years of 1950 and 1968 alone, “a study of abnormal environments commissioned by Sandia [National Laboratories] soon found that at least 1,200 nuclear weapons had been involved in ‘significant’ incidents and accidents.” These run the gamut from spectacular accidents — B-52 bombers crashing or losing their missiles mid-flight — to more mundane (yet no less problematic) ones — the discovery of lost wrenches and screwdrivers inside Mark 7 tactical bombs. Schlosser recounts one particular event at great length in chapters interspersed throughout the book. In 1980, a Titan II missile exploded in its silo in Damascus, Arkansas. It was carrying a W-53 thermonuclear warhead, “the most powerful weapon ever carried by an American missile. The warhead had a yield of 9 megatons — about three times the explosive force of all the bombs dropped during the Second World War, including both atomic bombs.” The disaster occurred after a technician dropped a socket from his wrench, which punctured the rocket’s fuel tank and filled the silo with an incredibly hazardous and combustible fuel that exploded several hours later. Repeated requests by high-clearance security experts to decommission or update the Titan II missiles

SubtextS Basket cases An intriguing variety of baskets from 60 tribal groups and ranging from 800 years old to contemporary examples populate the pages of Valerie K. Verzuh’s new book Woven Identities: Basketry Art of Western North America (Museum of New Mexico Press). Verzuh is a curator at the Museum of Indian Arts & Culture, where she has worked for 13 years. The San Francisco native is also the author, with MIAC ethnology curator Antonio Chavarria, of Painting the Native World: Life, Land, and Animals and editor of A River Apart: The Pottery of Cochiti & Santo Domingo Pueblos. The new book is a catalog of the exhibition Woven Identities, which is on display at MIAC through April 14, 2014. A walkthrough and book signing is scheduled from noon to 2 p.m. Sunday, Dec. 8, at the museum, 710 Camino Lejo, 505-476-1269. There is no charge for the event. “Woven Identities is an art exhibit,” Verzuh stressed in a 2011 interview with Pasatiempo. “These are baskets as fine art. That’s what they’ve become since the 1880s, when people no longer had the time to make baskets for the household and they realized they could do it for museums and collec20

PASATIEMPO I December 6 -12, 2013

tors and also tourists." The more than 200 baskets in the show and the book include tourist pieces adorned with butterflies and peacocks and more traditional baskets whose geometric designs relate more to the stitching patterns used than to intentional decoration. Only 45 are identified as having been created by an individual artist. Every one of the baskets has what Verzuh calls a “woven identity” that may be read in its utility, form, and materials. One of the many wonderful examples is a woven cradle, nearly a century old, that was fashioned from hazelnut shoots, conifer root, alder-dyed Woodwardia fern, shells, glass beads, and cotton string and includes a little baby sunshade and a bead toy hanging inside. — Paul Weideman

had been ignored. Miraculously, only one person died, and the warhead remained intact despite being launched into a ditch 200 yards from the silo. The focus on Damascus stems not from Schlosser’s belief that it was particularly extraordinary, but rather from the conviction that it was just one of many close calls. Though the play-by-play account is highly dramatic, even terrifying, it proves less gripping than the extended historical narrative following the ups and downs of nuclear development and policy in the United States. Virtually since their destructive force was demonstrated in Japan, atomic weapons have provided a foundation for most U.S. military strategy. Citing a declassified 1947 top-secret report sent by the Joint Chiefs of Staff to President Truman, Schlosser writes, “The report suggested that a nuclear attack would stir up ‘man’s primordial fears’ and ‘break the will of nations.’ The military significance of the atomic bomb was clear: it wouldn’t be aimed at the military. Nuclear weapons would be used to destroy an enemy’s morale, and some of best targets were ‘cities of especial sentimental significance.’ ” As the arms race with the Soviet Union developed, so did the necessity for a war plan that united all the branches of the armed forces. In 1960, the Eisenhower administration adopted the Single Integrated Operational Plan (SIOP), designed to utterly devastate the enemy. It called for 3,423 nuclear weapons to be targeted at various locations in the Soviet Union, China, North Korea, and Eastern Europe. “Once the SIOP was set in motion, it could not be altered, slowed, or stopped.” According to official estimates, the attack would kill roughly 220 million people within three days. Many millions more were expected to perish over a more extended period of time from radiation exposure. Versions of the SIOP were in place until 1992 (though it retained its name until 2003), and these iterations were rarely less holocaustic. Robert McNamara, John F. Kennedy’s Secretary of Defense, endorsed a strategy known as MAD (Mutually Assured Destruction), which openly threatened to destroy about a third of the Soviet population and 150 of their cities. By the mid- to late-1960s, the United States’ arsenal of 30,000 nuclear weapons ensured that MAD’s aims were not unrealistic. Though most of Command and Control is dedicated to piercing the illusions of safety that existed during the Cold War, Schlosser closes with a look at the dangers of today. As of the writing of his book, the United States possesses about 4,650 nuclear weapons (out of the roughly 70,000 it has built). Most are equipped with improved safeguards. However, Schlosser argues that new technologies and command and control measures result in new vulnerabilities. Today’s DIRECT system (an acronym for a more unwieldy formal title: the Defense Improved Emergency Message Automatic Transmission System Replacement Command and Control Terminal System), which sends and receives the war order to use nuclear weapons, may be prone to cyberattacks. The same can be said of the defense systems currently employed by China and Russia. Greater threats may stem from the nuclear capacities of Pakistan and India. The bordering states are hostile to each other and vulnerable to extremist groups, and Schlosser argues that neither possesses even the rudimentary command and control measures first put into place by the United States. On the other hand, these nations and others with relatively limited experience possessing or developing the bomb might face even greater risks of domestic accident. Schlosser notes that in Pakistan, the rate of industrial accidents is four times higher than in the United States. His point is not that the bomb is safe in the United States and not in countries like Pakistan, but rather that nuclear weapons are inherently unsafe everywhere. Their mere existence triggers a numbers game involving potential disasters, intentional and not. Schlosser makes a convincing case that we have been miraculously lucky so far, despite accidents like the one at Damascus. However, as weapons research and production (undertaken with varying degrees of expertise and oversight) increase worldwide with each passing year, the probability of avoiding future catastrophe approaches closer and closer to zero. — Loren Bienvenu

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

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 



GIVE BARRY METZGER A JINGLE

505-670-9019

Gift Certificates Available NO BATTERIES REQUIRED

www.thewoodcarespecialist.com

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

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

PASATIEMPOMAGAZINE.COM

Casey Sanchez I For The New Mexican

STICKS STONED marijuana smugglers’ tales of yore

nce upon a time in a galaxy far, far away — otherwise known as the early 1970s — high-grade cannabis was so hard to come by in the U.S. that the counterculture took to sailing boats across the Pacific packed with Thai stick, the artisan ganja of Southeast Asia, grown by isolated tribes who lived far up the Mekong River. “Aside from a few plants here and there, basically there was no marijuana grown in America when I entered college in 1966,” said Mike Ritter, a former pot smuggler and lifelong surfer. “When Thai stick marijuana first hit the streets, it blew everybody’s mind. It was the first sinsemilla, it was sticky, and it was in this presentation no one had ever heard of — buds wrapped around a bamboo stick. “It was like sipping weak wine all your life and then someone hands you a glass of whiskey for the first time,” Ritter said. “We had a test for it. If you take the grass, press it against the wall and it stuck there, it was Thaistick quality.” Thai stick’s profit margin was staggering, and the transPacific route (roughly Thailand to Bali to Hawaii to California) just happened to overlap with an archipelago of the world’s most consistent wave curls. Like beach 22

PASATIEMPO I December 6 -12, 2013

boys gone to seed, several middle-class SoCal surfers teamed up with adventurous hippies and rebellious Vietnam vets to import the stuff over a daunting 8,000mile sea route, using their sport and their dude-culture amicability as cover. “The business was divided into three main areas: securing the product and delivering to the boat, which I did, the ocean transport, and then actually meeting the boat in the U.S.,” Ritter said. “They were three areas of expertise so compartmentalized on a need-to-know basis, you often didn’t know the other people in the process.” Ritter’s startling story and those of his former colleagues, conspirators, and antagonists in the DEA are collected in a new book, Thai Stick: Surfers, Scammers, and the Untold Story of the Marijuana Trade (Columbia University Press).The work is the result of a unique collaboration between Ritter and Peter Maguire, a historian and war-crimes investigator. Maguire reads and discusses the collaborative experience of researching the book on Monday, Dec. 9, at Collected Works Bookstore. When it comes to crazy, Thai Stick delivers the goods, names the names, and sketches out stories that read like movie vignettes concocted by Woody Harrelson and Oliver Stone. Wave jockeys hollow out their surfboards to stuff them with hash, and disgruntled U.S. soldiers use their

trip home from Vietnam to fool the U.S. Army Post Office to move hundreds of pounds of product in locked crates. The smugglers fear legal authorities, but more terrifying is the prospect of running into Ralph Baxter, a Hawaiian-Japanese architecture-grad-student turned gangster. Fond of dropping acid and heading out on heists, Baxter would load up his guns and rob surfers of their stash in Hawaii, leaving them to return the mainland empty-handed. There’s an unforgettable portrait of the Brotherhood of Eternal Love, a quasi-religious hippie smuggling outfit that made initiates undergo a 50-hit LSD baptism. Nonprofit by design, the members plowed their Thai-stick profits into becoming the Johnny Appleseeds of acid, distributing “orange sunshine” across the country for free. “The Brotherhood was a messianic Utopian movement in American history. I would totally contend that they were a religious organization. They took massive amounts of LSD and thought they saw God; it was probably a reflection off the van,” Maguire said. “They could have made a hundred times more money, but they chose to distribute hallucinogens instead.” The most epic tale belongs to Mike Carter, a hulking 6-foot-3-inch abalone diver who would captain the Ancient Mariner, a 98-foot halibut schooner loaded with 7.5 tons of vibrantly lime-green Thai stick. Carter,

with the approval of his career Navy father, sailed from California to the Gulf of Thailand to pick up his load. With a .45 strapped to his thigh and a supply of Molotov cocktails in the crow’s nest, he negotiated deals with Thai suppliers, eluded U.S. Air Force jets in the Philippines, and survived a deadly storm in Alaska (meandering routes were mandatory) that left him without a working engine and a cargo that precluded any SOS calls. Eventually, Carter would return the Ancient Mariner back to the California shore he had left eight months earlier. With most of his haul still in mint condition, the payoff would fill his “bank of the Igloo underground” — a cache of buried coolers filled with some $20 million in cash. Carter is still around. During a book-tour stop for Thai Stick in Mendocino, he showed up with the wheel of the Ancient Mariner in tow. Maguire said that most of his California readings for the book have turned into impromptu “pirate reunions,” with graying ex-smugglers swapping war stories. He expects no less of the reading in Santa Fe, a region that has long been a retirement home for former counterculture outlaws. He also adds that his mother, Joan Tewkesbury, the screenwriter of Robert Altman’s Nashville and other films, lives in Tesuque and plans to drum up an audience for her son’s wild stories of the period’s unsung smugglers. New Mexico has its own peculiar memory for Maguire. Despite his academic and writerly pedigree, he moved his share of Thai stick as a teenage surfer in Southern California. That all came to an end when he was stopped by a police officer just outside of Tucumcari while attempting to move a quarter-pound in time for the start of fall semester at his college in New England. The officer crawled all over his car, only to miss the bundle of Thai stick tucked under the driver’s seat. “Although I continued to smoke pot, I never trafficked in it again,” Maguire writes. Ritter, on the other hand, would continue to make runs until 1986. He left partly because the Thai stick supply was drying up due to government crackdowns but mostly because he was exhausted of his dual life and the dwindling supply of friends he could trust. In 2000, he began collaborating with Maguire on the book project, hoping to share his stories. Unfortunately, because of increased banking scrutiny post-Sept. 11, Ritter’s offshore bank accounts were discovered. He plead guilty and headed to prison for a two-year stint just as Thai Stick was being proofed in galleys. In solidarity, Maguire held off on the book’s publication. “I don’t regret what I did one bit. It was a rare thing in history to be able to do this,” Ritter said. “They took my money, they took my liberty for a bit of time, but now I can talk to anybody, anywhere, anytime, without complications.” As a portrait of the devil-may-care 1970s, both men’s stories are absorbing, unsentimental depictions of an era that for all its hedonistic faults at least encouraged its young people to take risks rather than skirt them in the name of safety. “To us pot-smoking teenagers, scammers were heroic Robin Hood characters. They trafficked only in pot and surfed more world-class waves than anyone else,” Maguire writes. “The surfers who became smugglers were Dionysian men of action who rejected all things political in favor of a sensual, hedonistic life.” “We were prospectors going to mine the new gold rush,” Ritter said. ◀

The New Mexico Gay Men’s Chorus

presents:

My Winter Song To You Friday, Dec. 13th, 7:30 pm James A. Little Theater, 1060 Cerrillos Road, Santa Fe

Saturday, Dec. 14th, 7:30 pm The Hiland, 4800 Central Avenue SE, ABQ

Sunday, Dec. 15th, 3:00 pm The Hiland, 4800 Central Avenue SE, ABQ

Purchase tickets at: NMGMC.org/tickets

World Class Watches You deserve to

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Friday, December 6, 3 - 7 pm & Saturday, December 7, 9 am - 2 pm

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details ▼ Peter Maguire reads from Thai Stick: Surfers, Scammers, and the Untold Story of the Marijuana Trade ▼ 6 p.m. Monday, Dec. 9 ▼ Collected Works Bookstore, 202 Galisteo St., 505-988-4226

NO GIMMICKS E JUST GREAT CAR PASATIEMPOMAGAZINE.COM

f One Saturday.

Two Holiday Arts and Crafts Fairs.

fSaturday, Dec. 7 9 a.m. to 4 p.m.

Santa Fe Community College

Works by more than 100 regional artists www.sfcc.edu

Institute of American Indian Arts

Creations by IAIA students, alumni, faculty and staff www.iaia.edu

GALA GALAEVENT EVENT

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Saturday, December 28, 2013 Saturday, December 28, 2013 Santa Fe Convention Center Santa Fe Convention Sweeney Ballroom Center

Sweeney Ballroom

Cocktails 5:30 pm Dinner/Silent Auction 6:30 pm Cocktails8:00 5:30pm pm Entertainment

Darren Cordova

Dinner/Silent Auction 6:30 pm Entertainment 8:00 pm NUMBER OF TICKETS___________ TABLEOF OFTICKETS_________________ 10 $750.00 NUMBER SINGLE q TABLE OF 10 $100.00 $750.00 q SINGLE $100.00 DEADLINE: DECEMBER 16, 2013 DEADLINE: DECEMBER 16, 2013

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Sunday 12.08.13 | 1PM Youth Symphony Orchestra, Youth Philharmonia, Intermezzo String Orchestra St. Francis Auditorium

Tickets $10/Adult, $5/Student, 5 & Under/Free. One Ticket Admits to All Three Concerts!

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Holiday Ceramics Sale - Galisteo, NM December 7, 2013, 10 AM – 4 PM Priscilla Hoback 10 Via la Puente

Vicki Snyder - Slip and Soda Ceramics 9 B Marcellina Lane Guest Artist Triesch Voelker &Cindy Gutierrez

PASATIEMPOMAGAZINE.COM

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ON STAGE Live from Frogville: The Country Blues Revue

THIS WEEK

The Country Blues Revue shows that a live studio album is not an oxymoron during a two-night recording session at Frogville Studios. At 6:30 p.m. on Friday, Dec. 6, and Saturday, Dec. 7, the local staple of original and classic blues music invites the public to sit in on the sessions. Proceeds from the $20 per person minimum donation ($25 includes a copy of the CD, when completed) go toward recording expenses. In the era of online crowdsourcing campaigns, this is a rare opportunity to support a recording project from somewhere other than in front of one’s laptop. Given that the CBR is no stranger to the stage or the studio, the experience and its results are sure to be memorable. Tickets can be purchased through www. brownpapertickets.com and from the Candyman Strings & Things (851 St. Michaels Drive, 505-983-5906). Frogville Studios is located at 111 Calle Nopal, off West Alameda Street. — L.B.

This dub’s for you: Boomroots Collective

The combination of hip-hop and reggae may not be particularly rare, but it is in Santa Fe. Leading the local movement is the Boomroots Collective, a six-person outfit featuring four vocalists and mostly live instrumentation. Drawing on both dancehall and dub, Boomroots layers socially conscious lyrics over solidly uplifting rhythms. On Friday, Dec. 6, the collective celebrates the birthday of Mark Ortiz, who contributes vocals, guitar, and turntables to the mix. The show takes place at 10 p.m. at The Palace Restaurant & Saloon (142 W. Palace Ave., 505-428-0690). Admission is $5 at the door. Visit www.palacesantafe.com. — L.B.

Not so silent night: The Second City

Joseph, I shall not telleth thee again. I haveth not another love. If thou dost not see thine therapist about these obsessive thoughts, I shall be through with thee forever. I’m serious.

Tackling all the ridiculous elements of the holidays, The Second City proves with comedy that ’tis the season to be jolly. Touring members of the iconic comedy theater perform their Nut-Cracking Holiday Revue, which includes scripted and improv-based sketches exploring such hypothetical situations as a couples therapy session attended by the biblical Joseph and Mary. The Second City has played an important role in developing much of this nation’s sense of humor over the last 50 years — a very small sampling of the group’s illustrious alumni includes Alan Arkin, Gilda Radner, Mike Myers, Stephen Colbert, and Tina Fey. The show takes place at 7 p.m. Saturday, Dec. 7, at the Lensic Performing Arts Center (211 W. San Francisco St.). Tickets ($27 to $44) are available by calling 505-988-1234 and at www.ticketssantafe.org. — L.B.

Rock guitar with a blues edge: Ian Moore

Guitarist Ian Moore got his start during the Austin music boom in the early 1990s, back when South by Southwest was developing into an internationally renowned festival and the city was branching out from its country and blues typecast. Moore is a bluesy player, but his songs have enough popular appeal to have broken into the top 20 of Billboard’s mainstream rock charts multiple times. The guitarist and singer has shared the stage with ZZ Top, the Rolling Stones, and Bob Dylan, and recently toured in support of Jason Mraz. He plays a solo set at the María Benítez Cabaret at The Lodge at Santa Fe (650 N. St. Francis Drive, 505-992-5800) on Thursday, Dec. 12, at 7:30 p.m. (doors open at 7 p.m.). Tickets are $29 at the door, $25 in advance through www.brownpapertickets.com. Presented by Southwest Roots Music, the show features a well-matched local opener: talented singer-songwriter David Berkeley. — L.B.

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Bill Kohlhaase I The New Mexican

Jimmy Katz

arren Wolf has never been about one thing. He was 3 when he began playing the vibraphone. He had to stand on a chair to reach the instrument’s bars. By the time he started grade school, he was playing piano and drums as well. In recent years, he has taken up the bass. His education included the study of jazz and classical music, and he is known to work with the occasional pop band, often on drums or piano, as well as jazz ensembles and symphony orchestras. His latest recording on the Mack Avenue label, Wolfgang, consists mostly of original material, pieces that range from ballads to hard bop. It also includes a rendition of the classic “Frankie and Johnny”; “Setembro,” a Brazilian tune by Ivan Lins and Gilson Peranzzetta; and his take on Jean-Baptiste 28

PASATIEMPO I December 6 -12, 2013

Arban’s “Variation sur le Carnaval de Venise,” a piece most often heard performed on cornet or trumpet. “I wanted something where I could show off,” Wolf said from Doha, Qatar, where his quartet was performing with vocalist Akua Allrich at the Jazz at Lincoln Center Doha club. He appears at The Den (renamed the Onyx Club for this event), as part of a trio on Friday, Dec. 6. “I said to myself, you’ve got so many hints of classical music on your recordings, why not do an actual classical piece. I’d heard Wynton [Marsalis] do this on trumpet on one of his classical albums, and I thought it would be very challenging, very cool to play on marimba. It showcases my technique and gives a different side of me that most people don’t know.” Wolfgang’s title tune is probably the most revealing of Wolf’s diverse training and taste. A duo with pianist Aaron Diehl, it’s a relaxed piece with figures that suggest the song’s namesake, Wolfgang Amadeus Mozart. Wolf said the piece had other inspirations as well.

“ ‘Wolfgang’ is a tribute to [vibraphonist] Milt Jackson and The Modern Jazz Quartet, that mixture of jazz and classical styles that they put together. I think that tune says a lot about me and my influences.” Wolf grew up in Baltimore and was exposed to music and musicians in his home at an early age. His father, Warren Wolf Sr., was a public-school teacher who put together his own band and spent time jamming with other local musicians. “Weekends he’d get a group together downstairs just to have some fun with the music,” the younger Wolf said. “As a child I’d hear these wonderful sounds coming from the basement.” Wolf Sr., a drummer, purchased a vibraphone about when his son was born. His father instituted a rigorous practice schedule: 30 minutes a day on each instrument — the piano, drums, and vibraphone. On Saturdays, he would spend an extra hour taking lessons with the late Baltimore Symphony percussionist Leo LePage. Sunday was his day off.

Learning from his father’s model gave him a unique approach to the drum kit. “I always played left-handed because my dad was left-handed, and that’s how I saw the drums set up. I thought that was the way it was done. First couple times I got out of the house and saw other drummers setting up I thought, this is wrong. It took me a while before I realized I was the one doing it wrong. But now I’m actually very comfortable playing the drums left-handed.” Drumming opposite his dominant hand has confused other matters as well, he confessed. When he played baseball, he batted left but threw right. To this day, he eats left-handed. His father exposed him to a wide range of music. “If you look at how I was brought up, it was always important to my father that I learn a lot of different kinds of music. We listened to a lot of traditional jazz, but it was the early ’80s. We listened to bands like the Yellowjackets and Spyro Gyra. We’d listen to Charlie Parker and Miles Davis, too, and we’d listen to classical music. And we’d listen to Motown.” The Spyro Gyra connection continued. After Wolf graduated from the Baltimore School for the Arts in 1997, he went to Boston to attend the Berklee College of Music, where he studied with Spyro Gyra’s vibraphonist Dave Samuels. “Dave is such a marvelous player,” Wolf said. “My biggest influences — Lionel Hampton, Milt Jackson, Bobby Hutcherson — were all straightahead players, but Dave took a chance on stepping outside that. I was always concerned with being traditional, but Dave was doing something beyond that — with Spyro Gyra, with Double Image [his marimba-vibraphone band with Dave Friedman], and with his Caribbean band. He showed me there was a lot more opportunity out there than just playing traditional jazz. He also taught me a lot about melody, being a soloist, but he mostly taught me about taking a chance. I owe a lot of my musical growth to Dave.” After graduating from Berklee, Wolf hung around Boston, gaining a bandstand education. Berklee eventually took him on as a percussion instructor. “Learning in school was a great thing for me. I got to associate with students from all over the world, all of them trying to be the best musician they could be. But the real education for me came outside of school in Boston. We used to hang out at this little place, Wally’s Café, that was always jammed with the best musicians in the area, both Berklee students and faculty, and the local musicians. It was a chance to interact with them and learn what you needed to have an instant reaction to the music on the bandstand. You learned to be listening, to be ready at all times. In the classroom, you learn about harmony and how to write and arrange. But what I always desired was be a performer in clubs and playing gigs in Boston, in New York, and in D.C. That’s what I wanted to do.” Wolf’s pursuit of a solo career has been propelled by sideman roles with some of jazz’s most visible bands and musicians. He’s traveled with Marsalis’ Jazz at Lincoln Center Orchestra, trumpeter Jeremy Pelt, saxophonist Bobby Watson’s quintet, and bassist Christian McBride’s Inside Straight Ensemble. He’s heard on McBride’s 2009 recording Kind of Brown and contributed the tune “Gang Gang” to McBride’s recent Inside Straight recording, People Music. Earlier this year, he joined the Mid-Atlantic Symphony Orchestra to perform a vibraphone transcription of J.S. Bach’s Concerto for Violin No. 1. “That was really a big change for my career,” Wolf said. “They gave me some freedom with the piece. I got to play some cool cadenzas, play some jazz stuff.” Wolf’s previous recordings under his own name have included such highprofile musicians as the late pianist Mulgrew Miller and drummer Jeff “Tain” Watts. On the disc Warren “Chano Pozo” Wolf (his Baltimore friends nicknamed him after the Cuban percussionist because of his strong Afro-Cuban style on the drums), he plays vibes, piano, Fender Rhodes keyboard, and percussion. These days, however, he’s sticking almost exclusively to the vibes and marimba. “There’s a lot of pianists and drummers out there, not so many vibraphonists,” he said. Is there a chance that some day he’ll record an album where he overdubs himself on vibes, piano, bass, and drums? “No, for now. I’ve still got a long ways to go on the bass.” ◀

details ▼ Warren Wolf Trio with bassist Kris Funn and drummer Billy Williams Jr. ▼ 6 & 8 p.m. Friday, Dec. 6 ▼ The Den, 132 W. Water St. ▼ $55-$250; 505-670-6482

Book Signing & Talk at The Ark

Mirabai Starr

author of The Showings of Julian and Norwich

Sunday, December 8th 2:00 - 4:00 pm

A fresh and contemprary translation of one of the best loved and influential mystical texts of all time, The Showings of Julian of Norwich brings the message and spirituality of this 14th century mystic to 21st century readers. 133 Romero St. • 988-3709 in the Railyard behind REI Mon-Sat 10-6, Sun 11-5 • www.arkbooks.com

Kevin Avants 505 982 2892, cell 505 780 1061 1061 Pen Road, Santa Fe Expert installation of Driveways - Walkways - Patios

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You are invited to a Holiday Open House at

Pecos National Historical Park Sunday, December 15th 11:00 – Book reading and conversation: New Mexico: A History by co-authors Dr. Joseph P. Sanchez, Robert L. Spude & Art Gomez 12:30 & 2:00 – Songs of the West performed by Roark Griffin 1:30 – Willow basket demonstration by Cochiti Pueblo artist and historian Arnold Herrera 3:00 – Learn to make a corn husk doll to take home! Refreshments will be served. Shop our park store for unique items. 15% off Storewide! Pecos National Historical Park is located 25 miles east of Santa Fe off I-25. Call 505-757-7241 for more information. This event is free and open to the public. There will be no park entrance fee charged this day. PASATIEMPOMAGAZINE.COM

TERRELL’S TUNE-UP Steve Terrell

The wizards of odd

When listening to Ready! Get! Go! by The Dot Wiggin Band, it might be helpful to realize that it all started with a palm reading. The Gypsy woman — actually, it was his mom — told Austin Wiggin of Fremont, New Hampshire, that one day he would have daughters who would be in a famous band. And verily, he had daughters, four of them. In the mid-1960s, when the girls hit their teens, Austin bought them guitars and drums, told them they were going to be a band, ordered them to rehearse hours and hours in the basement, named them The Shaggs, and, in 1968, way before the girls actually thought they were ready, took them to a Massachusetts recording studio. What came out was an album called Philosophy of the World. It wasn't a monster hit. In fact, it never had a chance. According to Shaggs lore, the president of their "record company" made off with 900 of the thousand copies they had pressed. The Wiggin family just assumed the whole endeavor was a flop. When Austin Wiggin died in the mid-’70s, The Shaggs broke up. But somehow Philosophy of the World lived on, its strange charm spreading like a secret. Frank Zappa allegedly said Philosophy was his favorite album and, though I’ve never been able to find the original source of this assertion, claimed The Shaggs were "better than The Beatles." Terry Adams of the band

PASATIEMPO I December 6 -12, 2013

NRBQ was so blown away when he heard them that in 1980 he persuaded Rounder Records to give Philosophy a proper rerelease. Basically, the music was too crazy to die. It was like a strange language spoken only by the Wiggin girls. Dot and Betty Wiggin sang all the songs in unison and not always on key, assuming they were using traditional Western scales. Dot's lead guitar basically followed the melody of the song, while Helen Wiggin's drums sounded like urgent tribal messages from a different universe. Their vocal phrasing was “unique.” And the lyrics were sweet and guileless — earnest songs about their parents, boys they were crushing on, Halloween and their cat Foot Foot. The Shaggs' philosophy? "Well the poor people want what the rich people's got/And the rich people want what the poor people's got/And the skinny people want what the fat people's got/And the fat people want what the skinny people's got." At the urging of NRBQ, The Shaggs had one brief reunion around the turn of the century. The Wiggin sisters were less than enthusiastic about trying to make music for a living, but somehow, Dot Wiggin, known in her private life by her married name, Semprini, let New York musician Jesse Krakow talk her into fronting a new band and recording a new album — her first time in the studio in decades. And it's a delight. A strange delight to be sure, and definitely an acquired taste. But it’s a delight nonetheless. True, Ready! Get! Go! is far more self-aware than The Shaggs' original recordings. And Krakow assembled a bunch of actual musicians for the group. So even though you can't say the record is overproduced, some of the primitivism of Philosophy of The World is missing (though drummer Laura Cromwell of The Vivian Sisters often seems to be channeling the insane rhythms of Helen Wiggin, who died in 2006). The music might remind you of late-'80s/early-'90s bands like Half Japanese or Beat Happening. But the songwriting on the new album is pure Shaggs. Some of the songs were written back in the day. One of them, "My Cutie,"

appears on the 1980s compilation Shaggs’ Own Thing. The melodies meander down unexpected corridors. Dot is now in her 60s, but that doesn't distract from the clumsy grace of her childlike lyrics. Some of the best songs on the album deal with transportation. The first song, "Banana Bike," concerns a girl who zips around on such a vehicle. Later, Wiggin sings about her secret outlaw life as a speed demon behind the wheel of a motor vehicle on two songs — "Speed Limit" and “Speed Limit 2.” The first is crazed, hopped-up garage rock; the second starts with sonic weirdness before slowing down into a sludge/grunge tempo. Someone hearing only the instrumental break in this song might think the Butthole Surfers are back. The album has several splendid Shaggsy love songs. "The Fella With a Happy Heart” is equal parts heartfelt and kooky with a bouncy melody that will stick to your brain. “The fella with a happy heart is my kind of man,” Wiggin sings with longing. “Boo Hoo” features a twangy country guitar. My favorite love song here is "Love at First Sight”: Wiggin duets with Krakow. It starts off with a greasy sax solo and is driven by a one-finger piano. The melody is similar to that of the song "Philosophy of the World." And though the pace is somewhat plodding, the deeper you sink into it, the more addictive it becomes. The album ends with a cover song, the late Skeeter Davis’ “The End of the World.” The selection isn’t surprising considering that The Shaggs had a fondness for pop country. (Shaggs’ Own Thing includes the Wiggin sisters’ versions of songs like “Paper Roses” and Tom T. Hall’s “I Love.”) Davis sang “End of the World” as if losing a lover left her nothing to live for; Wiggin, as a mature woman, sings it with world-weary resignation, as if this is just her latest “end of the world.” This track is one of the only places on the album where Krakow adds a truly un-Shaggslike touch, a brief angelic Brian Wilson-esque vocal harmony flourish behind Wiggin in the final verse. Behind Wiggin and her limited vocal range, it sounds strange. But nobody involved with this album — including the listener — is averse to strange. Something tells me this is a one-shot deal. In recent interviews, Wiggin hasn’t seemed like she’s overwhelmed by a thirst for fame. She’s still kind of amazed that people still remember The Shaggs and that so many strangers like her old music. "I'm not making a whole lot of money, but basically I'm doing it for the fans that have stuck with us all these years, that we didn't even realize that we had all these fans," she recently told the Associated Press. "So, I figure if the fans have been there all these years for us, then I'll do as much as I can, as long as I can." As a fan, I just want to say thanks, Dot. Learn more at www.dotwiggenband.com Be sure to watch all the videos in the “Dot Speaks” section. ◀

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Michael Abatemarco I The New Mexican

working out the

a light take on

A Christmas Carol

Carla Garcia

From left, Campbell Martin, Jerry Ferraccio, and Nikk Alcaraz

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

Blake Little

here have been countless friendly, Campbell,’ and it really is. It’s not adaptations of Charles the scary Christmas Carol. Kids can enjoy it. Dickens’ tale of the meanIt’s a little corny, but it’s very sweet. There spirited miser Ebenezer are some nice, real moments. We have Scrooge and his redempall the ghosts that come through, but tion after a harrowing they’re different ghosts than you’re used night of ghostly visitato seeing. Like, for Christmas Present, it’s tions on the anniversary not just one person; it’s several ghosts in a of his former business vaudeville routine they do with Scrooge. partner’s death. The story Christmas Past is pretty traditional. I’m tells of Scrooge’s transChristmas Future. He’s probably the darkformation from a greedy est of them all. You won’t even know it’s misanthrope who reviles me.” In Baizley’s adaption, a cynical and Christmas and dismisses ill-tempered stage manager is drafted into it as so much “humbug” the role of Scrooge after the company disto a benevolent, charitable covers the actor playing the role has quit man. Playwright Doris Baizley’s dramatic the production before a performance. A adaptation departs from the traditional prop boy is thrust into the role of Tiny Tim story with a tale about a traveling company after the original actor is fired. From there whose key cast members leave its production it becomes a more traditional Christmas of A Christmas Carol, forcing crew members Carol as troupe members act out the parts. to fill in the missing roles. Santa Fe PlayGerrity’s life partner, artist Tom Mason, house’s production is based on Baizley’s was brought in as set designer for the proDan Gerrity script, a lighthearted romp that retains the duction. While Baizley’s play is written so key elements of the traditional story while it can be performed with minimal sets and adding a play-within-a-play twist. props, Mason crafted an elaborate design. This production, directed by actor and “It’s painted like a Louis Vuitton trunk,” radio personality Dan Gerrity, almost didn’t Martin said of the set. “At the beginning Santa Feans knew Dan Gerrity as the voice of the news on KSFR-FM happen. The death of Gerrity on Nov. 20, of the show what people see is the closed 101.1, Santa Fe's public radio station, where he recently accepted the just a few weeks into rehearsals, left the cast set. As the show progresses, we move it position of news director. Gerrity, an actor and theater director, was and crew, as well as the community, shaken. open. It becomes Scrooge’s bedroom. It’s directing an adaptation of Charles Dickens’ A Christmas Carol for the Those involved in the production had a also the counting house where Scrooge Santa Fe Playhouse when he died on Nov. 20. Behind his distinctive dilemma: move ahead with the play or canworks. There are trapdoors and all kinds of radio voice was a man accustomed to life in the theater, a passion cel it. “We met that night, and obviously that things. It’s a very creative set for a simple he pursued professionally in New York, Los Angeles, and Santa Fe. was the first question on our minds,” said little show like this.” "During the process of putting together A Christmas Carol, Dan left Carla Garcia, the show’s stage manager, who Gerrity began rehearsals on Nov. 5, after me messages, and I would say, 'Next time you call me, use your real joined musical director Campbell Martin holding auditions. The cast includes Jerry voice. I feel like I'm being interviewed,' " said fellow cast and crew at the playhouse for an interview with Ferraccio in the roles of stage manager and Pasatiempo “When I first called everybody, Pasatiempo. Ebenezer Scrooge. Martin plays the ghost member Campbell Martin, who assumes some of Gerrity's roles in the they were so stunned. Campbell even said of Scrooge’s former business partner, Jacob performance. According to Tom Mason, Gerrity's life partner and the he was not ready to move forward, but once Marley, as well as his other roles. “A lot of play's set designer, this production of A Christmas Carol was special we actually got together in the evening, we the people worked with Dan in the past, and for Gerrity, who first appeared in the play at the Mark Taper Forum really felt we needed to move on. He would he called them up and asked if they wanted in Los Angeles in 1977 with the Center Theatre Group. In theater, the have wanted us to. So we did.” to do this. There are some new people in show must go on, and the company performing A Christmas Carol “As soon as I heard the news, I said, No town, so there are going to be people that plans to do just that. — M.A. way. I’m not doing this without Dan, because have never been seen on a Santa Fe stage: it was his vision,” Martin said. “It wasn’t Deborah Dennard and Emma Scherer. Karen just ‘Let’s do A Christmas Carol.’ This was a Leigh is a professional actor. Quinn Mander particular Christmas Carol Dan had done many years Gerrity had a greater role than just being director. is a professional actor, and Jerry [Ferraccio], definitely.” ago in Los Angeles at the Mark Taper Forum. They Like the rest of the cast, he took on several different The night before he died, Gerrity led the cast on two did it every year for a while. He wanted this to happen parts in the play. Those parts have been parceled out run-throughs of the performance. “He was having so in Santa Fe. This would be the first year. I talked to current cast members. “Immediately we asked who much fun,” Martin said. “He loved doing the show. to him about this project in August. He was so excited could replace Dan,” said Martin, who’s also in the cast. That’s why it’s so truly shocking that he passed away.” about it. He was like a salesman telling me about “We even made a few calls. Then we realized we can’t Garcia added, “That was the last time we saw him.” ◀ this thing.” replace him [with an addition to the cast]. To bring Much of the task of directing fell to Garcia. Working someone in is an oddity. I’ve been in companies where with a semiprofessional cast made the work of direct- someone has passed away and been replaced. It’s a very details ing feel like a collaborative process. “I’m definitely at odd place to be in a company.” ▼ A Christmas Carol, adapted by Doris Baizley the helm in looking at the vision, but it’s not just one As musical director, Martin had to teach the cast how ▼ Opening night tribute to Dan Gerrity 6:30 p.m. Friday, person right now. It’s the entire company,” Garcia said. to play hand bells for one number. “Everyone who Dec. 6, curtain at 7:30 p.m.; continues through “We had enough information from Dan that we knew overhears it says, Oh my God, that’s beautiful,” Garcia Dec. 22 at 7:30 p.m. Thursdays, Fridays & Saturdays & 4 p.m. Sundays exactly what his vision was.” said. Hand bells aside, this production is largely draMartin added, “It’s always dangerous for a cast to matic and not a musical comedy. “Everyone knows the ▼ Santa Fe Playhouse, 142 E. De Vargas St. self-direct, but this has been very good. There’s enough story,” Martin said. “This is a one-act play, a little over ▼ $30 opening night; then $20 adults, experience here. But it always comes back to, What an hour. We start early so you can still do Christmas $15 children; reservations at 505-988-4262, www.santafeplayhouse.org would Dan want?” things afterward. Dan kept saying to me, ‘It’s very family

voice of the news is silenced

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PASA TEMPOS

album reviews

GRETCHEN LONNIE PARLATO Live in NYC HOLLEY Keeping a (ObliqSound) It’s been almost 10 Record of It (Dust-To-Digital) years since vocalist Gretchen Parlato “Where does a bird go in the midst of a won the annual Thelonious Monk Interstorm?” That question is how Lonnie Holley national Jazz Vocals Competition, moved to opens the press notes for his new album. New York City, and began collaborating with He means it as a reference to his life, which the likes of Terence Blanchard, Terri Lyne began with a hard childhood spent on fairCarrington, and Kenny Barron. She has regrounds and in foster homes before he grew corded three studio albums and this, her into an artist and eventually came to music first live disc, featuring two favorite backing late in life. But the statement could also be a bands: pianist Taylor Eigsti with bassist Alan descriptionofthemusicitself,whichunfurls Hampton and drummer Mark Guiliana, and Eigsti with bassist in the mannered tempo of a procession — one that zig-zags and meanBurniss Earl Travis II and drummer Kendrick Scott. Their treatments ders whichever way the wind blows, like a bird in a storm. With a worn, are never rote. “So much of what we do is about the interpretive and watery growl and an approach to composition that draws from African improvisatory element each time we approach the music,” Parlato says. and gospel traditions without quite sounding like anything familiar, Holley Her remarkable style is evident on the opener, Herbie Hancock’s “Butterfly,” seems to pull words and chords into stories and wild imagery with equal parts as she utters soft but energetic percussive vocalizations, keeping time for imagination and muscle. “Six Space Shuttles and 144,000 Elephants” herself with rhythmic clapping. As you can see on the accompanying meanders through a story about a queen’s birthday and space shuttles DVD, Parlato closes her eyes and moves her head in an impasbriefly going into the atmosphere for a celebration, as xylophonesioned, trancelike rhythm as she sings, often sounding more sounding notes rain down over a basic programmed beat. like a talking drum or horn than a singer. The song jazzily The 13-minute “From the Other Side of the Pulpit” brings expands with the entry of the rhythm section, Eigsti fashmembers of Deerhunter and The Black Lips to lay down ‘Live at the Cellar Door’ ioning a beautiful solo in the middle, although the leader is sinewy grooves. Holley improvises all of the lyrics, not simply jazzy. Wayne Shorter’s “Juju” is another highwhich makes it easy for listeners to dip in and out themserves as a sort of familiar light here, but Parlato also covers Simply Red’s “Holding selves. This is an album to get lost in. — Robert Ker Back the Years” and the Lauryn Hill song “All That I Can retrospective of Neil Young’s Say,” which was a hit for Mary J. Blige. — Paul Weideman Advent at Merton (Delphian) The Choir of Merton Colcareer and recalls his somber lege, Oxford, is a newcomer to the hoary scene of British NEIL YOUNG Live at the Cellar Door (Reprise) Four choral music, having been established in its current form sentimentality, his belief months after the release of After the Gold Rush in the sumonly five years ago, with Benjamin Nicholas and Peter mer of 1970, Neil Young appeared solo at Washington, D.C.’s Phillips serving as co-directors. The college is nonethein romance, rhyme, tiny Cellar Door club. This recording, taped over those three less ancient; it will celebrate its 750th anniversary in 2014. nights, collects 13 of his compositions, including “Cinnamon To mark that anniversary, it has embarked on a commissionand mythology. Girl,” “Don’t Let It Bring You Down,” and “Birds.” It serves as ing project, the “Merton Choirbook,” which is supposed to a sort of familiar retrospective of his career up to that date and become a major collection of up-to-date liturgical music. This recalls Young’s somber sentimentality, his belief in romance, rhyme, CD includes seven of those commissions, settings by as many comand mythology. He seems wizened even as he sings “I Am a Child” from posers of the so-called “O Antiphons,” the texts (each beginning with the Buffalo Springfield’s Last Time Around recording and more like the person he exclamation “O”) that are progressively employed at Vespers services during the addresses in his generational-identity anthem “Old Man,” also heard here. final seven days of Advent. Of the group, the most immediately appealing are The images are often visual and taken from fantasy: “I dreamed I saw the probably those by Rihards Dubra (his “O Radix Jesse,” infused with sweet knights in armor coming, singing something about a queen” (“After the suspensions), Gabriel Jackson (“O Clavis David,” with bracing cantillation), Gold Rush”). Occasionally, they clash — “Sailing heart-ships through and Eriks Ešenvalds (“O Emmanuel,” in which traditional chant is heard broken harbors out on waves of the night. Still the searcher must ride against the background of a sustained fragrant harmonic haze). Most of the dark horse” (“Tell Me Why”) — but the other repertoire is similarly “contempoall spring from an honest attempt to conrary ecclesiastical” — modernish of idiom nect symbol and personal emotion. He but not too shocking — though the finely seems comfortable with his shaky, nothoned choir also delivers elegant rendiquite-a-tenor voice, and the sound qualtions of motets by Byrd and Victoria. Praise ity — he plays both guitar and piano — is is also due to Anna Steppler, who plays surprisingly immediate. Frequent internal solo organ works by Michael Praetorius rhymes and his ability to coax a variety of and Anton Heiller; the latter’s variations on moods from three chords make us recall “Es ist ein Ros’ entsprungen” sports why we loved him then. And still do. a neo-Hindemithian feel. — Bill Kohlhaase — James M. Keller

PASATIEMPO I December 6 -12, 2013

make it memorable Figures entwined in dance are immortalized in kisii stone. Give a classic depiction made modern in a unique statue from kenya.

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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.

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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.

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A place in the sun 36

David Masello I For The New Mexican

he Siberian steppes are a long way from Santa Fe. And yet, Russian-born painter Leon Gaspard (1882-1964) captured on canvas the nomadic inhabitants who lived and traded in that vast region in ways that echo his later depictions of the indigenous people of New Mexico. “In the Indian tribes of the Southwestern United States, Gaspard discovered the same intrinsic glamour that had attracted him to the nomadic tribes of Asia,” wrote Rudolf Wunderlich in a 1974 catalog essay for an exhibition of the artist’s works. “[Gaspard] recognized the essential kinship of the two peoples, a fact which archaeology and kindred sciences have recently established.” Upon looking at the canvases, drawings, pastels, and sketches of Gaspard, it appears as if there is no place on earth to which he didn’t venture — and record and interpret in a palette of “violent purples burst out of soft greens, deep yellow stabs at russet brown, bold pinks from unholy alliances with uneasy reds,” as described by Frank Waters in his 1964 biography Leon Gaspard (published by Northland Press/Fenn Galleries). A Chinese wedding procession, a

PASATIEMPO I December 6 -12, 2013

covered market in Jerusalem, horses grazing in a pasture in Taos (where Gaspard lived for some 40 years), a snowbound Siberian village on New Year’s Day, a begowned woman on a balcony in Paris, Mongols coursing the Gobi Desert, a teeming Moroccan bazaar, a weathered Provincetown house set amid sand dunes — these were among the disparate subjects he embraced. Gaspard was not only a fearless and hearty traveler, he was also an artist who was unafraid to paint what he saw in a technique that was all his own. “All European rules for color harmony are ignored; the color tone is pure Asiatic,” Waters wrote. “These paintings, we are reminded, did not come from a student’s color chart in the Art Students League. They come from the hinterland heart of Eurasia, despite the French Impressionist technique that applied them to canvas.” Now, for the first time since 1982, a retrospective exhibition of his work has been mounted. Leon Gaspard: Impressions From Russia and the Faraway, which features some 80 pieces, is on display at Nedra Matteucci Galleries through December. “The goal of the show is to really experience

Russian artist Leon Gaspard inTaos

Gaspard through his paintings,” said Ann Bodelson Brown, the galleries’ director of acquisitions and appraisals and co-curator of the exhibit. “He was such a citizen of the world, traveling so wide and so far, and there is no way you can get a sense of his work if you see just a small portion of it.” Just as Gaspard was fond of telling stories in his paintings — moments, if not full narratives of life in exotic cultures — so, too, was he fond of relating personal adventures that may have had a whiff of the apocryphal. When he sat with Waters, shortly before his death, to relate his life story, he told tales, for instance, of jumping from his biplane during a World War I dogfight into a crater filled with water and of being seduced in Paris by a mentor’s (the artist William-Adolphe Bouguereau) mistress — and while there is actual biographical truth in what he was saying, he may have been embellishing. But Gaspard seems to have been unyieldingly faithful in his artwork. As a Paris critic wrote of the paintings Gaspard included in the Salon d’Automne in the early part of the 20th century, “The work of Leon Gaspard is a most truthful and significant document of the habits and continued on Page 38

Leon Gaspard: Girls of Sart, 1926, oil on canvas on board Top left, Taos Procession, oil on canvas Above right, Indian Woman With Turquoise, 1925, oil on slik on board Opposite page, San Juan - Shelling Corn, 1918, oil on silk on board; images courtesy Nedra Matteucci Galleries

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Leon Gaspard, continued from Page 37

Top, Russian Christmas, 1914, oil on board Center, Doria in Paris, circa 1959, pastel Below, Town Scene (Untitled), 1915, oil on canvas on board

costumes of the moujiks, workmen, Jews, vagabonds, and poor wretches of the Russian country. … They are animated documents, too, taken from life with realistic sincerity. … They are admirably composed and have a fine sense of color.” Gaspard was born in the city of Vitebsk. As a boy he accompanied his father, a fur trader, on regular treks to Siberian villages where he encountered an exoticism and distinctive culture that he began to sketch early on. Eager to escape the provincialism of his region, he went to Paris around 1900 and was soon intimately ensconced amid the cultural figures of the day. He did, indeed, enlist in the French aviation corps and was shot down and so badly injured that he was in the hospital for many months. Gaspard reportedly said that his beloved (though some readers might say indifferent) young wife said to him, “I can’t wait here and watch you die, Leon. I’m going back to America. If you live, come to me.” Waters related this tale with no follow-up editorializing, which might well indicate that the story of Gaspard’s life we are getting is one that is, indeed, wholly vetted by the subject but also one about which the author is not free to make any judgments. Once Gaspard recovered, he joined his wife in New York, and they embarked together — though he sometimes went solo — on extended travels that took them first to Santa Fe and Taos, and then on to the Tibetan Himalayas, Peking (now Beijing), the Gobi desert, North Africa, and, finally, back to Taos, where Gaspard would live until his death. The Taos Society of Artists was well established by the time Gaspard was living there in the late teens and early 1920s. However, he was not welcomed by its members — and, according to Waters, he was so offended when one of the artists dismissed him and his work that he didn’t allow any of his paintings to be shown in any gallery in Taos for almost 40 years. “A lot of his not being accepted had to do with his subject matter,” Brown said. “Even when he was in Taos working, much of what he was still painting was about what he had seen abroad.” Brown’s remarks are echoed by Fred Maxwell of Maxwell Galleries in San Francisco, at one time the sole agent for the paintings in Gaspard’s estate. In the catalog for a 1967 retrospective Maxwell was mounting, he commented, “Even [Gaspard’s] Taos work retains the Asian-Russian flavor so characteristic of his Siberian tribesmen” — a hint, perhaps, as to why the Taos Society, so devoted to regional subject matter, might have rebuffed him. What is thrilling about Gaspard’s work is its full-on, unmuted, unedited view of parts of the world few knew about then. He occupied and responded to a vast world of exoticism in his art. We see the costumes and jewelry worn by the citizens of remote locales, the dramatic topography and the flora and fauna, the ancient customs and the vernacular architecture. And in keeping with his penchant for excess, some of his single works combine on one canvas a variety of mediums — oil, casein, tempera, and pastel. At the end of his life, Gaspard’s penchant for a decided realism, often rendered amid a blaze of impressionistic color and technique, was out of vogue. “Non-objective art was the thing,” Waters wrote. Today, though, those scenes of the people and places Gaspard knew are coveted again. “We have seen an overwhelming interest in his really epic Russian statements, where he captured the Russian people, the architecture, the snow, the pageantry of their fairs,” Brown said. “There is so much interest in Gaspard now that there’s talk even about the potential for a show of his works in Russia.” Waters, who was also a friend of Gaspard, best summed up what the artist had accomplished. “Falconry in central Asia, dancing girls in Baghdad, sleighs dashing across the square in front of St. Basil’s Cathedral in Moscow, Mongolian bandits, camel caravans, a funeral procession in Peking. ... When will there ever come again a time and freedom and scenes like these? ... What other man has painted it?” ◀

details ▼ Leon Gaspard: Impressions of Russia and the Faraway ▼ Through December ▼ Nedra Matteucci Galleries, 1075 Paseo de Peralta, 505-982-4631

PASATIEMPO I December 6 -12, 2013

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ART IN

REVIEW

Dunham Aurelius: Ruminative Figures, Zane Bennett Contemporary Art, 435 S. Guadalupe St., 505-982-8111; through Dec. 27 There is nothing pleasant about the work of sculptor Dunham Aurelius, but that is not to say Ruminative Figures is not a worthwhile show. Far from it. Aurelius has elevated grotesquerie to a high art form, relishing in the roughness of shape and material. There are enough touches in the works on display to suggest that Aurelius isn’t forgoing refinement and finish out of lack of know-how but rather to bring raw anguish to his work. Taking up nearly the entire first floor of Zane Bennett Contemporary Art, Ruminative Figures offers a wide range of works by Aurelius on a number of themes. One is business — not in a general sense but the type of business dealing directly with finances. Several pieces, such as Hedge Fund Manager and Hedge Fund Assistant, reflect this. The latter is a small-scale sculpture that resembles a little devil. The Hedge Fund Manager is a skeletal figure whose wiry arms seem to reach out in greed. Aurelius clearly draws on contemporary themes, and his work is figurative but abstracted. Primitivism and tribal influences are present. South Seas Woman, for instance, suggests influence by Oceanic art, while other sculptures reference totemism. A few hybrid forms appear neither completely human nor completely bestial. One gets the impression that Aurelius is showing the true face behind rosy facades, the ugliness lurking within people. The work is not easy to digest. The faces on his figures are almost always pained, as though they are writhing forms attempting to break free from their rusted metal bonds. The One That Got Away is a curious piece, a twisted phalanx of rebar reaching up from a boxy, clinging mass of metal and wood. The One That Got Away is not as figurative as many of the other pieces. Aurelius sculpts a number of bulbous head forms using different mediums. His 40

PASATIEMPO I December 6-12, 2013

wood sculptures are rough-hewn, as though the artist sculpted them using an axe or saw. Bronze works are more amorphous but still retain a sense not of solidity but of a viscous massing of material. There’s a sense of tremendous sorrow coming through these pieces, as though each one is a browbeaten animal looking for a way out of its own tortured skin. His Flight Series is a good example. The piece, a triptych, can be read as three long panels of vertebrae along a spinal column, but these vertebrae also resemble winged figures, angels, or airplanes. Running of the Bulls and its counterpart, Running of the Bulls Hanging, are also suggestive of internal body parts, particularly intestines, but they have a podlike, vegetal appearance, as well. I don’t understand the reference to the Spanish tradition of running with the bulls, but Aurelius may be likening the twisted routes and turns, the crowd moving through packed narrow streets, to the human digestive process. Ruminative Figures is a macabre menagerie, but that shouldn’t keep you away. It’s a solid body of work, consistent in its themes and consistent with Aurelius’ aesthetic concerns. He does not seem interested in crafting something beautiful or decorative but has a broader artistic vision. If the poetic term mortal coil doesn’t come to mind when you’re viewing this show, you’re probably missing the point. — Michael Abatemarco

Dunham Aurelius: The View Only Changes for the Leader, 2013, steel, wood, acrylic blocks, and leather; below, Hedge Fund Manager, 2013, bronze

SangredeCristo Chorale Los Alamos: December 7 at 5:30 p.m.

First United Methodist Church 715 Diamond Drive 87544

Santa Fe: December 8 at 3:00 p.m.

First Presbyterian Church 208 Grant Avenue 87501

Tickets At the door or available in advance: www.sdcchorale.org Adults $20; Students $10 with ID

Creating

2013 Holiday Concert “Deo Gracias” Celebrate the centenary of Benjamin Britten with A Ceremony of Carols. Enjoy traditional English, Irish and Scottish carols, a folk carol from Trinidad, Irving Berlin’s White Christmas – and an audience sing-along!

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Santa Fe’s Oldest Bazaar The 131st St. Nicholas Bazaar

Sat. December 7th 2013

10am-2pm * Handmade Gifts * Baked Goods * Wreaths Wonderful * Household Items

Again This Year

Twice Blessed Preview Party Friday December 6th 2013

4:30-6:30 $10 Donation at the Door Church of the Holy Faith •311 East Palace Ave.

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

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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Paul Weideman I The New Mexican

an Miguel Chapel is in many ways unchanged since its rebuilding a couple of decades after the 1680 Pueblo Revolt. Its bones — foundation materials and some of the adobes — probably date to the founding of Santa Fe in the first decades of the 17th century. “There has been a lot of archaeology done there,” said William H. Wroth, who gives a talk about the old church and its neighborhood titled “Barrio de Analco: Its Roots in New Spain and Role in Colonial Santa Fe” at the School for Advanced Research on Tuesday, Dec. 10. “Last year, an arched doorway was

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

discovered on the south side. It had been completely filled in and plastered over. This is pretty exciting, because there are very few colonial-period arches in New Mexico. I think the idea people had then was that arches were too complicated to do with adobe bricks.” San Miguel is at the corner of Old Santa Fe Trail and East De Vargas Street in the Barrio de Analco, one of the city’s oldest neighborhoods. Cornerstones Community Partnerships, a local organization that works with communities to restore historic adobe buildings, is currently engaged in a multiyear

restoration of San Miguel Chapel (aka San Miguel Mission). The edifice has been prized for centuries. Cornerstones’ James Hare believes an 1880s effort to save San Miguel is the one of the nation’s oldest documented historic-preservation projects, coming after similar work at Mount Vernon and Independence Hall. San Miguel is often cited as the United States’ oldest active church. Its predecessors on the site were the original pre-revolt structure that was built as a chapel by, and for, the Indian people who came from Mexico with the early Spanish settlers; and, several centuries earlier, an Indian pueblo. Archaeological work performed in 1955 uncovered a kiva beneath the chapel floor. The records that would tell us more were lost during the revolt. “Also, there were archives that were used as wrapping paper by some of the territorial governors in the 1870s or so,” Wroth said with a laugh. “Paper was scarce.” Wroth, a Rhode Island native, first visited Northern New Mexico in the 1960s. A graduate of Yale University, he lived here in the early 1970s when he was working on his dissertation, which included a study of Hispanic village-life traditions. His Ph.D., from the University of Oregon, was in traditional political systems. In 1976 Wroth went to the Taylor Museum in

Colorado Springs as curator. He was co-curator with Helen Lucero of the Familia y Fe (Family and Faith) exhibition that was on display at the Museum of International Folk Art from 1989 to 2008. He was a consulting curator of American Indian art for the Colorado Springs Fine Arts Center from 1998 to 2000. He and Robin Farwell Gavin were co-curators on the 2009 Converging Streams: Art of the Hispanic and Native American Southwest exhibition at the Museum of Spanish Colonial Art. Among his publication credits are 31 essays about the cultural history of New Mexico in the 19th century for the website of the Office of the State Historian; and the chapter “Barrio de Analco: Its Roots in Mexico and Role in Early Colonial Santa Fe” in the 2006 book All Trails Lead to Santa Fe. “I got interested in the barrio when I was doing research on Santa Fe and realized that the term occurs all over Mexico. Then I realized that all of these barrio de analco communities were settlements of Indians next to the Spanish settlements. There’s one in Puebla and Durango and Oaxaca and other places.”

a bike like I do, you really notice it. The llano was right above the barrio people’s houses and their fields.” The story of the neighborhood is diluted by the time you get to modern times, he said. “The neighborhood basically disappears in the sense of being a separate area; it’s no longer a barrio with people of different roots from the people on the west side of the river. What happens is there was a huge increase in the genizaro population [Indians, captured or ransomed,

Another of the barrio’s gems is the Lamy Building. Built in 1878 as the main building of St. Michael’s College, what remains today lacks the third story and mansard roof that were erased by a 1926 fire. The Lamy Building is a survivor of the federally sponsored 1960s urban-renewal program. Architects John Gaw Meem and William Lumpkins led an effort to preserve the barrio on behalf of The Old Santa Fe Association, but much was changed or erased, especially in the

San Miguel is often cited as the United States’ oldest active church. Its predecessors on the site were the original, pre-revolt structure that was built as a chapel by, and for, the Indian people who came with the early Spanish settlers; and, several centuries earlier, an Indian pueblo.

“Analco” is a Nahuatl word meaning “other side of the river.” Santa Fe’s Barrio de Analco has been listed on the National Register of Historic Places since 1968. Wroth has researched some of the original documents relating to Santa Fe’s history. One source is the first-hand account of the 1680 revolt by regional Spanish governor Antonio de Otermin. “The leaders of the revolt were Pueblo people, and they came first to the barrio and took over the weakest part of the city. The soldiers were all on the Plaza. The barrio was taken over by the leaders of the rebellion; they came in and took over the homes of the Mexican Indians who were living there.” These have long been assumed to have been Tlaxcalan Indians. “There is no question about the fact that the Barrio de Analco was Santa Fe’s Indian settlement,” said Cordelia Snow, an archaeologist in the State Historic Preservation Division, in a 2007 interview with Pasatiempo. She added, “We have no Mexican Indians who were identified as Tlaxcalans in any of our muster rolls or any other records.” “We don’t know for sure exactly who they were,” Wroth said. “There are different opinions, and that is one of the issues I’ll discuss on Dec. 10. “Another thing that is interesting is that when you go south from San Miguel Mission you go uphill to a large llano that is mentioned in the documents as the Llano de San Miguel. It’s not a huge hill, but if you ride

De Vargas Street, looking east toward San Miguel Chapel, circa 1881, photo by William Henry Jackson; opposite page, San Miguel Chapel and St. Michael’s College in the Barrio de Analco, looking south along what is today Old Santa Fe Trail, circa 1880, photo by Chas. A. Pollen, photo illustration; images courtesy William H. Wroth

who were assimilated into New Mexico society, according to historian Marc Simmons, writing in The New Mexican], including in the Barrio de Analco and also in San Miguel del Vado [outside of Ribera], where the 10 founding families came from the Barrio de Analco. That’s sort of the next chapter, the genizaro chapter, and that finally is gone by the 20th century.” The district’s historic homes, some of which date back at least to the mid-1700s, include the Gregorio Crespin House, the Roque Tudesqui House, the Arthur Boyle House, and the José Alaríd House. Then there’s the building known as the Oldest House, about which Wroth said, “Everybody knows it’s not as old as some people would like it to be.” Nevertheless, it has had the moniker for a long time. An article in an 1879 issue of Harper’s Weekly referred to it as the oldest house in the United States.

west portion of the Barrio de Analco. A controversial case was the Curry House, a historic dwelling that was demolished (on a Sunday during Indian Market) to make way for a new section of Sandoval Street. “We’re lucky to have what little we have left in the barrio,” Wroth said. ◀

details ▼ “Barrio de Analco: Its Roots in New Spain and Role in Colonial Santa Fe,” lecture by cultural historian William H. Wroth ▼ 3 p.m. Tuesday, Dec. 10 ▼ School for Advanced Research, 660 Garcia St., 505-954-7200 ▼ No charge

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Michael Abatemarco I The New Mexican

hanging in the ivan barnett’s mobile sculptures hink of mobiles as sculptures in the round. The weighted components, hung from rods in perfect equilibrium, are often flat, but mobiles are kinetic, offering different views as they slowly turn, suspended in space. The elements of Ivan Barnett’s mobile sculptures, on display in the exhibit Abstraction at Patina Gallery, vary in size and shape and hang in balanced compositions. Barnett, co-owner of the gallery with his wife, Allison Buschbaum-Barnett, was influenced by American craft movements throughout the 20th century and was often labeled a folk artist in his early career. While his work reflects an interest in folkart traditions, one can sense the influence of painters such as Joan Miró and the geometric abstractions of Wassily Kandinsky. The shapes in his mobiles are generally non-objective, but there are additions, here and there, of recognizable forms such as hand symbols derived from Eastern cultures, crescent-moon shapes, and ovoid forms reminiscent of design elements in the tribal art of the Pacific Northwest. “My early influences as an artist, going back to art-school days in the late ’60s, were always indigenous cultures,” Barnett told Pasatiempo. “I started a studio in Pennsylvania. The work I was doing had influences relating to folk cultures, folk art, Native art, 44

PASATIEMPO I December 6 -12, 2013

African art. There’s no doubt that Northwest Coast was something I was looking at.” Barnett had a pleasant surprise while visiting the Museum of International Folk Art soon after the 1982 opening of Multiple Visions: A Common Bond, permanently housed in the museum's Girard Wing. There, he saw that folk-art collector Alexander Girard, who purchased Barnett’s work, included his pieces in the exhibit. “They’re still there because they never change the exhibition,” Barnett said. “Those early pieces have a real folk influence. As I moved on in my creative life, I started to put aside the obvious influences. That being said, when I see folk art that has such strength and design, I’m bowled over. You look at an African mask or an Amish quilt, you look at the color, design, shape — it’s like someone went to the best design art school you can imagine.” Barnett’s mobiles have touches of color but are predominantly coated in a flat-black base paint. The hints of color — rings, circles, stripes, dots, and ovals — are used sparingly, as accents. Apart from that, the mobiles appear as silhouettes. “When I did these, I dug deep to really live in the abstract. I had a show here three years ago. It was the beginning of that process. I remember doing the last piece in that show, a total abstract piece. I said to myself, the next body of work, I'm going to start there.” Barnett does not sketch out the designs in advance. Rather, he has a pile of shapes cut from sheets of

steel and tries out different pieces until he finds a configuration that works. There is a hint of frivolity in the result, but the effect is not purely whimsical. The mobiles adhere to elements of design such as consideration of shape and line. There is a tightness to the sculptures that does not inhibit the freedom of movement in space. The nearly monochromatic appearance is bold and graphic. “I take what I do seriously, but in the process of doing the work I make sure that I have fun. I love the play part. I think so many artists get desperately attached to something that they’re working on. Fortunately, this material is not precious material. If I’m working on a piece and I’m not having fun, the beauty isn’t there." Barnett finds inspiration in the unfettered expressiveness of children’s art and the purity of Abstract Expressionism. “Go to any school and start looking at bulletin boards and see what the kids are doing. We all hear that cliché when someone goes to a museum, sees a [Jackson] Pollock, and says, ‘My kid could do it.’ I understand why people say it. What they don't realize is that, for Pollock, it was a whole chunk of his life where he was continually moving forward in that kind of idiom. That’s the difference. A kid does a one-off. The best stuff comes when they’re younger. But when you start looking at the bulletin board of fifth- and sixth-graders, they’re already getting continued on Page 46

I take what I do seriously, but in the process of doing the work I make sure that I have fun. I love the play part. — Ivan Barnett

Left, from top, China No. 8, China No. 5 & China No. 2, all 2012 & archival giclée prints; right, Mobile No. 12, 2013, pigmented steel

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Ivan Barnett,

continued from Page 44

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PASATIEMPO I December 6 -12, 2013

self-conscious to the point where they’re making it the way they think it should be. They’ve lost that spontaneity. When you think of that, then think of mature, older people returning to the roots of naiveness, that’s not so easy. You’ve got your skills on your back, and art history on your back, the artists you love, your teachers, and anything else. It’s all playing in your head.” In addition to Barnett’s mobiles, Abstraction includes a small series of photographs he shot in China in 2012. The images are close-up studies of patterns and textures. Except for an occasional Chinese character or word in Mandarin, there’s little in the photographs to give a sense of place. Barnett’s interest is in conceptual rather than pictorial representation. “When I started to do this project with the mobiles, which I knew I was going to do, I thought, this is all about abstraction. All the images I shot were also abstract. They became close-in, intimate designs. It’s all about design for me. To me design is everything in art, whether it’s realistic or not.” ◀

details ▼ Ivan Barnett: Abstraction ▼ Reception 5 p.m. Friday, Dec. 6; exhibit through Dec. 29 ▼ Patina Gallery, 131 W. Palace Ave., 505-986-3432

“Holding your hand through the entire process” • Over 20 Years Experience

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Happening in December

Renaissance to Goya: a conveRsation

Tuesday, December 10, 6–7 pm, free. Join Mark McDonald, the British

Museum’s assistant Keeper, old Master Prints and spanish Drawings, in conversation with Barbara anderson about Renaissance to Goya: Prints and Drawings from Spain, co-presented with the British Museum, London. McDonald will explore the themes of the upcoming exhibition, and how this show redefines the role of drawing and prints in the history of spanish art.

PuBLic exhiBition oPeninG

Saturday, December 14, noon–5pm, free. Renaissance to Goya: Prints and Drawings from Spain. the only us venue for this exhibition of rare prints and drawings from the late 16th- to mid-19th centuries. co-presented with the British Museum, London. enjoy spanish guitar through the galleries.

f e l i z n av i d a d

FLaMenco FiRe

Sunday, December 15, 11 am–1 pm. our spanish theme continues: experience the passion of Flamenco in informal demonstrations by local talent. sundays are free for new Mexico residents. NEW Zia Heart Pendant

annuaL hoLiDay oPen house

Sunday, December 22, 1–4 pm, free. Family fun with the Gustave Baumann marionettes, art activities, games, music and refreshments.

Music at the MuseuM

Enjoy a December full of music with the santa Fe youth symphony, concordia santa Fe and santa Fe Pro Musica. Weekly performances in st. Francis auditorium. call each organization for more information.

on the P laza

Ph: 505.983.4562

60 E. San Francisco St. SantaFeGoldworks.com

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

2013 Y A S D H I L O O W H RAILYARD ARTISANS MARKET

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Bill Kohlhaase I The New Mexican

s l e s s s m e r Da t s i o h D W Dangerous Women, an anthology

PASATIEMPO I December 6 -12, 2013

ollecting stories under the title Dangerous Women seems risky — even provocative. The editors of such an anthology might be seen as sexist perpetrators of passé gender roles and stereotypes of the seductress, harpy, and femme fatale. The fact that both editors of the collection are men makes it even more suspect. That these men are known for their work in fantasy and science fiction makes one wonder if the book would include real women facing real situations. Ultimately, it would have to answer the question: What makes a woman dangerous? The 21 stories collected in Gardner Dozois and George R.R. Martin’s new anthology (published by Tor Books/ Tom Doherty Associates), written by both women and men, don’t provide any simple answers to that question. The varieties of character types and themes dismiss any assumptions that the collection champions stereotypes even as it embraces some of the classic fictional roles of powerful and physically imposing women found in fantasy and science fiction. Stories dealing with these traditional roles, good or bad, often contain a twist. Melinda Snodgrass’ contribution, “The Hands That Are Not There,” develops the familiar noir theme of the vulnerable man who falls prey to a woman’s charm. But this woman is a fur-covered alien with literal claws. The story, like much noir fiction, is an allegory of class and economic struggle with suggestions of race and gender role discrimination. It’s framed, cleverly enough, in a story form that’s familiar: a stranger hears the tale repeated in a barroom. There seem to be as many types of dangerous women here as there are dangers. Diana Rowland’s “City Lazarus,” set in New Orleans, features a woman willing to deal harshly with dangerous men. Carrie Vaughn’s “Raisa Stepanova” tells of Russian women who fly combat missions during World War II. Sherrilyn Kenyon’s “Hell Hath No Fury” involves a psychic, a treasure, and sacred burial grounds. Pat Cadigan’s “Caretakers” opens with the line, “‘Hey Val,’ said my sister Gloria, ‘you ever wonder why there aren’t any female serial killers?’ ” The women in these stories are often dangerous in the same way that men are dangerous. Yet some are dangerous in distinctly individual ways. Martin and Dozois are two of the most recognized names in fantasy and science fiction. Martin’s A Song of Fire and Ice novels are the basis of HBO’s popular Game of Thrones series. Dozois, the editor of Asimov’s

Science Fiction magazine for two decades and a multiple winner of the Hugo Award, is an infrequent author, and the anthology includes none of his stories. Together they have published a handful of collaborative anthologies. The first was a collection of stories written to honor science fiction-fantasy author Jack Vance. The second, published in 2010, was Warriors, a cross-genre examination of the warrior in history and imagination. Since then, the two have put together anthologies based on themes of romance (Songs of Love and Death) and the detective genre (Down These Strange Streets) as they appear in the realm of fantasy and science fiction. Dozois, a 2011 inductee into the Science Fiction and Fantasy Hall of Fame, said that a collection focused entirely on women was Martin’s idea. “It was one of the two ideas we’d talked about originally when we first discussed the idea of doing collaborative anthologies,” Dozier said in a phone call from Philadelphia. “We did Warriors; then we tackled Dangerous Women. Dangerous Women was much harder to sell. We originally thought we’d call the book Femmes Fatales, but nobody liked that title. I didn’t like it much; most of the editors we worked with didn’t like it. Some of the writers didn’t like it either. So we put it on the back burner for a time and did other anthologies.” Dozois didn’t think the subject matter had anything to do with the difficulty he and Martin had getting someone interested in the book. “There was a period of a couple years there where the market was depressed, especially for anthologies. The recession in 2008 hit the fiction market hard. We just couldn’t sell it under those conditions.” In Dozois’ introduction to the volume, he cites a history of powerful women in fantasy — for example Dejah Thoris and Thuvia of Ptarth from Edgar Rice Burroughs’ “Barsoom” tales of a dying Mars and C.L. Moore’s Jirel of Joiry, who appeared in the fantasy-horror magazine Weird Tales during the 1930s. He also acknowledges a tradition of the weak and dependent female cultivated in popular continued on Page 50

Sigourney Weaver in Aliens

Leading ladies

Joan Bennett in Scarlet Street

comprehensive marathon of dangerous women on film might never end. Audiences love the often sexist cliché of the evil woman — oh, those femmes fatales! — maybe a little more than that of the powerful woman. And actresses covet the complex roles that women of a certain intent provide. Filmmakers have obliged them. A short list of strong female leads might start with Barbara Stanwyck in Double Indemnity (1944) and would certainly include Jane Greer in the 1947 mystery Out of the Past, Ginger Rogers in the 1954 noir Black Widow (as well as Theresa Russell in the 1987 film of the same name, even though it’s a different story), Kathleen Turner in Body Heat (1981), and Sharon Stone in 1992’s Basic Instinct. The Jean Cocteau Cinema’s The Dangerous Women Movie Marathon, set to coincide with the release of George R.R. Martin and Gardner Dozois’ anthology Dangerous Women, takes the broad view of dangerous in its three included films, embracing evil, powerful, and vengeful types. In the powerful category is Sigourney Weaver’s determined and formidable Ripley in the Alien sequel Aliens (1986). Not only does Ripley take on a maternal monster, she serves as role model, both to the young, rescued girl Newt, who shows something of Ripley’s survival skills living among monsters, and

for female viewers everywhere. Coffy, starring Pam Grier as a nurse out to wreak vengeance on those responsible for her baby sister’s addiction to heroin, is straight out of the hell-hath-no-fury category. The 1973 blaxploitation film, with its type casting and sometimes poorly delivered dialogue, is full of period dress, violence, and, if we may, jive. The film both empowers and exploits (there is a lot of gratuitous toplessness) as Grier sets up and cuts down her targets. As Coffy’s shiftless boyfriend, a corrupt politician, suggests just before being dispatched, sometimes you have to do bad to do good, baby. The best of this bunch is Scarlet Street (1945), starring Edward G. Robinson as Christopher Cross, a mildmannered bank cashier who falls for Joan Bennett as Kitty. Bennett’s boyfriend Johnny, played by Dan Duryea, pushes her to take advantage of Cross, whom they mistakenly believe is a successful artist. Fritz Lang’s class-conscious remake of Jean Renoir’s 1931 La Chienne gives everyone a chance to fall prey to greed, emotion, or both. Part Double Indemnity, part Crime and Punishment, the film reminds us that, given the right circumstances, we can all become dangerous. The marathon opens on Friday, Dec. 6. The theater is at 418 Montezuma St.; call 505-466-5528 or visit www.jeancocteaucinema.com. — B.K.

PASATIEMPOMAGAZINE.COM

Dangerous Women, continued from Page 36

fiction from the 1930s through the 1950s. That was something to be avoided: “Here you’ll find no hapless victims who stand by whimpering in dread while the male hero fights the monsters or clashes swords with the villain,” he writes. “Instead you will find sword-wielding women warriors; intrepid women fighter pilots and far-ranging space-women; deadly female serial killers; formidable female superheroes; sly and seductive femmes fatales; …hard-living bad girls.” Martin’s contribution, “The Princess and the Queen, or, the Blacks and the Greens” may include the most powerful and dangerous women of all: dragon-riding royalty that send their subjects off to “that Most Tragic Bloodletting.” It’s written in Martin’s imaginative historical style in language with pretensions to Middle English: “House Targaryen had ruled Dragonstone for more than two hundred years, since Lord Aenar Targaryen first arrived from Balyria with his dragons.” The stories in the collection, including Martin’s, are all new. “Between George and I, we know a lot of writers,” Dozois said. “But because this was a cross-genre anthology, we wanted to include writers we didn’t know personally. What generally happens when George and I are considering an anthology is that we get together to discuss a group of authors we’d like to recruit, then I will try to get in contact with them to see if they’re interested. Sometimes they are, sometimes they’re not. It can be a long process. Eventually, three or four months down the road, we’ll have a group of people who want to participate. We get them to sign contracts and get them to write a story. Some of them have to renege because of time pressure or family emergencies — the usual reasons. Near the last

minute of almost every book we’ve done we’ve had to find replacements for somebody. It can be nerve-racking.” One of the writers not previously known by the editors contributed one of Dangerous Women’s most interesting stories. Novelist Megan Abbott’s recent books Dare Me and The End of Everything are coming-of-age tales in which teen and adolescent girls find themselves in unusual, even frightening circumstances. Abbott has also written a study called The Street Was Mine: White Masculinity in Hardboiled Fiction and Film Noir and edited an anthology of her own: A Hell of a Woman: An Anthology of Female Noir. Here, she contributes an unsettling story seemingly pulled from today’s news. Her protagonist Lorie is dangerous because she’s unconventional. When her daughter is allegedly kidnapped, Lorie’s behavior makes her suspect. The real danger here is our expectation of what women and mothers should be. “That was my goal,” Abbott said in a call from her home in New York City. ”One of my theories of the femme fatale is that she is a projection of male and social anxiety. She’s not what a woman is supposed to be. [At the time the story was being written] I was watching footage of the Casey Anthony and Amanda Knox trials, the effect that these women had, how they composed themselves, how they made people uncomfortable by not crying when they were supposed to, by not comporting themselves in innocence. I thought about stories where women are judged by our social mores. They look terribly guilty if they don’t fit the expectation.” Much of the rest of the book deals with seeing women as equals, every bit as capable of being dangerous as men. “There have been a lot of changes in the way women are perceived in fiction since I began in the ’70s, “Dozois said. “We went through a consciousness-raising period where writers like Ursula Le Guin and Joanna Russ not only published their own work but were critical of work by males for its lack of appreciation of what women could do. Now a couple generations down the road, newer writers take it for granted that women are capable of doing anything a man can do, that they’re as smart and capable and strong as men. There are still a few dinosaurs out there who think men are better in these roles. But that problem is improving.” ◀

details ▼ Signing of the book Dangerous Women & panel discussion with George R.R. Martin, Gardner Dozois, & several contributors ▼ 7 p.m. Monday, Dec. 9 ▼ Jean Cocteau Cinema, 418 Montezuma Ave. ▼ Admission by $32.50 book purchase or $5 paperback by a contributor; 505-466-5528

PASATIEMPO I December 6 -12, 2013

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movIng Images film reviews

Vita bella Jonathan Richards I For The New Mexican The Great Beauty, drama, not rated, in Italian with subtitles, Center for Contemporary Arts, 3.5 chiles 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. Jep is a suave and world-weary social lion who knows everyone and everything about everyone, a sort of cross between Marcello Mastroianni and Truman Capote who tells us that his ambition from the days he first came to Rome as a young man from the provinces was to dominate society. “I didn’t want to just go to parties,” he reflects, “I wanted to have the power to make them fail.” There is a dazzling, opulent party to celebrate Jep’s 65th birthday, with wall-to-wall beautiful people of all ages writhing to a mariachi band, stripping, exchanging shallow conversation (“I’ll write my first novel,” says an actress, “a Proust-style piece”), and crude propositions. “The most important thing I discovered upon turning 65,” Jep tells us, “is that I can no longer waste time doing things I don’t want to do.” But what does he want to do? He no longer writes seriously — he makes his living as a journalist who interviews beautiful people for glossy magazines. His most perceptive friend is his dwarf editor. Another friend is a sad-sack writer who lacks any trace of

She’s an 8½: Toni Servillo

PASATIEMPO I December 6 -12, 2013

Dressed up to rest up: Toni Servillo

Jep’s urbane polish but still desperately wants to write something significant. Jep has sex with a succession of beautiful women, all carried out with a certain elegant ennui. His world comes alive after dark and lasts till dawn. (“Morning,” he remarks to his housekeeper, “is an unknown object to me.”) He lives in an apartment you would kill for, overlooking the Colosseum. To this apartment comes a man of about his age, in obvious suffering, to tell him that his wife of many years, Elise, died yesterday. Elise, it appears, was the love of Jep’s life, and her diaries reveal that he was the love of hers. But he hasn’t seen her since they were young, and both have spent a lifetime living in the shadow of an unrealized love. This, in a way, is a touchstone of this plotless film, an event to which we return now and then in flashback, a ghost of missed fulfillment that hovers over Jep’s sophisticated life. Instead, he finds fulfillment in a sense of superiority, a certain amount of which is justified. He is, for the most part, the smartest guy in the room. At an intimate gathering, he demolishes a pretentious communist writer and TV personality after putting up with her smug prattle about how serious and

worthwhile her life is and how empty his is. She asks for it, and he gives it to her, and it’s the kind of thing that feels satisfying at first, and then turns appalling and sad. It’s a world without much in the way of consequences — later in the movie they dance, he asks her if they’ve ever slept together, and they discuss the possibility of rectifying the oversight. The Great Beauty is a conscious and masterful updating of Fellini, a worthy 21st-century revisiting of the dolce vita that the master painted in the middle of the 20th. Sorrentino fills it with indelible characters, some glimpsed only in passing, some lingered over. Jep is the detached observer, watching a celebrated young painter perform at a party by having a tantrum and flinging paint at a huge canvas, or a performance artist running nude at full speed into a stone wall and butting her head to make it bleed. He also takes a girlfriend on a private tour of the classical art treasures in private palaces, magnificent marble sculptures and Renaissance canvases of beautiful young women in rooms where old, querulous princesses play at cards. And he encounters another old friend, a magician who is preparing to make a giraffe disappear. “It’s only a trick,” his friend tells him. It’s all only a trick, until with his sudden awareness of age and mortality Jep begins to wonder if that’s really enough. He joins a gathering of botox clients at the salon of a medical charlatan. He begins to think about writing another book. At a wedding he meets an eminent cardinal and legendary exorcist, said to be next in line for the papacy, and tries to ask him some serious questions, but the cardinal only wants to talk about recipes. A 104-year-old Mother Teresa type comes to dinner and reveals a nugget of essential truth. “Do you know why I only eat roots?” she says. “Because roots are important.” There may be more to that thought than meets the eye. But in this gorgeously photographed, beautifully acted, and keenly observed excursion through a life that seems to be slipping away faster than anyone can run after it, the only sure truth is that nothing important is truly knowable or graspable. ◀

SFCA

PRESENTS

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Arias, Carols & Songs

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movIng Images film reviews

Grrrls on film Jennifer Levin I For The New Mexican The Punk Singer, documentary, not rated, The Screen, 4 chiles Whether or not you’ve heard of her, Kathleen Hanna has affected your life. Lead singer of the ’90s punk band Bikini Kill, electro-punk follow-up Le Tigre, and now The Julie Ruin, Hanna is among the founders of Riot Grrrl, an underground music and fanzine movement widely credited with ushering in third-wave feminism. To paraphrase one of the many women interviewed for The Punk Singer — the excellent documentary about Hanna’s influence, directed by Sini Anderson and produced by Tamra Davis — the stereotype of a third-wave feminist is a hot bisexual girl wearing a baby-doll dress and Doc Martens boots and screaming at a punk-rock show. Hanna, who sometimes performed in her underwear with the word SLUT scrawled across her stomach, scream-sings just as wildly and forcefully as any man, and her lyrics have discussed rape, abuse, violence, and the general disdain for the concerns of girls. But if you learned of Riot Grrrl through the superficial treatment of it in the mainstream media, the fashions it spawned, and the late-’90s commercialization of its feminist ethos into “girl power” as embodied by the Spice Girls, then you might not know that Riot Grrrl informed the way that a generation or more of girls run their lives. The Punk Singer is your primer to an important social movement of the 1990s and a guide to understanding

Happiness is a worn drum: Kathleen Hanna

PASATIEMPO I December 6 -12, 2013

Doing it for themselves: Kathleen Hanna with The Julie Ruin

more about women now in their late 20s, 30s, and early 40s. Hanna studied photography at Evergreen State College, where she and her friends felt their work wasn’t taken seriously by their professors and peers. In the news were the William Kennedy Smith rape trial, the Clarence Thomas-Anita Hill sexual-harassment hearings, the Tailhook scandal, and the mass murder of 14 women at Montreal’s École Polytechnique. Hanna and her friends formed a feminist gallery, and Hanna joined Kathi Wilcox, Tobi Vail, and Billy Karren to form Bikini Kill with the express goal of taking over the punk scene for women. They were contemporaries of grunge musicians, not hangers-on (as they were often portrayed). Band members were friendly with Kurt Cobain of Nirvana, which reached pop stardom with the single “Smells Like Teen Spirit” in 1991 — widely considered the moment that “alternative” music went mainstream. According to the documentary, Hanna came up with the “Teen Spirit” phrase one night when she and Cobain were very inebriated. They spray-painted it on the side of a crisis pregnancy center — the kind that poses as an abortion clinic in order to dissuade women from terminating their pregnancies. (Cobain’s contribution to this graffiti party was “God is gay.”) In the late ’80s and early ’90s, punk shows were dominated by guys moshing near the stage. Girls trying to watch the show up close got their feet stomped, their eyes elbowed, their ribs broken — and were blamed for not being tough enough or were ridiculed as poseurs. At Bikini Kill shows, Hanna called for girls to come to the front. Demanding that the boys stand back made some young men very angry. Hanna received death threats. The Riot Grrrl philosophy, originally perpetuated by a fanzine created by Hanna, Vail, and Allison Wolf and Jen Smith of Bratmobile, was about reclaiming a girlhood that had been misdirected down a path of

disempowerment. It was an attempt to reconcile the socially acceptable but frustratingly limiting stereotypes and caricatures of women and girls that were often in opposition to one another: the good girl and the loud girl; the sexy girl and the girl no one listens to; the smart girl who wants to be sexy. Any girl who needs to be angry. Girls around the country were encouraged to start their own Riot Grrrl zines, and they did. After Bikini Kill broke up in 1997, Hanna recorded a solo album in her bedroom called Julie Ruin — a precursor to her current project — and then formed Le Tigre. She married Adam Horovitz of the Beastie Boys, and then, in 2005, got sick and left Le Tigre. After many years of mounting symptoms and no explanation for her constant pain and discomfort, Hanna was diagnosed with latestage Lyme disease — a sometimes-chronic illness caused by a tick bite that isn’t well understood by the medical profession. Though she has been through treatment and is now playing with a new band, she still struggles with symptoms. The Punk Singer is a seamless documentary. Interviews with the likes of Joan Jett, Carrie Brownstein, and Kim Gordon are interspersed with news clips and concert footage, old photographs, and voice-overs. Toward the end of the film, sitting on a deck outside her house, obviously having a hard day physically, Hanna talks about how it doesn’t matter whether or not people believe that feminism is real or that Lyme disease is real, because she knows they’re real. She’s living both of them. “I just think there’s this assumption that when a man tells the truth, it’s the truth. As a woman, when I go to tell the truth, I have to negotiate how I will be perceived. I feel like there’s always a suspicion around a woman’s truth — the idea that you’re exaggerating,” she says. “If they don’t believe in it or they don’t want to care about it, that’s fine, but they should have to stay out of my way.” ◀

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noW PlaYing in tHeaters everYWHere check local listings For theater locations and showtimes

Fri-Sat Dec 6-7

Sun Dec 8

Mon-Thurs Dec 9-12

1:00p - The Great Beauty 2:45p - Wadjda* 4:00p - Blue Is the Warmest Color 4:45p - Weekend of a Champion* 6:45p - The Armstrong Lie* 7:30p - The Great Beauty 9:15p - Pig Death Machine*

11:00a - At Berkeley w/ Frederick Wiseman by Skype 12:00p - The Armstrong Lie* 2:45p - Wadjda* 4:00p - Blue Is the Warmest Color 4:45p - Weekend of a Champion* 6:45p - The Armstrong Lie* 7:30p - The Great Beauty 9:15p - Pig Death Machine*

1:00p - The Great Beauty 1:30p - Wadjda* 4:00p - Blue Is the Warmest Color 4:30p - The Armstrong Lie* 7:00p - The Armstrong Lie* 7:30p - The Great Beauty

* indicates shows will be in The Studio, our new screening room for $8.00, or $6.00 CCA Members!

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movIng Images film reviews

Backseat driving Loren Bienvenu I For The New Mexican Weekend of a Champion, documentary, not rated, Center for Contemporary Arts, 3 chiles Sir Jackie Stewart, known as the “Flying Scot,” is one of the most successful race-car drivers in Formula One history. His professional career spanned from 1965 to 1973, and for three of those years he was the World Drivers’ Champion — the top distinction bestowed on a racer based on one’s entire performance over a season. This was a period when the sport was intensely dangerous, with few institutional safety precautions and limited medical support available during accidents. As Stewart tells Roman Polanski in the new epilogue appended to the 1971 documentary Weekend of a Champion, a Formula One driver who raced for five years in a row during that period had a one-in-three chance of surviving. Stewart adds that one night he and his wife made a list of 57 people they knew who suffered fatal accidents, and that number included “at least five of our best friends.” Weekend of a Champion was a niche project undertaken by Polanski, a Formula One enthusiast, when he was 37 years old. Because it was directed by Frank Simon, Polanski was freed up to trail Stewart in front of the camera for an entire weekend. This is the weekend when the racer attempted to win the iconic Monaco Grand Prix for the second time, a dangerous and highly technical course set in the streets of Monte Carlo. The resulting documentary received a limited release, entirely outside of the United States. Polanski estimated during a recent press conference that he could count on his fingers the number of theaters where the film was screened and the number of people who actually saw it. When he and Simon recut and restored the film, they added the present-day interview between Polanski and Stewart at the film’s end, which creates a somewhat awkward shift in tone and format. This epilogue does, however, provide additional information that helps put Stewart’s achievements in perspective. As soon as the two septuagenarians progress beyond a discussion about the prevalence of sideburns and shaggy hair in that era and world (“It seemed the longer the sideburn, the faster you went,” Stewart jokes), we discover more about Stewart’s efforts as a race-safety advocate. He notes with pride that it has been nearly 20 years since the last Formula One fatality, in part thanks to his outspoken efforts to set in place certain safety guidelines. We also learn Stewart’s back story. The soft-spoken Scottish champion dropped out of school at 15 due to challenges stemming from undiagnosed dyslexia. He then worked as a mechanic in his father’s auto shop. 56

PASATIEMPO I December 6 -12, 2013

Jackie Stewart

When a wealthy customer let him test drive some of his high-end cars at a small local track, Stewart’s innate gift for racing immediately manifested itself. Within a few years, he climbed the various rungs of amateur and semiprofessional racing before securing third place in the World Drivers’ Championships during his rookie year as a Formula One driver. One of the documentary’s greatest strengths is in capturing the complexities of the sport in Stewart’s own words. The racer talks about the numerous things he must keep in mind while driving, which range from memorizing the entire course, deciding in advance exactly where to shift, accelerate, and break along the way, knowing when to rest his neck (which is under constant strain from the G-forces generated by taking turns at high speed), keeping track of the profile of his tires in order to survey their condition, checking his oil and water gauges, and much more. During the course of the long weekend, he patiently explains these intricacies to Polanski, who seems at times like an overeager fan. Stewart, on the other hand, though a young and fashionable international sports star at the zenith of his career, comes across as a modest, focused, and Zen-like master of the road. The racer calmly accepts the pressures native to the sport as well as those particular to the Monaco Grand Prix — a complex course known for its numerous sharp turns — and condenses his race philosophy to a simple sentence: “Monte Carlo should be driven smoothly and quietly.”

Thanks to its lively cinematography, the film is adept at capturing an era. Some of the footage of 1971 Monaco, with all its dated glamour and fashion, seems almost staged, in a comfortably nostalgic sort of way. These retro scenes are most powerful when put in relief against the footage of Stewart in action. One particular sequence stands out — shortly after Stewart explains his turn-by-turn strategy for the course, we get to experience his trial run in foul weather from the perspective of a camera mounted within the race car. The resulting ride is thrilling in a way usually reserved for the IMAX experience, despite the raindrops fogging up the camera lens and the graininess of the footage. Restoration and recutting aside, this remains a niche film, and one done on a minimal budget over a short period of time. It is likely to interest Formula One fanatics as well as those with no knowledge but some interest in the topic. But Polanski’s often awkward presence, both in the old and the new footage, derails an otherwise immersive experience — it repeatedly yanks the viewer out of an intimate encounter with the charismatic champion with the reminder that the encounter was staged first and foremost for Polanski’s benefit. Ultimately, we are left wanting more of Stewart and his understated wisdom. “Be kind to your motorcar. It’s been kind to you,” he says offhandedly. “You’re great friends. You’re married. You’re having a fantastic affair. Everything’s united.” ◀

Special Event!

NY Film Critic’s Circle

SNEAK PREVIEW

Tuesday only at 7:00 Simulcast interview with Director David O. Russell

Fri through Mon at 7:45 Wed and Thurs at 7:45

“Robert Redford deserves, what has never come to him before, an Oscar for best actor.” – David Thomson, The New Republic

CRITIC’S PICK. AMAZING... ROBERT REDFORD GIVES THE PERFORMANCE OF HIS LIFE. A.O. Scott, The New York Times

Fri at 1:00, 3:15 and 5:30 Sat at 3:15 and 5:30 • Sun at 1:00, 3:15 and 5:30 Mon at 3:15 and 5:30 • Tues at 3:15 Wed and Thurs at 3:15 and 5:30

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MOVING IMAGES pasa pics

— compiled by Robert B. Ker

PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of Verdi’s La Traviata from Milan’s La Scala Opera House. Diana Damrau and Piotr Beczala star. 10 a.m. Saturday, Dec. 7, only. Not rated. 160 minutes, plus one intermission. The Screen, Santa Fe. (Not reviewed)

I told you to stop messing with the lights: Christian Bale in Out of the Furnace at Regal Stadium 14 in Santa Fe

opening this week 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 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-’emup, 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) AMERICAN HUSTLE The New York Film Critics series continues with an early look at the latest film by David O. Russell (Silver Linings Playbook). Christian Bale, Bradley Cooper, Amy Adams, and Jennifer Lawrence star in this crime drama set in the late 1970s and early 1980s. A simulcast discussion between Russell and critic Peter Travers follows. 7 p.m. Tuesday, Dec. 10, only. Rated R. 129 minutes. The Screen, Santa Fe. (Not reviewed) COFFY This 1973 blaxploitation film, about a nurse (Pam Grier) who dishes out vigilante justice when her sister gets hooked on drugs, is back. The posters 58

PASATIEMPO I December 6 -12, 2013

once dubbed this “the baddest one-chick hit squad that ever hit town!” Are you gonna argue with that, sucka? Rated R. 91 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) 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. The Great Beauty 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) See review, Page 52. OUT OF THE FURNACE This is the kind of crime movie so gritty that the characters have names like Rodney Baze and Harlan DeGroat and can only be embodied by actors such as Woody Harrelson, Christian Bale, and Casey Affleck. Bale plays Rodney’s brother Russell, a Rust Belt working man who is drawn into a fight with a nasty crime outfit when Rodney (Affleck) is imprisoned. Rated R. 116 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)

PIG DEATH MACHINE Santa Fe’s Jon Moritsugu and Amy Davis celebrate the bizarre with complete self-assuredness. Their latest feature, Pig Death Machine, helped net them the Lifetime Achievement Award at this year’s Chicago Underground Film Festival. It’s difficult to describe exactly what happens in the film, not because the plot is particularly complex but because of the distracting complexity of sound and visuals. Ostensibly, the film centers on two disconnected ladies (Davis and Hannah Levbarg) who consume parasitical pork and suffer the consequences. This trash fable captures Santa Fe’s truly odd ambience, meaning locales and characters are portrayed with an honesty possessing a strange combination of novelty and familiarity. Not rated. 82 minutes. Center for Contemporary Arts, Santa Fe. (Loren Bienvenu) THE PUNK SINGER This documentary about Kathleen Hanna, lead singer of Bikini Kill and a founder of the 1990s Riot Grrrl movement, features interviews with the likes of Joan Jett, Carrie Brownstein, and Kim Gordon interspersed with news clips and concert footage, old photographs, and voiceovers. It’s a primer for the inner lives of a generation or more of women who call themselves third-wave feminists and a fantastic tour through a music scene that was largely written off by the mainstream media. Not rated. 80 minutes. The Screen, Santa Fe. ( Jennifer Levin) See review, Page 54. SCARLET STREET Director Fritz Lang’s 1945 noir stars Edward G. Robinson as Christopher Cross, a man who helps a young dame ( Joan Bennett) on the street. Alas, the femme turns out to be of the fatale sort, and her brutish man (Dan Duryea) hatches a scheme for her to double-cross Chris Cross. Not rated. 103 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) WEEKEND OF A CHAMPION This niche race-car documentary was undertaken by Formula One fan Roman Polanski, who trailed the legendary champion Jackie Stewart for a weekend during the 1971 Monaco Grand Prix. When Polanski and director Frank Simon decided to recut and restore the film, they added new interview footage of Polanski and Stewart that discusses Stewart’s legacy as an advocate for increased safety in motorsports and elucidates his path from dyslexic teenage dropout to international

racing legend. The film captures some of the modest champion’s wisdom on the complexities of the sport as well as the gestalt of the times, but it is somewhat undermined by Polanski’s overeager presence. Not rated. 93 minutes. Center for Contemporary Arts, Santa Fe. (Loren Bienvenu) See review, Page, 56.

now in theaters ABOUT TIME British filmmaker Richard Curtis wrote and directed this movie about a time-traveling man named Tim (Domhnall Gleeson) who tries to give himself a second chance at love. Tim meets a woman (Rachel McAdams) but soon realizes it will take multiple tries to get the courtship right. Bill Nighy plays Tim’s father, and Groundhog Day is apparently this film’s spiritual father. Rated R. 124 minutes. Regal DeVargas, Santa Fe. (Not reviewed) 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) THE ARMSTRONG LIE Director Alex Gibney began his documentary in 2009 thinking he was just observing Lance Armstrong’s bid to win his eighth Tour de France. Then simmering allegations that the cyclist was deep into performance-enhancing drugs reached the boiling point, and Armstrong’s empire came tumbling down. Interviews with Armstrong’s managers and teammates paint a highly unflattering picture, not just of Armstrong but of the sport in general, which was clearly riddled with drug abuse, backroom deals, and conspiratorial justification. Even if you followed the story through the years, confronting the whole tawdry mess laid out succinctly in the space of two hours is likely to disgust you anew. Not rated. 122 minutes. Center for Contemporary Arts, Santa Fe. ( James M. Keller) THE BEST MAN HOLIDAY Morris Chestnut, Taye Diggs, Terrence Howard, Nia Long, and Regina Hall are among the actors who reprise their roles from 1999’s The Best Man (Malcolm D. Lee returns as writer and director). The intervening 14 years have done

nothing to diminish the friendships, romances, and rivalries of the old buddies. Rated R. 124 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)

Winfrey as his wife and star cameos as the presidents. Rated PG-13. 132 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards)

BLACK NATIVITY In 1961, Langston Hughes adapted the Nativity story in a stage musical with an African-American cast. Kasi Lemmons adapts that play for the screen, keeping the cheerful songs and casting Jennifer Hudson, Forest Whitaker, Angela Bassett, and Tyrese Gibson in prominent roles. Rated PG. 93 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)

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)

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 selfdiscovery 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. Rated NC-17. 179 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) THE BOOK THIEF Over 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) BROKEN CIRCLE BREAKDOWN Be sure to bring your hankies to the theater for this Belgian film with artful cinematography and a fantastic soundtrack — it’s a real weepie. 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 from the middle to the beginning and back. This and a slew of bluegrass standards 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) THE BUTLER At times overblown and unwieldy, an occupational hazard for a movie that covers 80 years of the civil rights movement in America, this film is still a major accomplishment. We see it through the eyes of Cecil Gaines (Forest Whitaker), a man who rises from the cotton fields of Georgia to a tenure as White House butler that extends from Eisenhower through Obama’s election. The fine cast includes Oprah

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 smart-alecky slacker who learns to take responsibility for himself and others. In this case, it’s a lot of others, as 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; DreamCatcher, Española. (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) FREE BIRDS This animated adventure stars two turkeys (voiced by Owen Wilson and Woody Harrelson) who travel back in time to try to get their species off of the Thanksgiving menu. Gobble continued on Page 60

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gobble! Rated PG. 91 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Not reviewed) 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 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 is actually funny (a talking snowman voiced by Josh Gad), 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) 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 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

spicy

medium

bland

heartburn

mild

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PASATIEMPO I December 6 -12, 2013

(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). The casting is spot-on, the pacing is perfect, and the action is gripping Rated PG-13. 146 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Laurel Gladden) LAST VEGAS Michael Douglas, Robert De Niro, Kevin Kline, and Morgan Freeman play four men who travel to Las Vegas for a wild bachelor party to prove that the AARP crowd can get just as hung over as the younger dudes in The Hangover. Rated PG-13. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) 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 longestranged 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 often-rewarding 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 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. 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; DreamCatcher, Española. (Robert Ker) WADJDA Young Wadjda (Waad Mohammed) is a lot like any other 10-year-old: she just wants a bike so she can ride to school with her best friend. It’s too bad, then, that she lives in Riyadh, Saudi Arabia, where conservative Muslim clerics call the shots, women aren’t allowed to drive, and girls are told they shouldn’t ride bikes. This first feature filmed entirely in Saudi Arabia — and the first to be made by a Saudi woman (writer-director Haifaa Al-Mansour) — offers Western audiences a glimpse of day-to-day life in Saudi Arabia and subtly points out cultural injustices. Rated PG. 98 minutes. In Arabic with subtitles. Center for Contemporary Arts, Santa Fe. (Laurel Gladden) WHEN THE IRON BIRD FLIES: TIBETAN BUDDHISM ARRIVES IN THE WEST Through personal stories, this documentary illustrates the impact that Tibetan Buddhism’s core teachings have 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 the way that 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 Center for Contemporary Arts 11 a.m. Sunday, Dec. 8: At Berkeley. Director Frederick Wiseman appears via Skype. DreamCatcher Ghost Phone, Jackass Presents: Bad Grandpa. Jean Cocteau Cinema 12:30 p.m. Saturday, Dec. 7: Babes in Toyland. Regal Stadium 14 Ender’s Game. 8 p.m. Thursday, Dec. 12: Double feature of The Hobbit: An Unexpected Journey and The Hobbit: The Desolation of Smaug. Screens in 3-D. ◀

Happy Holidays!

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What’s shoWing

‘til Dec. 31st!

Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room

1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org The Armstrong Lie (R) Fri. and Sat. 6:45 p.m. Sun. noon, 6:45 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. At Berkeley (NR) Sun. 11 a.m. Blue Is the Warmest Color (NC-17) Fri. to Thurs. 4 p.m. The Great Beauty (NR) Fri. and Sat. 1 p.m., 7:30 p.m. Sun. 7:30 p.m. Mon. to Thurs. 1 p.m., 7:30 p.m. Pig Death Machine (NR) Fri. to Sun. 9:15 p.m. Wadjda (PG) Fri. to Sun. 2:45 p.m. Mon. to Thurs. 1:30 p.m. Weekend of a Champion (NR) Fri. to Sun. 4:45 p.m. JeAn CoCteAu CinemA

418 Montezuma, 505-466-5528 Aliens (R) Fri. to Sun. 8:30 p.m. Tue. to Thurs. 8:30 p.m. Babes in Toyland (NR) Sat. 12:30 p.m. The Broken Circle Breakdown (NR) Fri. 6:20 p.m. Sat. 2 p.m., 6:20 p.m. Sun. 6:20 p.m. Tue. to Thurs. 6:20 p.m. Coffy (NR) Fri. and Sat. 11 p.m. Thurs. 2 p.m. Scarlet Street (NR) Fri. 2 p.m. Sun. 2 p.m. Wed. 2 p.m. When the Iron Bird Flies (NR) Fri. to Sun. 4:15 p.m. Wed. and Thurs. 4:15 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. About Time (R) Fri. and Sat. 4:10 p.m., 9:55 p.m. Sun. to Thurs. 4:10 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. The Butler (PG-13) Fri. to Thurs. 1:10 p.m., 7 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. 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 The Best Man Holiday (R) Fri. to Wed. 4:15 p.m., 9:40 p.m. Black Nativity (PG) Fri. to Wed. 12:25 p.m., 2:50 p.m., 5:15 p.m., 7:45 p.m., 10:20 p.m. Dallas Buyers Club (R) Fri. to Wed. 1:35 p.m., 4:25 p.m., 7:20 p.m., 10:05 p.m. Delivery Man (PG-13) Fri. to Wed. 11:50 a.m., 2:20 p.m., 4:50 p.m., 7:40 p.m., 10:15 p.m. Ender’s Game (PG-13) Fri. to Wed. 7:35 p.m., 10:20 p.m. Free Birds (PG) Fri. to Wed. 12:20 p.m., 2:45 p.m., 5:05 p.m. Frozen (PG) Fri. to Sun. 11:45 a.m., 2:05 p.m., 2:40 p.m., 4:50 p.m., 5:15 p.m., 7:50 p.m., 10:10 p.m., 10:30 p.m. Mon. to Wed. 11:45 a.m., 2:05 p.m., 2:40 p.m., 4:50 p.m., 5:15 p.m., 7:50 p.m., 10:10 p.m., 10:30 p.m.

Frozen 3D (PG) Fri. to Wed. 11:30 a.m., 7:30 p.m. Gravity 3D (PG-13) Fri. to Wed. 12:10 p.m.,

2:35 p.m., 4:55 p.m., 7:15 p.m., 9:50 p.m. The Hobbit Marathon 3D (NR) Thurs. 8:30 p.m. The Hobbit:The Desolation of Smaug 3D (PG-13) Thurs. 12:01 a.m. The Hobbit:The Desolation of Smaug (PG-13) Thurs. 12:01 a.m. Homefront (R) Fri. to Wed. 1:45 p.m., 4:30 p.m., 7:55 p.m., 10:25 p.m. The Hunger Games: Catching Fire (PG-13) Fri. to Sun. 11:30 a.m., noon, 12:30 p.m., 3 p.m., 3:30 p.m., 4 p.m., 6:30 p.m., 7 p.m., 7:35 p.m., 10 p.m., 10:30 p.m., 11 p.m. Mon. to Wed. 11:30 a.m., noon, 12:30 p.m., 3 p.m., 3:30 p.m., 4 p.m., 6:30 p.m., 7 p.m., 7:35 p.m., 10 p.m., 10:30 p.m. Last Vegas (PG-13) Fri. to Wed. 1:20 p.m., 7:10 p.m. Out of the Furnace (R) Fri. to Wed. 11:35 a.m., 2:15 p.m., 4:55 p.m., 7:45 p.m., 10:30 p.m. Thor: The Dark World (PG-13) Fri. to Wed. 1:30 p.m., 4:20 p.m., 7:25 p.m., 10:25 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. and Sat. 1 p.m., 3:15 p.m., 5:30 p.m. Sun. and Mon. 3:15 p.m., 5:30 p.m. Tue. 3:15 p.m. Wed. and Thurs. 3:15 p.m., 5:30 p.m. American Hustle (R) Tue. 7 p.m. Performance at the Screen: La Traviata from Milan’s La Scala (NR) Sun. 10 a.m. The Punk Singer (NR) Fri. to Mon. 7:45 p.m.

elmoreindianart.com Nativity by Seferina Ortiz, Cochiti

Steve elmore IndIan art

839 Paseo de Peralta, Suite M • Santa Fe, NM gallery@elmoreindianart.com • 505-995-9677

La Casa Fina Consignment

821 W. San Mateo Rd. • Santa Fe, NM 87505

(next to Chocolate Maven Bakery)

505-983-0042 NOW ACCEPTING FINE QUALITY CONSIGNMENT FURNITURE & HOME DECOR.

Tables | Lamps | Sofas Antiques and More

Please visit us soon to spruce up your home for the holidays.

HAPPY HOLIDAYS!

Wed. and Thurs. 7:45 p.m.

mitChell dreAmCAtCher CinemA (eSpAñolA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com 12 Years a Slave (R) Fri. 4:40 p.m., 7:30 p.m. Sat. and Sun. 1:50 p.m., 4:40 p.m., 7:30 p.m. Mon. to Thurs. 4:40 p.m., 7:30 p.m. Delivery Man (PG-13) Fri. 4:55 p.m., 7:15 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:15 p.m., 9:55 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:15 p.m. Mon. to Thurs. 4:55 p.m., 7:15 p.m. Frozen 3D (PG) Fri. 4:30 p.m. Sat. and Sun. 2 p.m., 4:30 p.m. Mon. to Thurs. 4:30 p.m. 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. to Thurs. 4:30 p.m., 7 p.m. Ghost Phone: Phone Calls from the Dead (NR) Fri. 4:45 p.m., 7:25 p.m., 9:40 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:25 p.m., 9:40 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:25 p.m. Mon. to Thurs. 4:45 p.m., 7:25 p.m. Homefront (R) Fri. 4:50 p.m., 7:20 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. to Thurs. 4:50 p.m., 7:25 p.m. The Hunger Games: Catching Fire (PG-13) Fri. 4:25 p.m., 6:50 p.m., 8 p.m., 9:55 p.m. Sat. 2:30 p.m., 4:25 p.m., 6:50 p.m., 8 p.m., 9:55 p.m. Sun. 2:30 p.m., 4:25 p.m., 6:50 p.m. Mon. to Thurs. 4:50 p.m., 6:50 p.m. Jackass Presents: Bad Grandpa (R) Fri. 7:35 p.m. Sat. 7:35 p.m., 9:40 p.m. Sun. to Thurs. 7:35 p.m. Last Vegas (PG-13) Fri. 5 p.m., 7:25 p.m. Sat. 2:15 p.m., 5 p.m., 7:25 p.m., 9:50 p.m. Sun. 2:15 p.m., 5 p.m., 7:25 p.m. Mon. to Thurs. 5 p.m., 7:25 p.m. Thor: The Dark World (PG-13) Fri. 4:35 p.m., 7:05 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. to Thurs. 4:35 p.m., 7:05 p.m.

PASATIEMPOMAGAZINE.COM

RESTAURANT REVIEW Laurel Gladden I For The New Mexican

Little Italy

Il Piatto 95 W. Marcy St., 505-984-1091 Lunch 11:30 a.m.-4:30 p.m. Mondays-Saturdays, dinner 4:30-10:30 p.m. daily Vegetarian options Takeout available Patio dining in season Noise level: quiet to very loud Beer & wine Credit cards, no checks

•

The Short Order At Il Piatto, the self-proclaimed “Italian farmhouse” restaurant on Marcy Street, chef Matt Yohalem, a champion of the farm-to-table movement, serves Italian-inspired food that’s somehow both upscale and comforting. The restaurant offers wonderful prix fixe menus at lunch and dinner. The dining rooms have a rustic warmth, with exposed faux brick and a few tables crafted from wine barrels. On busy nights, the dining room can fill up fast and seem disconcertingly crowded. Staff members are gracious, friendly, and enthusiastic about making menu or wine suggestions. Recommended: pumpkin ravioli, Gorgonzola-walnut ravioli, grilled calamari, prosciuttowrapped trout, and tiramisu.

Ratings range from 0 to 4 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.

PASATIEMPO I December 6 -12, 2013

A friend of mine who lives on the southside but works downtown likes the prix fixe lunch menu at Il Piatto (Italian for “the plate” ) so much she would probably eat there every day if she could. For one thing, she’s especially fond of Italian food. And she insists that you could throw one of the three courses away and the meal would still be a better deal than a lot of other lunches in town. Not that I’d advocate trashing anything that comes out of the kitchen at Il Piatto, the self-proclaimed “Italian farmhouse” restaurant just a block from the Plaza on Marcy Street. Chef Matt Yohalem — who began his culinary career in New York and opened Il Piatto in the late 1990s — offers Italian-inspired food that’s somehow both upscale and comforting. He is a champion of the farm-to-table movement — on many afternoons, you’ll see a flatbed pickup truck parked outside, delivering farm-fresh ingredients — and the restaurant recently received an Edible Communities Local Hero Award. The two dining rooms have a rustic warmth, with exposed faux brick and a few tables crafted from wine barrels. At lunch, you can bask in the sunlight pouring in through one of the oversized street-facing windows. You can also take a seat at the small wooden bar at the back. In more temperate months, sit outside and feel like you’re dining at a sidewalk café in Europe, watching the tourists stroll by. Staff members are gracious, friendly, and enthusiastic about making menu or wine suggestions — we appreciated a recommendation of the Michele Chiarlo Barbera d’Asti, a sturdy all-purpose wine with generous fruit, bracing acidity, and soft tannins. On busy nights, the dining room can fill up fast and start to seem disconcertingly crowded — if you have any secrets, don’t share them over dinner at Il Piatto on a Friday night. As efficient and attentive as the servers can be, hectic nights can overwhelm them, and if you need anything in the midst of your meal, you might have to flag your server down. Prix fixe specials are available at lunch and dinner. You can certainly order light — leaves of the tossed salad seemed individually spritzed with well-balanced lemon-basil vinaigrette, and the Caesar, while not distinctive, comes with superior über-salty, umami-laden anchovies. If you have the inclination and the time to linger, concoct a combination of appetizers, pastas, entrees, and desserts. Try not to spoil your appetite with the mildly sweet herb-dusted focaccia, which is satisfyingly doughy with a cakey crumb. Many of the pastas are house-made. The signature pumpkin ravioli are delicate pockets of supple pasta stuffed with mildly seasoned puree, doused with luscious brown butter, and dusted with pine nuts, sage confetti, and excelsior of pecorino. The sharpness of sun-dried-tomato pesto, served in dollops alongside the Gorgonzola-walnut ravioli, cuts through that dish’s wild, creamy richness. Similarly indulgent were the Parmesan gnocchi — walking a tightrope between yieldingly tender and starchily chewy — in a Marsala cream sauce. On the more acidic side, the purple-black squid-ink spaghetti with calamari was excitingly spicy but overpoweringly garlicky — between bites, I was afraid to lean over and whisper in my dining companion’s ear. The penne

rigate seemed like a meaty Italian dish Tony Soprano would have loved. The sauce balanced sausage spiciness with the vegetal sweetness of carrot and roasted red peppers, but it was still a zinger of an entree. One large, tender cylinder of grilled calamari was partially sliced and curved across the plate in a Slinky-like fan. The squid had a pleasant smoky char from the grill, sweetness from thinly sliced red pepper, and a mild anise essence from fennel. Part of a special “local give-back” menu offered during November, the creamy, salty baccalà alla Vicentina was a soft, slightly unctuous purée of salt cod and polenta that we eagerly scooped up with crisp anchovy toasts. A pork-belly carbonara, topped with a sunshiney-golden egg yolk, was creamy, rich, and almost opulent in its carby smoothness. The pork belly lent the sauce an unusual but intriguing sweetness. Flaky, meaty fish meets intensely salty pork in the prosciutto-wrapped river trout, served on grilled polenta that offers a pleasant starchy balance. The kitchen seems to relish pork-based bondage: chicken breast wrapped in prosciutto shows up on the menu, too. The poultry was tender and not at all dry, but a heady dose of garlic — in the whipped potatoes or the sauce or maybe both — overpowered its delicate flavor. There’s nothing farmhouse-rustic about Il Piatto’s version of tiramisu, with its precise layers and crisp, clean edges. Its combination of light booziness and creamychocolatey cakiness satisfies on a soulful level, though. Like my southside friend, I’m a fan of prix fixe meals — or any arrangement that allows me to compose a meal of three savory courses. The tiramisu at Il Piatto, though, could make me skip my pasta. ◀

Dinner for six at Il Piatto: Bottle, Michele Chiarlo Barbera d’Asti .................. $ 42.00 Four prix fixe dinners at $32.50 each ................... $ 130.00 House salad ........................................................... $ 7.79 Pumpkin ravioli appetizer .................................... $ 9.79 Chicken Marsala ................................................... $ 25.79 Three espressos ..................................................... $ 9.75 TOTAL .................................................................. $ 225.12 (before tax and tip) Dinner for four, another visit: Two glasses, 2010 Casteggio Barbera .................... $ 20.00 Three prix fixe dinners at $32.50 each ................. $ 97.50 November New Mexico “local give-back” ............ $ 20.13 prix fixe dinner Three coffees ......................................................... $ 9.00 TOTAL .................................................................. $ 146.63 (before tax and tip)

LANB

Creating a better way.

Join us for the Best Soup in Santa Fe!

Saturday February 1 2014

Noon to 2:30 PM Santa Fe Community Convention Center Buy your tickets now!

Adult Tickets – $30 in advance, $35 at-the-door; Children’s Tickets (6-12) –$10

www.thefooddepot.org/SouperBowl 1222 A Siler Road, Santa Fe, NM (505) 471•1633 x 12 Proceeds Benefit THE FOOD DEPOT

‘tis beer to give AND receive! do your holiday shopping at the Waves and receive a taste of our new

restaurant: izanami!

for every $100 spent on gift certificates & merchandise between 11/1–12/15, you’ll receive a $10 voucher for food & drink at izanami.

izanami details: www.

gift

ten thousand waves .com

click “november/december specials” PASATIEMPOMAGAZINE.COM

What kind of holiday gift are you looking for this year? United Church of Santa Fe offers gifts that are tangible expressions of love for this world. By purchasing one of the following gifts you will offer God’s gift of love while supporting United’s ongoing commitment to reach out to the wider community and all around the world. Gifts available for purchase include: • • • • • • • •

An overnight backpack for a child at Solace Crisis Center .....................$25 A gas card for a client at Esperanza Shelter for Battered Families .........$15 A disaster relief blanket through Church World Service.......................$ 5 Support for a guest at St. Elizabeth Shelter ..............................................$50 A Scholarship for the Youth Service Trip....................................................$25 A book for an elementary student in Santa Fe ........................................$10 A share to support the Creation Care Garden .......................................$10 The book Animal Companions,Animal People to support.........................$10 the Pastoral Counseling Center • Equal Exchange coffee and chocolate also available

Sundays, December 8, & 15 (9:45 am and 12 pm) Contributions also accepted online

United Church of Santa Fe 1804 Arroyo Chamiso

PASATIEMPO I December 6 - 12, 2013

(505)-988-3295 unitedchurchofsantafe.org

pasa week Friday, Dec. 6

Country Blues Revue at Frogville Live recording session with the local band, 6:30 p.m., Frogville Studios, 111 Calle Nopal, $20; $25 includes a CD; tickets available at Candyman Strings & Things, 851 St. Michael’s Dr.; Duel Brewing, 1228 Parkway Dr.; and brownpapertickets.com. SFUAD Contemporary Music Program Collegium XXI and Percussion Ensemble, 6 p.m., Evoke Contemporary, 130-F Lincoln Ave,; Late-Night Funkstravaganza with the Funk/R & B Ensemble, 10 p.m., O’Shaughnessy Performance Space, 1600 St. Michael’s Dr., no charge, 505-473-6196, Warren Wolf Trio Jazz vibraphonist Wolf, bassist Kris Funn, and percussionist Billy Williams Jr., 6 and 8 p.m., The Den at Coyote Café, 132 Water St., $55-$250 in advance, 505-670-6482. (See story, Page 28.)

GALLERY/MUSEUM OPENINGS

A Gallery Santa Fe 154 W. Marcy St., Suite 104, 505-603-7744. Paintings by Alice van Buren and Norbert Voelkel, reception 5-7 p.m., through Jan. 1. 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, reception 5-7:30 p.m., through Jan 4. The Art Spot Pop-Up Gallery 114 Del Río Dr., 505-577-1087. Holiday group show photography, ceramics, and book art, reception 4-8 p.m., through Sunday. Cloud 5 Art and Performance Space 1805 Second St., 505-989-7988. Full Circle, group show of works by SITE Santa Fe scholar artists, reception 7-10 p.m., through Dec. 28. Eggman & Walrus Art Emporium 130 W. Palace Ave., second floor, 505-660-0048. Winter Schnopps and Pops, group show reception and book signing by John Barker, 5-9 p.m., through March 1. GF Contemporary 707 Canyon Rd., 505-983-3707. Holiday group show, reception 3-5 p.m. Giacobbe-Fritz Fine Art Gallery 702 Canyon Rd., 505-986-1156. Small Works Holiday Group Show, reception 3-5 p.m. Legends Santa Fe 125 Lincoln Ave., 505-983-5639. Weaving Water, mixed media by Sarah Sense, reception 5-7 p.m., through Jan. 6. Manitou Galleries 123 W. Palace Ave., 505-986-0440. Group show of small works, reception 5-7:30 p.m. Patina Gallery 131 W. Palace Ave., 505-986-3432. Abstraction, mobiles and photographs by Ivan Barnett, reception 5-7 p.m., through Dec. 29. Peyton Wright Gallery 237 E. Palace Ave., 505-989-9888. Art of Devotion, historic art of the Americas, reception 5-8 p.m., 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, reception 5-7 p.m, through Feb. 1. Poeh Museum Pueblo of Pojoaque. 78 Cities of Gold Rd., 505-455-3334. Doing Being Sharing Laughing, group show, reception 5-8 p.m., through January. Pop Gallery 142 Lincoln Ave., 505-820-0788. Wild Rumpus, 50th-anniversary tribute to author and illustrator Maurice Sendak, reception 5-7 p.m., through December.

Pasa’s Little Black Book......... 66 Elsewhere............................ 68 People Who Need People..... 68 Pasa Kids............................ 68 In the Wings....................... 69

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

THEATER/DANCE

Blue Rain Gallery shows work by Gustavo Victor Goler, 130-C Lincoln Ave.

Santa Fe Clay 545 Camino de la Familia, 505-984-1122. Holiday sale and open house, 3-7 p.m., through Saturday. Ventana Fine Art 400 Canyon Rd., 505-983-8815. Watercolors by Tom Noble, reception 5-7 p.m., through Dec. 21. Vivo Contemporary 725 Canyon Rd., 505-982-1320. As Though Ice Burned, group show of works by gallery artists, reception 5-7 p.m., 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, reception 5-7 p.m., through Jan. 10.

CLASSICAL MUSIC

Holiday music from 17th- and 18th-century Europe Performers include soprano Ellen Hargis, violinist Carla Moore, and harpsichordist Jillon Stoppels Dupree, 7:30 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge.

At the Galleries.................... 70 Libraries............................. 70 Museums & Art Spaces........ 70 Exhibitionism...................... 71

The King’s Singers Holiday concert with the British vocal ensemble, 7:30 p.m., Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place, $20-$55, discounts available, 505-988-1234, ticketssantafe.org, or Santa Fe Concert Association, 505-984-8759. Santa Fe Community College Chorus and Chamber Singers 2013 Winter Choral Concert, 5:30 p.m., Santa Fe Community College, 1401 Richards Ave., no charge, 505-428-1731, www.sfcc.edu. TGIF recital Music of Vaughan Williams and Corelli in a holiday program with the Eternal Summer String Orchestra of Santa Fe, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations accepted.

IN CONCERT

Brian Wingard Jazz saxophonist, with bassist Colin Deuble, pianist Chris Ishee, and percussionist John Trentacosta, 7 p.m., Museum Hill Cafe, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org.

A Christmas Carol opening-night tribute to Dan Gerrity Charles Dickens’ classic adapted by Doris Baizley, tribute reception 6:30 p.m., curtain 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., tribute $30; general admission $20; discounts available; santafeplayhouse. org, 505-988-4262, continues Thursday-Sunday through Dec. 22. (See story, Page 32.) Einstein: A Stage Portrait Tom Schuch in his one-man show, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $16, $12 seniors and students, 505-424-1601, continues Saturday and Sunday. SFUAD Musical Theater Workshop performances Solos, duets, trios, and ensembles, including numbers from classic film musicals, 7 p.m., Weckesser Studio Theatre, 1600 St. Michael’s Dr., $5 at the door.

BOOKS/TALKS

Toys Were Us: Historic Playthings Talk by educator Melanie LaBorwit, a monthly first-Friday gallery talk, 5-8 p.m., New Mexico History Museum, 113 Lincoln Ave., no charge.

EVENTS

131st annual St. Nicholas Bazaar sale preview Upscale rummage sale in conjunction with the weekend bazaar, 4:30-6:30 p.m., Holy Faith Episcopal Church, 311 E. Palace Ave., $10 donation at the door, 505-988-1513. Fourth annual Santa Fe Alternative Gift Market grand-opening celebration Shoppers can make donations in varying price ranges in honor of family and friends, 5-7 p.m., DeVargas Center, 564 N. Guadalupe St., no charge, 505-983-4671, market continues through Sunday.

▶▶▶▶▶▶▶▶

calendar guidelines Please submit information and listings for Pasa Week

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

Glow Special lighting event 5-8 p.m. Thursday-Saturday through Jan. 4; includes an exhibit by ceramic sculptor Christy Hengst, Santa Fe Botanical Garden, 725 Camino Lejo, $8; discounts available, santafebotanicalgarden.org, 505-471-9103. Performance-art event Artist Cannupa Hanska Luger in Destroying the Stereotype; in conjunction with his exhibit Stereotype: Misconceptions of the Native American, 1-4 p.m., Museum of Contemporary Native Arts, 108 Cathedral Place, by museum admission. Thirteenth annual Baca Street Studio Tour receptions Glass art, pottery, paintings, and jewelry at more than 20 studios; in addition to sales, artists offer demonstrations and classes, 5-9 p.m., continues Saturday and Sunday.

NIGHTLIFE

(See addresses below) 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 Flat-picking guitarist Ben Wright, 5:30-7:30 p.m.; Lily Masse & The High Life Band, roots/Americana, 8 p.m., no cover. El Farol Eclectic dance-rock band Dashboard Romeros, 9 p.m., call for cover. La Fiesta Lounge at La Fonda C.S. Rockshow featuring Don Curry, Pete Springer, and Ron Crowder, 8-11 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. The Palace Restaurant & Saloon Boomroots reggae, 10 p.m., call for cover. Pranzo Italian Grill Pianist Ron Newman, 6-9 p.m., call for cover.

317 Aztec 20-0150 317 Aztec St., 505-8 the Inn Agoyo Lounge at E. Alameda St., 3 30 a ed on the Alam 21 -21 84 5-9 50 nt Anasazi Restaura Anasazi, the of Inn d oo Rosew 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 M ¡Chispa! at El 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. r 132 W. Wate 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 Sa 100

PASATIEMPO I December 6-12, 2013

Second Street Brewery Folk rockers The Bus Tapes, with Heather Tanner on guitar and vocals, Case Tanner on bass guitar, David Gold on lead guitar, and Milton Villarubia on drums, 6-9 p.m., no cover. Second Street Brewery at the Railyard Swing Soleil, Gypsy jazz and swing,, 7-10 p.m., no cover. The Underground at Evangelo’s Don Martin’s birthday bash, with Brotherhood Sound System, roots/dancehall reggae, 21+, 10 p.m., call for cover. Vanessie Doug Montgomery, piano and vocals; Bob Finnie, Great American Songbook and pop standards, 6-11 p.m., call for cover.

7 Saturday GALLERY/MUSEUM OPENINGS

Santa Fe Clay 545 Camino de la Familia, 505-984-1122. Holiday sale and open house, 9 a.m.-2 p.m. Studio Broyles 821 Canyon Rd., 505-699-9689. Cross Roads, figurative work by Andrea Broyles, reception 4-7 p.m., through Jan. 17. Tina Davila Pottery 933 Nicole Place, 505-986-9856. Open house and sale, 10 a.m.-5 p.m. Tresa Vorenberg Goldsmiths 656 Canyon Rd., 505-988-7215. Holiday jewelry celebration, group show, reception noon-5 p.m.

IN CONCERT

Pasa’s little black book Spa Eldorado Hotel & St., 505-988-4455 o isc nc Fra 309 W. San 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 00 16 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 de La Posada Ave., 505-986-0000 e lac and Spa 330 E. Pa 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

SFUAD Contemporary Music Program Candelaria Alvarado Senior concert 3 p.m.; Jazz Ensemble and student jazz groups 7 p.m., O’Shaughnessy Performance Space, 1600 St. Michael’s Drive, no charge, 505-473-6196.

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 Thursday-Sunday through Dec. 22. (See story, Page 32.) Einstein: A Stage Portrait Tom Schuch in his one-man show, 7:30 p.m. Teatro Paraguas Studio, 3205 Calle Marie, $16, $12 seniors and students, 505-424-1601, continues Sunday. Moving People Dance Scattered Pieces, student showcase of contemporary works-in-progress, call 505-670-2152 for details, 7 p.m., Railyard Performance Center, 1611-B Paseo de Peralta, $10 suggested donation. The Second City Touring comedy-theater troupe, 7 p.m., the Lensic, $27-$44, ticketssantafe.org, 505-988-1234. SFUAD Musical Theater Workshop performances Solos, duets, trios, and ensembles, including numbers from classic film musicals, 7 p.m., Weckesser Studio Theatre, 1600 St. Michael’s Dr., $5 at the door.

BOOKS/TALKS

Aaron Dixon The author reads from and signs copies of My People Are Rising: Memoir of a Black Panther Party Captain, 4 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

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 The 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 The 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

Exhibit talk and tour Collector Robert Bell offers a walking tour of his collection in the exhibit Whistler and Company, 3:30-5:30 p.m., Argos Studio/Gallery, 1211 Luisa St. Tres Chicas readings Authors Joan Logghe, Miriam Sagan, Piper Leigh, and others read from their books, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

EVENTS

131st annual St. Nicholas Bazaar Decorations, clothing, toys, and food made by members of the church’s Women’s Guild, 10 a.m.-2 p.m., Church of the Holy Faith, 311 E. Palace Ave., no charge. Arts and crafts fair Holiday gifts from local artists, craftsmen, and vendors; door prizes, face painting, music, and food, 9 a.m.-3 p.m., The Light at Mission Viejo, 4601 Mission Bend, no charge, 505-982-2080. Buddhist relics An exhibit of ancient and sacred relics of the historical Buddha and 40 other Buddhist masters from India, Tibet, Korea, and China, 10 a.m.7 p.m., Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Road, no charge. 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, no charge, 505-983-4671, continues Sunday. Glow Special lighting event 5-8 p.m. Thursday-Saturday through Jan. 4; includes an exhibit by ceramic sculptor Christy Hengst, 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.

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., Suite 117, 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

Holiday book sale 10 a.m.-4 p.m., Santa Fe Public Library, Main Branch, 145 Washington Ave., 505-955-6780. Holiday fair Handcrafted gifts, toys, entertainment, and photographs with Santa, 10 a.m.-4 p.m., La Tienda Performance Space, 7 Caliente Rd., no charge. Jean Cocteau Cinema open house and holiday party Food, door prizes, and a screening of the 1934 film Babes in Toyland, noon-2 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., no charge, 505-466-5528. Railyard Artisan Market Holiday Show More than 50 artists, food, Santa and his largest elf, live music, Christmas carols by the Waldorf School Choir, 4-8 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta. Santa Fe Farmers Market 8 a.m.-1 p.m., Railyard Plaza and Farmers Market Pavilion, 1607 Paseo de Peralta, santafefarmersmarket.com. Santa Fe Women’s Ensemble benefit Caroling party and silent auction of more than 160 items, 5:30 p.m., Manitou Galleries, 123 W. Palace Ave., $50, 505-988-1234, ticketssantafe.org. Thirteenth annual Baca Street Studio Tour Glass art, pottery, paintings, and jewelry at more than 20 studios; in addition to sales, select artists offer demonstrations and classes, 10 a.m.-4 p.m., tour concludes Sunday. 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. Turquoise Trail Charter School WinterFest Arts & crafts fair to raise general funds for field trips, special projects, extra materials, and books; games, music, kids’ corner, and photos with Santa, 10 a.m.-4 p.m., Turquoise Trail Charter School, 13-A San Marcos Loop, no charge. Twenty-seventh annual Holiday Faire Music, entertainment, arts & crafts, food, and games, 10 a.m.-3 p.m., Santa Fe Waldorf School, 26 Puesta del Sol., no charge, santafewaldorf.org. Workshop I: Identifying Your Community Moises Gonzales leads the workshop in conjunction with the exhibit In/Visible Borders: New Mexico Photographers, noon-4 p.m., Santa Fe Community Convention Center, 201 W. Marcy St., no charge.

NIGHTLIFE

(See Page 66 for addresses) Anasazi Restaurant & Bar Guitarist Jesus Bas, 7-10 p.m., no cover. Cowgirl BBQ Trevor McSpadden, Western music, 2-5 p.m.; cover band Chango, 8:30 p.m., no cover. La Fiesta Lounge at La Fonda C.S. Rockshow featuring Don Curry, Pete Springer, and Ron Crowder, 8-11 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, 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. Mine Shaft Tavern Ho Ho Hobo Holiday Spectacular with Imperial Rooster, rowdy all-acoustic mix of country, folk, and blues, 8 p.m.-midnight, no cover. Palace Restaurant & Saloon Fun Adixx, 10 p.m., call for cover. Second Street Brewery Greg Daigle Band, electric Americana, 6-9 p.m., no cover.

thirteenth AnnuAl BAcA Street Studio tour dec. 6-8 The Baca Street Studio Tour welcomes several new artists to this compact tour. Work includes glass art, pottery, paintings, and jewelry. More than 20 studios hold receptions from 5 to 9 p.m. Friday and reopen from 10 a.m. to 4 p.m. Saturday and Sunday. In addition to sales, classes and demonstrations are offered by select artists. Necklace by Donna Nova, at Girasole Glass

Second Street Brewery at the Railyard Singer/songwriter Alex Culbreth, 7-10 p.m., no cover. Sweetwater Harvest Kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover. Upper Crust Pizza Songwriter/guitarist Michael Clay Mills, 6-9 p.m., no cover.

8 Sunday GALLERY/MUSEUM OPENINGS

Pink Church Art Center 1516 Pacheco St., 505-466-6999. Imagine a World Without Hate, student art projects; for details call the Anti-Defamation League, 505-823-2712, or ArtSmart, 505-992-2787.

CLASSICAL MUSIC

Sangre de Cristo Chorale The 45-member ensemble presents Deo Gracias, 3 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., $20 in advance and at the door, sdcchorale.org.

IN CONCERT

SFUAD Contemporary Music Program Gamelan Ensemble 3 p.m.; University Chorus with guest jazz trio Wind-Up Birds 7 p.m., O’Shaughnessy Performance Space, 1600 St. Michael’s Drive, no charge, 505-473-6196.

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-Sunday through Dec. 22. (See story, Page 32.) Einstein: A Stage Portrait Tom Schuch in his one-man show, 2 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $16, $12 seniors and students, 505-424-1601. Faraway Nearest One A staged reading of the letters of O’Keeffe and Stieglitz, 4 p.m., Georgia O’Keeffe Museum, 217 Johnson St., $25, okeeffemuseum.org, 505-946-1039.

BOOKS/TALKS

Elizabeth Robechek The artist discusses and signs copies of Unique: Sculptural Books-as-Art, 3 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

Margo Shapiro Bachman The author reads from Yoga Mama, Yoga Baby: Ayurveda and Yoga for a Healthy Pregnancy and Birth, 1 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. Legislative preview Journey Santa Fe presents a discussion with New Mexico state representative Brian Egolf, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. Poetry reading Fire and Ice, local poets Debbi Brody, Gary Worth Moody, and Argos McCullum, 5:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, pay-whatyou-wish, 505-424-1601. Valerie K. Verzuh The author and Museum of Indian Arts & Culture curator discusses her book Woven Identities: Basketry Art of Western North America, 1-2 p.m.; walk-through of the museum’s basketry exhibit at noon, Museum of Indian Arts and Culture, 710 Camino Lejo. (See Subtexts, Page 20.)

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, no charge, 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. MOIFA Winter Celebration Hands-on art making, live music, and refreshments, 1-4 p.m., Museum of International Folk Art, 706 Camino Lejo, Museum Hill, by museum admission, 505-476-1200. Railyard Artisan Market Holiday Show More than 50 artists, food, Santa and his largest elf, live music, Christmas carols by the Waldorf School Choir, 10 a.m.-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta. Thirteenth annual Baca Street Studio Tour Glass art, pottery, paintings, and jewelry at more than 20 studios; in addition to sales, artists offer demonstrations and classes, 10 a.m.-4 p.m.

NIGHTLIFE

(See Page 66 for addresses) Cowgirl BBQ Zenobia, gospel and R & B, noon-3 p.m.; Alex Culbreth, alt country/Americana, 8 p.m., no cover. El Farol Pan-Latin chanteuse Nacha Mendez, 7-10 p.m., no cover.

Evangelo’s Blues/rock/R & B jam band Tone & Company, 8:30 p.m., call for 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.

9 Monday BOOKS/TALKS

Dangerous Women Panel discussion and book signing with George R.R. Martin, Gardner Dozois, and others; Admission only with purchase of Martin’s book Dangerous Women, 7 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., 505-466-5528. (See story, Page 48.) Peter Maguire The author reads from his book Thai Stick: Surfers, Scammers, and the Untold Story of the Marijuana Trade, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. (See story, Page 22.) A Pueblo Social History A Southwest Seminars lecture by anthropologist John Ware, 5:30 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, southwestseminars.org, 505-466-2775.

EVENTS

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. La Fiesta Lounge at La Fonda Soulstatic, funk and R & B, 7:30 p.m., no cover. Vanessie Pianist/vocalist Doug Montgomery, 6:30-10:30 p.m., call for cover.

10 Tuesday IN CONCERT

Santa Fe Concert Band Holiday Concert Robert Foster’s Rhapsody on Spanish Carols, Leroy Anderson’s Sleigh Ride, and Irving Berlin’s White Christmas; live auction to conduct the band on July 4, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., no charge. SFUAD Contemporary Music Program Rock Ensemble and student rock groups, 7 p.m., Warehouse 21, 1614 Paseo de Peralta, no charge, 505-473-6196.

BOOKS/TALKS

Georgia O’Keeffe Museum Readers’ Club The discussion series continues with David Smith: Works, Writings, Interviews, 6-7:30 p.m., Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., no charge. 505-946-1039. William H. Wroth The cultural historian presents Barrio de Analco: Its Roots in New Spain and Role in Colonial Santa Fe, 3-4 p.m., School for Advanced Research, 660 Garcia St., no charge, 505-954-7200. (See story, Page 42.) ▶▶▶▶▶▶▶▶

PASATIEMPOMAGAZINE.COM

EVENTS

Harwood Museum of Art 90th-anniversary exhibits: The Paintings of Burt Harwood • Single Lens Reflex: The Photographs of Burt Harwood • Peter Parks: New Works, all through Jan. 26; Taos Municipal Schools Historic Art Collection, through Feb. 2. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday, 238 Ledoux St., $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday. 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.

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. Santa Fe Farmers Market 8 a.m.-1 p.m., Railyard Plaza and Farmers Market Pavilion, 1607 Paseo de Peralta, santafefarmersmarket.com.

NIGHTLIFE

(See Page 66 for addresses) Cowgirl BBQ Country/bluegrass band Texas Express, 8 p.m., no cover. La Fiesta Lounge at La Fonda Soulstatic, funk and R & B, 7:30 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.

▶ People who need people

11 Wednesday

Artists

GALLERY/MUSEUM OPENINGS

Jean Cocteau Cinema 418 Montezuma Ave., 505-466-5528. Surrealistic landscapes by Mark Kane, through Jan. 23.

Tansey Contemporary shows work by Rachel Bess, 652 Canyon Rd.

THEATER/DANCE

Winter Dance SFUA&D Garson Dance Company presents new works, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15; discounts available, 505-988-1234, ticketssantafe.org.

BOOKS/TALKS

Faith-Based Charity and the Security State: Containing People and Finance in Risk Societies Talk by MIT anthropologist Erica Caple James, noon-1 p.m., School for Advanced Research, 660 Garcia St., no charge, 505-954-7203. Language, Thinking, and Acting Corinne Hutchinson examines linguistic relativity, 3:15 p.m., Junior Common Room, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge, 505-984-6070.

NIGHTLIFE

(See Page 66 for addresses) Cowgirl BBQ Sweetwater String Band, 8 p.m., no cover. El Farol Nacha Mendez with Santastico, 8 p.m., no cover.

12 Thursday IN CONCERT

Ian Moore Blues/rock guitarist, with David Berkeley, 7:30 p.m., The Lodge at Santa Fe, 750 N. St. Francis Dr., $25 in advance at brownpapertickets.com, $29 at the door. Roger Landes and Douglas Goodhart Bouzouki and fiddle music from the Irish, French, French-Canadian, and Balkan traditions, 7:30 p.m., Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. 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. St. Michael’s High School Annual Christmas Concert Selections for orchestra, concert band, jazz band, choir, and marimba ensemble, 6 p.m., Tipton Hall, St. Michael’s High School, 100 Siringo Rd., no charge, 505-660-3187. 68

PASATIEMPO I December 6-12, 2013

BOOKS/TALKS

Lannan Foundation Readings and Conversations Nothing Personal: The Dark Room Collective Reunion Tour, with African American poets Natasha Trethewey, Major Jackson, Thomas Sayers Ellis, John Keene, Tisa Bryant, and Sharan Strange, 7 p.m., Lensic Performing Arts Center, $6, seniors and students $3, ticketssantafe.org, 505-988-1234. (See story, Page 18.)

Chatter Sunday The ensemble performs work of Mozart, Bartok, and Ligeti, poetry reading with Casandra Lopez follows, 10:30 a.m. Sunday, Dec. 8, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterabq.org. National Hispanic Cultural Center En la Cocina With San Pascual, works by New Mexico artists. Open 10 a.m.-5 p.m. TuesdaySunday, 1701 Fourth St. S.W., no charge. UNM Art Museum From Raymond Jonson to Kiki Smith, the museum celebrates its 50th anniversary with exhibits of works from the permanent collection, through Dec. 21 • Andy Warhol’s Snapshots and Takes • From Rembrandt to Pollock to Atget • Agnes Martin: The Early Years 1947-1957 • Life’s a Beach, work by Martin Parr, through Dec. 14. Open 10 a.m.-4 p.m. Tuesday-Saturday; Center for the Arts Building, $5 suggested donation.

EVENTS

GAlistEo

Glow Special lighting event 5-8 p.m. ThursdaySaturday through Jan. 4; includes an exhibit by ceramic sculptor Christy Hengst, Santa Fe Botanical Garden, 725 Camino Lejo, $8; discounts available, santafebotanicalgarden.org, 505-471-9103.

NIGHTLIFE

(See Page 66 for addresses) Cowgirl BBQ Country Blues Revue, 8 p.m., no cover. Omira Bar & Grill Equinox, jazz with Joseph Salack on bass and Lou Levin on keyboard, 6-8 p.m. Vanessie Pianist Bob Finnie, Great American Songbook, 6:30-10:30 p.m., call for cover. Zia Diner Trio Bijou, vintage string jazz with Gemma DeRagon on jazz violin and vocals, Stefan Dill on guitar and oud, and Zeke Severson on bass., 6:30-8:30 p.m., no cover.

▶ Elsewhere AlbuquErquE

Nutcracker on the Rocks Keshet Dance Company presents its 17th annual contemporary take on the Tchaikovsky overture; performers include people with disabilities, 7:30 p.m. Friday, Dec. 6, 2 and 7:30 p.m. Saturday, Dec. 7, 2 and 6 p.m. Sunday, Dec. 8, National Hispanic Cultural Center, 1701 Fourth St. S.W., $24-$32, 505-724-4771, nhccnm.org.

Galisteo Village Artisans Holiday Faire Crafts, paintings, pottery, food, and music, 10 a.m.-5 p.m. Saturday, Dec. 7, 35 Avenida Vieja, no charge.

los AlAmos

Los Alamos Symphony Orchestra Annual holiday concert and sing-along; 7 p.m. Friday, Dec. 6, 97 East Rd., donations appreciated. Pajarito Environmental Education Center Exhibits of flora and fauna of the Pajarito Plateau; herbarium, live amphibians, and butterfly and xeric gardens. Open noon-4 p.m. Tuesday-Friday, 10 a.m.-1 p.m. Saturday, 3540 Orange St., no charge, pajaritoeec.org.

mAdrid

Johnsons of Madrid Group show of fiber art, reception 3-5 p.m. Saturday, Dec. 7, 2843 NM 14. Madrid Christmas & holiday festivities Weekends through December; Christmas parade, Town of Lights display, mule/stagecoach rides, screening of Madrid’s Famous Christmas Town of Lights and Toyland, 2846 NM 14, visitmadrid.com, no charge.

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.

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.

Donations/Volunteers

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. Many Mothers Assist new mothers and families, raise funds, plan events, become a board member, and more; requirements and details available online at manymothers.org; call 505-466-3715 for more information or to schedule an interview. 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. 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 Railyard Artisan Market Holiday Show More than 50 artists, food, Santa and his largest elf, live music, Christmas carols by the Waldorf School Choir, 4-8 p.m. Saturday, Dec. 7, 10 a.m.-4 p.m. Sunday, Dec. 8, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta. Turquoise Trail Charter School WinterFest Arts & crafts fair to raise general funds for field trips, special projects, extra materials, and books; games, music, kids’ corner, and photos with Santa, 10 a.m.-4 p.m., Saturday, Dec. 7, Turquoise Trail Charter School, 13-A San Marcos Loop, no charge.

In the wings Ringing in the holidays

Arias, Carols, and Songs Holiday selections performed by former Santa Fe Opera apprentices — soprano Sara Heaton and tenors Joshua Dennis and Joseph Dennis — accompanied by pianist Kirt Pavitt, 5:30 p.m. Friday, Dec. 13, First Presbyterian Church of Santa Fe, 208 Grant Ave., no charge. Christmas at the Palace Live music, craft-making projects, refreshments, and quality time with Santa and Mrs. Claus, 5:30-8 p.m. Friday, Dec. 13, New Mexico Museum/Palace of the Governors, 113 Lincoln Ave., no charge, museumofnewmexico.org, no charge. santa Fe desert Chorale The 2013 Winter Festival opens with Carols and Lullabies, 8 p.m. Saturday Dec. 14; visit desertchorale.org for details and full schedule of concerts through Dec. 23, Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Pl., $15-$65; student discounts available. Concordia santa Fe The jazz ensemble in The Nutcracker (Swing)!, Duke Ellington’s version of Tchaikovsky’s Nutcracker Suite, 7 p.m. Thursday, Dec. 19, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $35, students $20, 505-988-1234, ticketssantafe.org. santa Fe Pro Musica Baroque ensemble A Baroque Christmas with 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 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, the Lensic, $25-$95, 505-988-1234, ticketssantafe.org.

Music Cafe 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, the Lensic, $10, 505-984-8759 or 505-988-1234, ticketssantafe.org. Voasis Contemporary a cappella ensemble presents In the Midnight Hour, 4 and 8 p.m. Saturday and Sunday, Dec. 28-29, 8 p.m. Monday and Tuesday, Dec. 30-31, Warehouse 21, 1614 Paseo de Peralta, $30-$100 in advance at desertchorale.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, 2 p.m. the Lensic, $10, 505-984-8759 or 505-988-1234, ticketssantafe.org.

Upcoming events the sing-along of the nibelung Santa Fe Concert Association conductor Joseph Illick leads a sing-along through Wagner’s Ring Cycle; experienced Wagnerians and beginners are all 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., the Lensic, $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, 4 p.m. Friday, Jan. 24, the Lensic, $30, 505-988-1234, ticketssantafe.org. 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, the Lensic, $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.

theateR/danCe

Paula Poundstone The stand-up comedian in her Ha, Ha, Ho, Ho Holiday show, 7:30 p.m. Friday, Dec. 13, the Lensic, $27.50 and $35, ticketssantafe.org, 505-988-1234. Twelfth Night Presented by St. John’s College students, 7:30 p.m. Friday and Saturday, 3 p.m. Sunday, Dec. 13-15, Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, no charge. santa Fe Women’s ensemble Winter Festival of Song, choral music; Friday and Saturday, Dec. 13-14, Thursday and Saturday, Dec. 19 and 21, times and venues vary, visit sfwe.org for details, tickets available at the Lensic box office, 505-988-1234, ticketssantfe.org. holiday ice show Destination Sochi: To Russia With Love, 4 p.m. Saturday, 1 p.m. Sunday, Dec. 14-15, Genoveva Chavez Community Center, 3221 Rodeo Road, $12, ages 2-11 $7, santafeskatingclub.org.

haPPenings

astrology events Arielle Guttman and Pasatiempo’s Heather Roan Robbins present 2014: Heart of the Metamorphosis, a look at the year ahead, 6:45 p.m. Friday, Dec. 13, and a personal birth chart workshop, 1-5 p.m. Saturday, Dec. 14, Center for Spiritual Living, 505 Camino de los Marques, visit sophiavenus.com/workshops.html for tickets and information. 35mm archival Film series The Lensic and the Academy Film Archive present the 1954 musical White Christmas at 2 p.m. and the 1962 film Lawrence of Arabia at 7 p.m., Friday, Dec. 27, the Lensic, $7, 505-988-1234, ticketssantafe.org. 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, the Lensic, $6; seniors and students $3, ticketssantafe.org, 505-988-1234. souper Bowl XX Annual Food Depot fundraiser; local-chefprepared soups and other dishes, 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. 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 to 8 p.m. Friday, Feb. 21, 5-8 p.m. EAT $35; EAT and Fashion Feast $70, artfeast.com, 505-603-4643.

MUsiC

new Mexico gay Men’s Chorus My Winter Song to You, 7 p.m. Friday, Dec. 13, New Mexico School for the Deaf, 1060 Cerrillos Road, $20, purchase tickets at nmgmc.org. the Met live in hd James Levine conducts Verdi’s opera Falstaff, 6 p.m. Saturday, Dec. 14, Lensic Performing Arts Center, 211 W. San Francisco St., $22-$28, ticketssantafe.org, 505-988-1234. dan hicks Singer/songwriter, 7:30 p.m. Saturday, Dec. 14, Greer Garson Theatre, 1600 St. Michael’s Dr., $34-$44, 505-988-1234, ticketssantafe.org. 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. Sunday, Dec. 15, Christ Lutheran Church, 1701 Arroyo Chamiso, $16, discounts available, 505-842-9613. Chuscales Local flamenco guitarist in Forever in My Heart, an annual 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.

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. the Met live in hd Dvoˇrák’s Rusalka, 11 a.m. and 6 p.m. Saturday, Feb. 8, the Lensic, $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.

Aspen santa Fe Ballet presents The Nutcracker, Dec. 21-22.

PASATIEMPOMAGAZINE.COM

AT THE GALLERIES Abbate Fine Art 713 Canyon Rd., 505-438-8881. Visual Reports From the Digital Universe, paintings by David Rudolph, through Dec. 13. Andrew Smith Gallery 122 Grant Ave., 505-984-1234. Mannequin, Lee Friedlander’s photographic series, through Jan. 5. Art Exchange Gallery 60 E. San Francisco St., 505-603-4485. Rivers and Other Places, paintings by Jeff Tabor, through Thursday, Dec. 12. Axle Contemporary Mobile gallery, 505-670-7612 or 505-670-5854. Descanso for the Pine Forest, mixed-media installation by Robert Gaylor, visit axleart.com or call for locations through December. AVA/A Virtual Artspace 316 Read St., 505-795-8139, K’un, video and photography by Buchen/Goodwin, through December. Back Street Bistro 513 Camino de los Marquez, 505-982-3500. Paintings, prints, and clocks by Hillary Vermont, through Jan. 4. Blue Rain Gallery 130-C Lincoln Ave., 505-954-9902. New Works by Gustavo Victor Goler, through December. Chiaroscuro Contemporary Art 702½ Canyon Rd., 505-992-0711. Group show, through Dec. 20. Convergence Gallery 219 W. San Francisco St., 986-1245. Above and Below, paintings by San Merideth, through Dec. 20. David Richard Gallery 544 S. Guadalupe St., 505-983-9555. Life Support: Art, Design, Sustenance, international group show of functional and interior designs, through Saturday, Nov. 30. Eight Modern 231 Delgado St., 505-995-0231. Part and Parcel, paintings by Rebecca Shore, through Jan. 11. Ellsworth Gallery 215 E. Palace Ave., 505-989-7900. Kathryn Stedham: Alluvium, gestural abstract paintings, through Jan. 4. Gebert Contemporary 558 Canyon Rd., 505-992-1100. Colin Cochran: Matter and Spirit, through Jan. 4.

Heidi Loewen Porcelain Gallery 315 Johnson St., 505-988-2225. Snow White and A Slice of Red and Gold, new works by Loewen, through December. Nedra Matteucci Galleries 1075 Paseo de Peralta, 505-982-4631. Leon Gaspard: Impressions of Russia and the Faraway, through December. (See story, Page 36.) Marigold Arts 424 Canyon Rd., 505 9824142. Group show of textiles by New Mexico weavers, through Jan. 2. Monroe Gallery of Photography 112 Don Gaspar Ave., 505-992-0800. The “Life” Photographers, through Jan. 26. Phil Space 1410 Second St., 505-983-7945. A Roswell Sojourn/A Prairie Return, paintings by Jerry West, through December. Pop Gallery 142 Lincoln Ave., 505-820-0788. Wild Rumpus, 50th-anniversary tribute to author and illustrator Maurice Sendak, through December.

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. 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.

Bull (Bumba-Meu-Boi), by Manoel Eudócio, in the exhibit Brasil and Arte Popular at the Museum of International Folk Art

PASATIEMPO I December 6-12, 2013

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. Monday-Friday. 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. Monday-Wednesday, 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. Monday-Thursday, 10 a.m.-6 p.m. FridaySaturday. 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 Pl., 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. 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. TuesdaySunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 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. 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 Pueblo of Pojoque, 78 Cities of Gold Rd., 505-455-3334. Doing Being Sharing Laughing, group show, reception 5-8 p.m. Friday, Dec. 6, through January. Open 8 a.m.-5 p.m. MondayFriday; 9 a.m.-4 p.m. Saturday; donations accepted. SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. 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

Marcus Keil: Buddha 1, 2012, stoneware. Santa Fe Clay (545 Camino de la Familia) presents its 19th annual open house and a holiday sale of sculptural and functional ceramics made using a variety of pottery techniques, with works by about 20 artists, including David Dunlap, Amy Lin, and Rusty Spicer. The event starts at 3 p.m. on Friday, Dec. 6, and features music by Ferdi Serim. The sale continues on Saturday, Dec. 7, at 9 a.m. Call 505-984-1122.

Ali Cavanaugh: A Small Window of Opportunity, 2011, fresco. GF Contemporary presents a holiday group show that includes work by Ali Cavanaugh, Pascal, Nigel Conway, Marcelo Suaznabar, and others. The work covers a range of mediums and styles, such as magic realism and figurative abstraction. The show opens on Friday, Dec. 6, with a reception at 3 p.m. The gallery is at 707 Canyon Road. Call 505-983-3707.

Craig Varjabedian: The Wisdom Tree, Winter, Ghost Ranch, New Mexico, 2005, photograph. Under a Western Sky: Photographs by Craig Varjabedian opens with a 5 p.m. reception on Friday, Dec. 6, at William R. Talbot Fine Art (129 W. San Francisco St., second floor). Varjabedian’s atmospheric landscapes capture the luminous quality of light in the American West. “Western landscape has long been a part of the American imagination,” he writes. “But rather than focus on a specific imaginative idea, my work communicates directly to the imagination: not the land, but what the land does to us.” Call 505-982-1559.

Mark Kane: Stardust Machine, 2008, oil and wax on board. An exhibition of Mark Kane’s paintings opens on Wednesday, Dec. 11, at the Jean Cocteau Gallery. Kane’s work is nonobjective abstraction with a suggestion of landscape that lends the pieces a feeling of mystery and familiarity. The gallery is in the Jean Cocteau Cinema (418 Montezuma Ave.). Call 505-466-5528.

John Barker: Laughlin, 2012, acrylic on panel. Eggman & Walrus Art Emporium presents Winter Schnopps and Pops, an exhibition of work by Bunny Tobias, Charles Greeley, Evan Glassman, John Barker, Joshua Neel, Sophia Livingston, and Mya Kass. The show opens Friday, Dec. 6, with a reception at 5 p.m. and includes a book signing by Barker. The gallery is at 130 W. Palace Ave., second floor. Call 505-660-0048.

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