Pasatiempo, July 18, 2014

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

NEW MEXICO JAZZ FESTIVAL jack dejohnette

July 18, 2014

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PASATIEMPO I July 18 - 24, 2014

July 18,19,20,25,26,27 Friday & Saturday@ 7:00 Sunday@ 2:00 All Performances at James A. Little Theater For Tickets Call: (505) 982-3327 www.pandemoniumprod.org

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T H E S A N TA F E O P E R A P R E S E N T S

MORR O T S N E OP

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I M P R E S A R I O i MOZART ROSSIGNOL i S T R A V I N S K Y

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AMERICAN PREMIERE

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THE HEALING POWER OF MUSIC

WITNESS TO HISTORY

ivas vie for a plum role while a producer struggles to cope with their rivalry in Mozart’s brief, witty opera The Impresario. It’s an ingenious double bill in which the stars’ bickering centers on casting for Stravinsky’s exquisite short opera Le Rossignol, based on Hans Christian Andersen’s poetic fairy tale, in which a humble nightingale saves the emperor’s life...and puts the impresario’s woes into perspective. Prepare to be charmed by this colorful, beautiful combination of music and artful theater.

his enthralling historical opera takes an intimate look behind the epic struggle to overthrow China’s ancient monarchy.

Huang Ruo’s compelling music comprises a double portrait, evoking not only Sun Yat-sen’s heroic exploits, but also those of the woman he loved. Dr. Sun Yat-sen delivers a thrilling blend of Eastern, Western, folk and classical music styles. This American premiere offers a most unique night at the Opera. Don’t miss it!

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8:30 pm July 26 • 8:00 pm July 30; August 8, 14

8:30 pm July 19, 23 • 8:00 pm August 1, 7, 15

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PASATIEMPO I July 18 - 24, 2014

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Coming up

PAINTING WORKSHOP Saturday, July 19, 1–3:30 p.m.

“The Ritual Table.” Start with a tour of Local Color, looking at Judy Chicago’s symbolic, storytelling Seder plates. Participants will create a usable placemat for their table. Pre-register at NMMOAworkshops2014@gmail.com. Drop-ins welcome when space is available. Free with regular museum admission.

GALLERY CONVERSATION Monday, July 21, 12:15–1 p.m.

With Jamie Clements, Museum of New Mexico Foundation. Every Monday a new speaker gives an informal tour through the museum, offering a unique point of view. July 28: Joe Maes of El Rancho de las Golondrinas.

Weekly

PLEIN-AIR PAINTING IN THE PATIO Sundays, 9 a.m.–Noon.

Gather your paints, brushes and friends and enjoy the patio for a personal adventure in art. Admission to patio is free. (Museum opens at 10 a.m. with regular admission.)

Just South of Santa Fe: I-25 Exit 276 www.golondrinas.org / 505-471-2261

IN-DEPTH GUIDED TOURS Wednesdays, 12:15–1 p.m.

The museum’s knowledgeable and friendly guides lead in-depth exploration into specific artists and topics.

DROP IN AND DRAW Fridays, Noon–1 p.m.

Stop by, pick up pencils and a drawing board, and explore the museum.

Support provided by Santa Fe County Lodgers’ Tax Advisory Board, Santa Fe Arts Commission, New Mexico Arts and New Mexico Humanities Council

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PASATIEMPO I July 18 - 24, 2014

The Changing World of Publishing and Reading James McGrath Morris

“Erudite, funny, print loving but digital savvy, Morris is navigating the fast evolving universe of the written word-and giving us fascinating glimpses of its future�

-Hampton Sides

July 31 at 7 pm in the Great Hall at St. Johns College Tickets are $7.50 and available through tickets Santa Fe

505-988-1234 www.ticketssantafe.org

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THE SANTA FE NEW MEXICAN

July 18 - 24, 2014

www.pasatiempomagazine.com

ON THE COVER 36 We are family: New Mexico Jazz Festival Jazz legacy comes to life when drummer Jack DeJohnette takes to the Lensic stage on Saturday, July 26, with saxophonist Ravi Coltrane and bassist Matthew Garrison as part of the ninth annual New Mexico Jazz Festival. As a young man, DeJohnette was called to play alongside their fathers, saxophone titan John Coltrane and his bassist Jimmy Garrison.

More legacy: pianist Dick Hyman and guitarist Bucky Pizzarelli, who first performed together in the 1950s, bring in a sextet on Sunday, July 20. Drummer Terri Lyne Carrington’s gendercentric Mosaic Project, with vocalist Gretchen Parlato, creates its own lineage on Friday, July 25. Also on tap, DeJohnette’s sure-to-be-revealing discussion with writer-critic A.B. Spellman at the Lensic on the afternoon of July 26. On the cover: Jack DeJohnette; photo by Carlos Pericás.

MOVING IMAGES

BOOKS AND TALKS 16 50

52 Screen Gems Queen Margot 54 Venus in Fur 56 Pasa Pics

In Other Words Colliding Worlds Curating at the Edge Kate Bonansinga

MUSIC AND PERFORMANCE

CALENDAR

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Beethoven, Bach, and beyond Santa Fe Chamber Music Festival 22 Pasa Reviews Good People 24 Terrell’s Tune-Up Only the good die young 26 Pasa Tempos CD reviews 29 Onstage Juan Siddi Flamenco 30 Songbirds at the Opera The Impresario & Le rossignol

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Pasa Week

AND 13 15 60

Mixed Media Star Codes Restaurant Review: Upper Crust Pizza

ART 42 This land is our land SITE Santa Fe’s biennial exhibition CORRECTION: An article on the William Siegal Gallery in the July 11 issue incorrectly stated that Siegal briefly owned a gallery in Shiprock. Siegal had a space on the Plaza at the location of the current Shiprock Gallery. Siegal moved to his Canyon Road location in 1996, and to the Railyard in 2007. A quote should have read, “Our sales of textiles are always strong, as are sales of pre-Columbian objects.”

ADVERTISING: 505-995-3852 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

Detail, Jason Middlebrook Your General Store, 2014, courtesy SITE Santa Fe

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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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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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Copy Editor — Susan Heard 505-986-3014, sheard@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 CONTRIBUTORS Loren Bienvenu, Taura Costidis, Ashley Gallegos-Sanchez, Laurel Gladden, Peg Goldstein, Robert Ker, Jennifer Levin, Iris McLister James McGrath Morris, Robert Nott, Adele Oliveira, Jonathan Richards, Heather Roan Robbins, Casey Sanchez, Michael Wade Simpson, Steve Terrell, Khristaan D. Villela PRODUCTION Dan Gomez Pre-Press Manager

The Santa Fe New Mexican

© 2014 The Santa Fe New Mexican

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Robin Martin Owner

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Ginny Sohn Publisher

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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007

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RETAIL SALES MANAGER - PASATIEMPO Art Trujillo 505-995-3852

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ADVERTISING SALES - PASATIEMPO Chris Alexander 505-995-3825 Amy Fleeson 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830

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ADMINISTRATIVE ASSISTANT Claudia Freeman 505-995-3841

Ray Rivera Editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

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THE ART OF OUTDOOR DINING Santa Fe Opera Apprentice Shows July 23rd and August 4th Dinner Seating: 5:00 pm to 6:00 pm Performance: 6:30 pm - 8:00 pm Reservations Required - $15 Cover Charge

For reservations, please call 505-986-0000 or visit opentable.com 330 East Palace Avenue Santa Fe, New Mexico laposadadesantafe.com

Silver Bullet Productions invites you to a Screening of A Thousand Voices a documentary Narrated by Irene Bedard Keepers of culture, purveyors of wisdom – This is the story of New Mexico's Native American Women

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Public Screening - No Admission Fee Sponsored by Buffalo Thunder Resort & Casino

Buffalo Thunder Resort & Casino ~ Pueblo Ballroom Tuesday July 22, 2014 6:30pm screening Panel and Q&A to follow Please call for reduced lodging rates for this evening: 505-455-5555 Participants and Advisers from: Navajo Nation, Mescalero Apache Tribe, Jicarilla Apache Nation, Pueblo de Cochiti, Ohkay Owingeh, Pueblos of: Acoma, Jemez, Santo Domingo, Laguna, Pojoaque, Santa Clara, Taos, Nambe, San Ildefonso, and Kiowa, and Indigenous Language Institute 10

PASATIEMPO I July 18 - 24, 2014

DESERT SERENADE Drones, Fences, Cacti, Test Sites, Craters and Serapes 12 JULY – 31 AUGUST 2014 An exhibition from the Lannan Collection featuring works by

RENATE ALLER SUBHANKAR BANERJEE TOM MILLER TREVOR PAGLEN VICTORIA SAMBUNARIS JAMES TURRELL EMI WINTER

ARTIST RECEPTION Saturday 9 August from 5 to 7pm Lannan Foundation Gallery GALLERY HOURS Saturdays and Sundays noon to 5pm or by appointment 309 Read Street, Santa Fe, NM Tel. 505.954.5149

309 Read Street, Santa Fe, NM 87501 Tel. 505.954.5149

www.lannan.org IMAGE: Emi Winter, Spoonbill, 2003, Oil on Masonite, 90 x 28 inches overall, Collection Lannan Foundation.

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PASATIEMPO I July 18 - 24, 2014

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Under the dome When Pull of the Moon, the land-based art project by Navajo artist Bert Benally and Chinese artist Ai Weiwei was completed in June in a remote spot in Coyote Canyon, it was only one aspect of a multimedia project that culminated this week in a reception at the Museum of Contemporary Native Arts. The collaborative installation was made for TIME (Temporary Installations Made for the Environment), a biennial series developed by the Navajo Nation Museum and New Mexico Arts. xRez Studio, a creativeimaging and visual-effects production company located in Santa Monica, developed a 3-D digital landscape based on Pull of the Moon that allows visitors to experience it in an innovative way — through the immersive experience of fulldome technology developed by Vortex Immersion Media in Los Angeles. xRez Studio utilizes high-resolution panoramic imagery integrated into 3-D software.

The Pull of the Moon project is the inauguration of New Mexico Arts’ newly purchased 50-foot full dome. Immersive domes, once primarily the province of scientific applications, have expanded in recent years to include a broader range of uses, including ones in the visual and performing arts. New Mexico Arts plans to make the dome available to artists and nonprofits and for touring in communities around the state. You can see it first in Santa Fe at Milner Plaza at Museum Hill on Friday, July 18, from 5 to 9 p.m. and on Saturday, July 19, from 10 a.m. to 5 p.m. There is no admission fee. A 2-D version of the digital landscape can also be viewed by admission on a monitor at the Museum of Contemporary Native Arts (108 Cathedral Place, 505-428-5907) through Oct. 16, along with Bert & Weiwei: TIME 2014, a film by Daniel Hyde and Blackhorse Lowe that documents the collaboration at Coyote Canyon. Call New Mexico Arts at 505-827-6490. — Michael Abatemarco

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PASATIEMPO I July 18 - 24, 2014

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STAR CODES Heather Roan Robbins

COLORFUL CONTEMPORARY LED’S!

Family matters and domestic issues move to the front burner as

emotional Venus enters clannish Cancer. We can feel old family patterns echoing around us, and we get to do another layer of personal homework.

We can’t just stay at home or return to a spiritual homeland. Industrious Saturn turns direct after several months retrograde and encourages us to get back to work on some project, organizational system, or structural repairs that we’ve put off for a while.

With work pulling us one way and interpersonal dynamics pulling us another, we can get a little touchy and defensive if anyone implies we’re not up to the job under Venus, Mercury, and the sun in self-protective Cancer. Respect boundaries and use a light hand with criticism.

This weekend the vibe is intuitive and creative, if also spacey as Mercury trines Neptune. Notice subtle signals, tap into the quiet within, and give the mind room to explore into bigger, open-ended questions.

The clouds darken and moods deepen early next week as mental Mercury opposes profound but brooding Pluto. While this feeds our research and helps us dive into our work or our inner realms, we can go too deep or get washed up on the shores of self-doubt with this aspect. We may have some tough news to process. There may be some loss of item or person — a whisper in the headlines that reminds us of the ephemeral quality of life.

Midweek brings romantic sparks and more abundant possibilities as creative Venus trines imaginative Neptune and as the sun enters Leo and conjuncts Jupiter. The mood grows more generous and dramatic — parties are more celebratory and conflicts more Shakespearean than before.

Friday, July 18: Pacing matters — we may feel pressured for time as the feisty Aries moon conjuncts Uranus this morning. Get into the groove and action flows. Midday we are sensitive as Venus enters Cancer. Defenses can bristle tonight as the moon opposes Mars — reassure one another.

Saturday, July 19: Intuition and imagination are deep pools to draw from as Mercury trines Neptune. The Taurus moon lazily calls us back to our bodies. The mood is stubborn but gentle, delicious if a bit cautious.

Sunday, July 20: Deep quiet helps this morning — a chance to feel connections within the soul. Some new understanding can crystalize as the moon trines Pluto.

Monday, July 21: Give people a moment to collect themselves. Midday the pace picks up and people are communicative if guarded. Be tactful and open, cross-pollinate ideas, and answer emails as the moon enters verbal Gemini.

Tuesday, July 22: Lost things are found and problems are uncovered.

The world can look grim this morning as Mercury opposes Pluto. We get serious and can see the problems, but we need to take our concerns with a grain of salt. If depressed voices whisper within, listen, but don’t let them run the show.

Wednesday, July 23: Communication is interrupted. Ingenuity and dark humor work in short bursts. Stay open: quick interactions are surprisingly meaningful. As the moon enters Cancer tonight we may need some time in our shell. Our thinking can get circular unless we seek peacefulness.

Thursday, July 24: The vibe is intuitive, imaginative, and self-protective; we need privacy or confidence to let creativity rip as the sun enters Leo and conjuncts Jupiter. Intelligent Mercury squares electrical Uranus and brings erratic brilliance. Go back to a familiar pattern or tradition and use logic as Mercury trines Saturn tonight. ◀

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IN OTHER WORDS book reviews Colliding Worlds: How Cutting-Edge Science Is Redefining Contemporary Art by Arthur I. Miller, W. W. Norton & Company, 352 pages Albert Einstein was an artist, Salvador Dalí a scientist. The latter declared (while, one can imagine, bugging his eyes out and gesturing grandly), “It is with pi-mesons and the most gelatinous and indeterminate neutrinos that I want to paint the beauty of the angels and of reality.” Einstein, perplexed since he was a teenager by the muddle in physics equations, pared down to the basics and developed the simple, symmetrical, minimalist theory of relativity. Some might say it was an aesthetically driven discovery.

Arthur I. Miller, professor emeritus at University College London and leading thinker in the art/science sphere, makes this case most persuasively in his illuminating book Colliding Worlds. Indeed, he invites readers to rethink — and re-see — science and art entirely, and to question why it is that we consider each field to be the other’s polar opposite. We “still assume that art depicts nature while science analyzes it, that art brings things together while science pulls them apart.”

Such simple dichotomies and assumptions are gloriously quashed in Colliding Worlds, which explores, among others, the following new artistic modes: interface art, time-based art, DNA art, sonic art, algorithmic art, cybernetic art, scientometrics (the “art of measuring the impact of scientific publications in one field of study on another”), nanoart, and auto-destructive art. Miller refers to all science- and technology-influenced art as “artsci,” with the caveat that the term is inadequate and should eventually be replaced by just “art.” Profiles of artsci artists form the foundation of his book, upon which he builds a philosophically rich study of creativity and aesthetics.

Undeniably, some of the art is out there. Injecting oneself with horse blood or cow bones seems, well, extreme.

Some of it complicates centuries-old presumptions, such as that an artist is a person who creates art. (Can a computer create art? Can codes have the same function as paintbrushes?) And nearly all of the works demand context. A viewer looking at a set of rippling sculptures, for instance, will not be able to fully appreciate the piece without knowing that the peaks and valleys correlate to data of Twitter messengers’ fluctuating emotions during the 2012 Olympics.

But then, art that pushes boundaries — and, in this case, blurs them — has never been easily embraced or understood. Miller’s accessible explanations of high-level scientific concepts bring clarity, but what really makes his book lucid is the historical context in which he places artsci. Art and science were not always so far apart. For artists such as Giotto, Leonardo da Vinci, and Albrecht Dürer, art and science prompted “the same spirit of inquiry and with the same creative fire.” The Industrial Revolution heralded something of a split between fine arts and crafts, with technology aligning with crafts after 16

PASATIEMPO I July 18-24, 2014

World War II. Although crafts held a lower status, art was now, in some senses, a pastime. Cubism, Surrealism, and the other art movements of the first half of the 20th century began again to directly address scientific concepts, and in the 1960s, the New York avant-garde fruitfully collaborated with scientists, including those at New Jersey’s Bell Labs.

As William Latham, an artist interviewed by Miller who “plagiariz[es] the natural world” with his evolutionary art, says, “It’s time to go back to a Renaissance collaboration of artificial intelligence, geometry, and math [with art].”

And so artsci is advancing into the future and receding into the past. It seems to upend logic. In physics, there is no way to reconcile quantum theory and relativity, and within quantum theory, molecules can be either waves or particles, depending on how an experiment is set up.

Logic again seems to have absconded, ceding to mystery.

The art form so influenced by physics and other sciences isn’t too different from them — it spans past and future, crosses different dimensions, creates new perceptions, spurs imagination, at times seems illogical, and is consistently enlightening.

Because there are too many instances of these wondrous features and dynamics to include here, one example will have to suffice.

For Light, Only Light (2004), Japanese artist Jun Takita had an MRI brain scan, which he converted to a three-dimensional sculpture using a computer. Takita then covered the sculpture with green bioluminescent moss developed for him by scientists at Leeds University. The result is an effulgent “glowing garden” of a brain, making concrete the notion of brain as light-emitter.

Miller gives due attention to the practical elements of the interplay between art and science. In one particularly thrilling chapter, he describes the scandalous affair of a cache of alleged Jackson Pollock paintings discovered in 2002, whose authenticity came down to analyzing fractal patterns. Elsewhere Miller considers the place of artsci in the gallery world. It seems a long way off that art made of microscopic motes or urban soundscapes will fill a collector’s home. (Takita’s pieces cannot be sold because of their biogenic material.) Many of the artists profiled are dismissive of the gallery world, which they find to be narrow-thinking and old-fashioned, as, surely, Van Gogh found the dealers who rejected his works to be. Yet artists must earn a living, an issue addressed by Miller. Companies such as Microsoft and Google have seen the innovations of forward-thinking art and responded with valuable funding, and research institutions like CERN in Switzerland, home of the Large Hadron Collider, have begun offering artist residencies. The CERN physicists may come to both enjoy and bemoan this program — the first artist in residence had them run around the parking lot like elementary particles.

Colliding Worlds is an apt title. There is force behind what is happening. This is not art of complacency or expressions of beauty for beauty’s own sake: those who engage with it will find true amazement.

— Grace Labatt

SUBTEXTS Bird boy It’s hard not to think of the late Gabriel Garcia Márquez and his One Hundred Years of Solitude when reading Porochista Khakpour’s excellent new novel, The Last Illusion (Bloomsbury). Her story is a world apart from Márquez’s, but the two books shares some qualities.

Opening in rural Iran before shifting to New York City, The Last Illusion has the same sense of regional character that Marquez created in his fictional Macondo.

Khakpour’s first sentence — “Exactly once upon a time in a small village in northern Iran, a child of the wrong color was born” — carries the weight and expectation of Márquez’s famous man facing a firing squad, recalling the distant day his father took him to discover ice. Like Márquez, Khakpour is a magical realist who believes that the closer to reality the magic is, the more fantastic is its effect.

Old spawn, caged birds, and a mother who believes her newborn son is a demon set the stage. Khanoom is 47 when she gives birth to Zal, conceived with her husband on his deathbed. The story, as explained in a short preface, parallels a great Persian epic, the Shahnameh, or Book of Kings, written a thousand years ago. One of its stories is about an albino boy raised by birds. Khanoom removes her baby, its skin “the color of ... piss,” to a cage furnished with shredded newspaper and a bowl of seeds. There he stays for 10 years. The majority of the book follows Zal to paranoid, pre-Y2K New York, where he’s adopted by a behavioral analyst and falls in love. He meets a master magician and illusion builder whose unspecified new trick is as close to real as it gets. Khakpour reads at 6 p.m. on Thursday, July 24, at Collected Works Bookstore (202 Galisteo St., 505-988-4226). — Bill Kohlhaase

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Wheelwright Museum OF THE AMERICAN INDIAN

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SF Watershed Fundraiser July 23 from 5-9 p.m.

Here Comes the Storyteller!

Joe Hayes Returns to the Wheelwright Museum!

Santa Fe’s premier storyteller is back with stirring tales of the great Southwest. A favorite event for all ages!

T H E W O O D CA R E S P E C I A L I S T A n t i q u e s F i n e F u r n i t u re K i t ch e n s B u i l t - i n C a b i n e t r y !

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July 19 through August 10, 2014 Saturday and Sunday Evenings at 7:00 p.m.

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OR VISIT OUR NEW LOCATION

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

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704 Camino Lejo • Museum Hill | 505-982-4636 | www.wheelwright.org

community matters

A New CommuNity GAtheriNG PlACe ComiNG this FAll

santa Fe Place is getting a New Center Court!

• New stone Fireplace • New seating • New Carpet • Free wi-fi • New Paint and lighting Visit santaFePlace.com for updates and details.

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Beethoven, Bach, and beyond James M. Keller The New Mexican

Joy Campbell: Musical Notes I, Altered Pages; opposite page, The Little Hunters, Altered Music, courtesy the artist and Vivo Contemporary

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PASATIEMPO I July 18-24, 2014

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his week the Santa Fe Chamber Music Festival begins its 42nd installment, which will purvey about 100 compositions in the course of 38 performances in town before it reaches its conclusion on Aug. 25 — not counting four youth concerts, four run-outs to Albuquerque, and some public reading sessions with young composers. Bach, Beethoven, and Brahms all make out pretty well in the programming this year, at least ostensibly. At first glance, Bach seems to be the focus of five concerts in a series called Bach Plus. Of the bunch, a July 26 recital by pianist Benjamin Hochman holds particular promise, comprising as it does two of the composer’s not overvisited keyboard partitas and, by way of surprising contrast, a little-played Bach-inspired suite written in 1952 by dodecaphonist Luigi Dallapiccola, the Quaderno Musicale di Annalibera. But Bach Plus ends up being as much “plus” as “Bach.” Two of the Bach Plus programs contain no music at all by Johann Sebastian — mysterious, no? — and two others divide between them his six Brandenburg Concertos in what will be at least the fourth complete go-round of that set hereabouts in the course of the past year. All things considered, it might be more accurate to think of this series as Half Bach rather than Bach Plus.

The programmatic focus that will be played out most forcefully this year, particularly during the final week of the season, involves late works by Beethoven. Like Bach, Beethoven is hardly underrepresented in town throughout the year, but the compositions of his late period hold considerable challenge for performers and are accordingly doled out mostly on special occasions. The idea that Beethoven had a definable “late period” took hold among commentators practically as his coffin was being lowered into the ground, and it was soon embraced to mean the works he wrote from about 1813 through his death in 1827 — or, to translate that into opus numbers (at least those that correctly reflect the compositions’ chronology), from about op. 90 to op. 135. Even after nearly two centuries of refinement, the “periodicity” of Beethoven’s production remains largely accepted. Most

musicians and historians can agree that the style of the last period often displays radical structural innovation, superdense knitting of material, abruptness of musical contrast, lyrical passages of remarkable abandon, and abiding fascination with the dramatic power of fugue. In the course of the coming six weeks, listeners will be able to catch an extensive representation of these visionary pieces. Of his late string quartets, the festival presents those in A Minor (op. 132), played by the Orion String Quartet on July 31, and in F Major (op. 135), played by the Dover Quartet on Aug. 20. Of his late piano sonatas, we are given those in E Major (op. 109), by Joseph Kalichstein on Aug. 20; in A-flat Major (op. 110), by Alessio Bax on July 29; and in C Minor (op. 111), by William Kinderman on Aug. 22. From elsewhere in his piano oeuvre come his Bagatelles (op. 126), performed

by Kalichstein on Aug. 20, and his Diabelli Variations (op. 120), offered by Kinderman on Aug. 22. Back to the realm of chamber music proper, listeners may encounter his G-Major Violin Sonata (op. 96) on Aug. 21, featuring Benjamin Beilman, and his D-Major Cello Sonata (op.

102, no. 2) on Aug. 21, with Ronald Thomas — in both cases assisted by Kalichstein. His Archduke Trio (op.

96) also gets worked through on Aug. 21, and his Ghost Trio (op. 70, no. 1) makes an appearance on Aug. 24, both standing near the starting point of the late style.

Even a chamber music rarity gets a brief moment in the sun: the D-Major Fugue for String Quintet, a work composed in 1817 but not published until shortly after the composer’s death, when the publisher assigned it the opus number 137; violist Cynthia Phelps will assist the Dover Quartet in dusting it off on Aug. 20. If that’s not enough Beethoven for you, you might also dip into a couple of his much earlier compositions, his Piano Quartet (op. 16) on July 24 and his Clarinet Trio (op.

11, with David Shifrin) on Aug. 6.

When the “three B’s” were originally advanced as a cliché of music appreciation, by composer Peter Cornelius in 1854, the reference was to Bach, Beethoven, continued on Page 20

Dover Quartet

Jon Nakamatsu

It happens at noon: Jon Nakamatsu Among the most popular offerings of the Santa Fe Chamber Music Festival are its noon concerts, of which there will be 11 this season, five of them being solo piano recitals. The first arrives on Tuesday, July 22, when pianist Jon Nakamatsu plays an allSchumann program that comprises the beloved song “Widmung” (in Liszt’s piano transcription) and the piano cycles Papillons (op. 2) and Carnaval (op. 9). Nakamatsu, a California native, earned the gold medal at the 1997 Van Cliburn International Piano Competition. This evoked considerable comment at the time in that he had not attended a conservatory but rather was a Stanford graduate (bachelor’s in Germanic studies, master’s in education) who happened to also play the piano remarkably well. Although he has built a sturdy career since then, he tends to be viewed as a “connoisseur’s pianist” rather than one to milk the last ounce out of a potboiler — which is not to say that he can’t let loose a storm of energy when it is required. In addition to his solo career, he serves (with clarinetist Jon Manasse, his frequent collaborator) as co-artistic director of the Cape Cod Chamber Music Festival; in fact, the two will give a duo recital there just five days after Nakamatsu’s concert here. He has by now been featured on a dozen CDs on the Harmonia Mundi label, which in general is drawn to artists who stress artistic insight over razzle-dazzle. His most recent CD, released just this past March, includes both Papillons and Carnaval, in addition to Schumann’s G-Minor Piano Sonata, so we can be assured that he has been pondering these pieces for some time.

Nakamatsu’s recital takes place at St. Francis Auditorium at the New Mexico Museum of Art (107 W. Palace Ave.), which is the location of most of the festival’s concerts through Aug. 14, after which the center of activity shifts to the Lensic Performing Arts Center. Tickets can be arranged through the festival’s website (www.santafechambermusic.com) or by calling its box office at 505-982-1890 or 888-221-9836, Ext. 102. Ticket prices vary depending on the event; for Nakamatsu’s recital, they range from $20 to $25. — J.M.K.

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20

PASATIEMPO I July 18-24, 2014

SF Chamber Music Festival, continued from Page 19 and Berlioz. It was the conductor and pianist Hans von Bülow who later massaged that formulation into the enduring assemblage of Bach, Beethoven, and Brahms, thereby rendering the A-list totally Teutonic.

The festival isn’t marketing Brahms as a focal point of its season, but he pops up so persistently that you could easily carve out a Brahms itinerary if you were so inclined. The track would begin with the season opener, which takes place Sunday and Monday, July 20 and 21 — a program that concludes with Brahms’ Piano Quartet in G Minor (op. 25), the piece Arnold Schoenberg so adored that he scaled it up into an orchestral version. The next stop would be the July 31 recital in which cellist Joseph Johnson and pianist Victor Santiago Asuncion interpret both of the composer’s cello sonatas; and then the journey would touch down on Aug. 12 with his thorny String Quartet No. 1 (performed by the Johannes String Quartet, who take their name from you know who), on Aug. 17 with his Piano Quintet, and on Aug. 24 with his String Sextet No. 1. Working out from there, you might take in several pieces

by Robert Schumann, who championed the young Brahms, and by Antonín Dvoˇrák, for whom Brahms in turn served as mentor. Pianist Jon Nakamatsu is the first of the festival’s musicians to perform Schumann, which he will do Tuesday, July 22, at noon; and on Aug. 7, hornist Philip Myers, assisted by Asuncion, plays Schumann’s Adagio and Allegro for horn and piano (the horn, by chance, being one of the instruments Brahms mastered as a developing musician).

From Dvoˇrák, we hear two evergreens: the Piano Quartet in E-flat Major (op. 87) on Aug. 7 and the Piano Quintet in A Major (op. 81) on Aug. 25 as the concluding work on the season’s final concert.

So far as personnel goes, many of the season’s names are festival regulars of long standing. On one hand, one might wish for a more prominent infusion of new blood, which is certainly in abundant supply during this golden age for chamber music. On the other hand, bringing back a core of the same musicians year after year can at least improve the likelihood that the participants in the constantly shifting

ensembles enjoy past acquaintance with one another’s styles. Still, such pro tempore assemblages rarely project the single-minded blending of aspiration and technique that marks the most accomplished of self-standing chamber ensembles. Several independent groups do figure on this year’s programs, all of them string quartets: the Dover (the most fresh-faced of the bunch, hot off their win at the 2013 Banff International String Quartet Competition), the FLUX, the Johannes,

Yefim Bronfman

the Orion, and the O’Connor, the last being a foursome led by folk-crossover fiddler Mark O’Connor. Apart from their performances, most of the festival’s programs sport mix-’n’-match assemblages, some of which seem more destined for success than others.

Although the festival has not appointed a composer-in-residence this year, aficionados of contemporary music will be able to hear several pieces co-commissioned by the organization: on July 31, the String Quartet No. 2 by Brett Dean (with a fifth part for soprano, here Tony Arnold); on Aug. 7, Lowell Liebermann’s Four Seasons (for mezzo-soprano and an instrumental quintet, with Sasha Cooke as singer and Liebermann as pianist); on Aug. 7 and 8, Julian Anderson’s String Quartet No. 2. All of these pieces have already been premiered elsewhere. Other compositions written since 2010 include a further work by Dean, one by Poul Ruders, and brand-new string quartets by emergent 20-something composers Ryan Chase and Tonia Ko. A festival season would seem somehow incomplete if it did not include a piece by Marc Neikrug, the organization’s artistic director. This year, that exaction will be met by the season’s artist-inresidence, pianist Yefim Bronfman, who will include Neikrug’s 2008 piano solo “Passions, Reflected” in his Aug. 19 recital, along with Prokofiev’s Piano Sonata No. 6. ◀

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PASA REVIEWS David Lindsay-Abaire’s Good People Santa Fe Playhouse, July 13

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Wheelwright Museum OF THE AMERICAN INDIAN

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Case Trading Post Celebration!

July 19 Join us in celebrating the opening of the Case Trading Post Gallery with an unveiling of a painting created especially for us

by Ben Harjo Jr. and a sales show of his work in the new space.

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Artist present until 2:00 p.m.

704 Camino Lejo • Museum Hill | 505-982-4636 | www.wheelwright.org

22

PASATIEMPO I July 18-24, 2014

here’s a lot of thinly disguised shame thrown around in David Lindsay-Abaire’s Tony-nominated drama Good People. As it opens, Margie (Lynn Goodwin) is being fired for being chronically late by Stevie (Matt Sanford), the manager of the dollar store where she works.

Margie pins her lateness on the needs of her disabled adult daughter, Joyce.

When this doesn’t work, she begins to tell the story of Stevie’s mother’s failed attempt to steal a turkey, with its well-known punch line. This intimate memory of a boy’s mother, meant to show closeness and the love Margie had for her, is targeted to shame Stevie for his actions. Margie’s fired anyway.

We may all think we’re good people, but we’re probably not, is the takeaway from this production, a collaboration between Ironweed Productions and Santa Fe Playhouse. It’s a play about delusion, about how we think of ourselves despite our actions. That it’s framed in regional terms — Lindsay-Abaire’s childhood home of South Boston — adds complications of race and class. Being from “Southie” goes a long way toward defining one’s character, and Margie exhibits both good and bad aspects of that background. She’s determined and resourceful and keeps up an optimistic front even as her life spirals slowly out of control. You can see this in the face of Goodwin’s Margie as she smiles unconvincingly in her attempts at showing courage, or when furrowing her brow in worry over some pregnant remark that isn’t having its intended effect. Goodwin also captures Margie’s insecurity, a subtle quality because it is hidden. She doesn’t overplay a Boston accent, or nervous laughter.

Margie has the company of old neighborhood friends, who join her in the good-people delusion as they drink coffee and play bingo. Dottie, her landlord, played in clever fashion by Leslie Harrell Dillen, manages a sweet facade even as she threatens Margie with eviction. And Margie is not above shameful behavior. Looking for work, she visits Mike, a high school flame who is now a doctor, and shames him into inviting her to his home for his birthday party. Mike, played by Scott Harrison, Ironweed’s artistic director, is envied for his escape from Southie. Most of the second act of the play takes place in his living room after Margie, thinking she’s been lied to, shows up for the party even though Mike has called to cancel. Goodwin is superb at showing Margie’s struggle to remain matter-of-fact after discovering that Mike is now married; his wife is African American. Events from the past — who is the real father of Margie’s daughter?; a young Mike nearly beating a black kid to death on a playground — complicate things, and there’s enough shame to go around. Some of it might even fall on us.

Director Wendy Chapin’s measured direction swings between glimpses of rushed revelation and slow, quiet moments while it all sinks in.

Chadney Everett’s stage design utilizes every corner and, with minor adjustments, is both low-rent Southie apartment and high-class doctor’s house on Chestnut Hill. The best part of the production is the ease with which the characters relate to each other, whether that’s in the form of gossipy, passive-aggressive put-downs among Margie, Dottie, and Jean (Donna Scheer) or Mike’s visibly suppressed discomfort as his world begins to crumble. In the end, they’re all good people, one of them for real.

— Bill Kohlhaase “Good People” continues at 7:30 p.m. Thursdays, Fridays & Saturdays and at 4 p.m. Sundays through July 27. Call 505-988-4262 or visit www.santafeplayhouse.org for reservations.

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TERRELL’S TUNE-UP Steve Terrell

Only the good die young

Four out of five Rolling Stones who appeared on the band’s first album are still alive. Half of The Beatles, half of The Who, and half of The Velvet Underground are still with us. All of the Sex Pistols except Sid Vicious still walk the earth. And yet all four of the original Ramones have died. Last week Tommy Erdelyi — a native of Hungary who became the group’s first drummer after a short stint as its manager — died of bile duct cancer. Cancer took Tommy, Joey, and Johnny.

Drugs got Dee Dee. Horrible, miserable demises for musicians whose work was so full of joy and crazy energy. All the Ramones who played on those first three albums — Ramones, Leave Home, and my favorite, Rocket to Russia; the four guys who gave the world songs like “Cretin Hop,” “Sheena Is a Punk Rocker,” “We’re a Happy Family,” “Beat on the Brat” — all are gone. The Ramones are dead. Long live the Ramones!

I got to see them in person only once. That was back in July 1996 (nearly 20 years after Tommy had left the band and long after Dee Dee left as well).

This was at a Lollapalooza festival, and they weren’t even the headliners. The Ramones sounded fine, but it was not a pleasant show. Brutal is too kind a word for the 107-degree Arizona heat that day. And worst of all, the Ramones’ set was cut short by a vicious windstorm. Joey Ramone had joked onstage about the venue — a horrible, dusty desert hellhole known as Compton Terrace — being built on an ancient pet cemetery. (This of course was right before the band launched into its song “Pet Sematary,” from the horror

The Ramones: from left, Johnny, Tommy, Joey, and Dee Dee

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PASATIEMPO I July 18-24, 2014

movie adapted from the Stephen King novel.) Soon after Joey’s little joke came the dark clouds and the blasting winds. The stage lights and sound monitors suspended above were swaying ominously. I wrote in my review of the festival, “While it might be the cool rock ’n’ roll way to die, being crushed by a giant speaker in front of a cheering mosh pit, that is not the way Joey planned to say adios, amigos.” According to the website setlist.fm, the Ramones made it through 16 songs that day in Arizona. At most other Lollapalooza shows they did 21. So maybe we were cheated out of only five songs. At least I got to see them do “Blitzkrieg Bop,” “I Wanna Be Sedated,” “Teenage Lobotomy,” and their cover of the Spider-Man theme song, a latter-day Ramones favorite. That would be the group’s last tour.

Joey died five years later. Johnny soon followed, as did Dee Dee. And now, Tommy.

The influence of the Ramones on rock ’n’ roll in the past 40 years cannot be underestimated. Although the punk rock movement they helped spawn definitely had its own excesses, it was a much-needed corrective force for popular music in the mid- to late ’70s.

In fact, whenever rock ’n’ roll gets too heavy and serious and self-important and gloomy, the musicians behind it should ask, What would the Ramones do? In recent years, at least three songs about that very concept have popped up. In 1999 a band called The Huntingtons recorded “What Would Joey Do?” in which they asked what he’d do “about the state of rock ’n’ roll.” (They also did an album of all Ramones covers.) More recently, The Creeping Ivies recorded

“What Would Joey Ramone Do?” which airs similar complaints about lousy radio and TV. And just a few years ago, a friend of a friend, a guy named Scott Orr, had a stripped-down lo-fi tune called “WWJD.” (It’s about Joey, not Jesus.) But these are only a small subgenre of songs about the Ramones. Here are my favorite Ramones tribute songs by musicians who felt they owed something to those oddballs from Queens. ▼ “R.A.M.O.N.E.S.” by Motörhead. Lemmy Kilmister’s big blasting tribute to the brothers first appeared on Motörhead’s 1916 album in the early ’90s.

The Ramones liked it so much that they recorded two versions of it themselves. ▼ “I Heard Ramona Sing” by Frank Black. This tune, on Black Francis’ first solo album, Frank Black, is a sincere tribute, even though it sounds a lot more like the Pixies, which had just broken up, than the Ramones. It tells of a young guy’s first encounter with the boys from Queens: “I had so many problems/ Then I got me a Walkman ... I heard Ramona sing, and I heard everything.” By the end of the song, Black expresses the hope that the Ramones keep replenishing themselves like a certain Puerto Rican boy band of that era: “I hope if someone retires/They pull another Menudo,” he sings. If only … ▼ “I Wanna Be Your Joey Ramone” by SleaterKinney. This 1996 ode appeared on Sleater’s Call the Doctor album. Singer Corin Tucker wants to be your Joey — “Pictures of me on your bedroom door,” that is — but halfway through the song she also wants “to be your Thurston Moore.” What gives here? ▼ “Dancing With Joey Ramone” by Amy Rigby.

Another song specifically about the singer of the band, Rigby’s is a bittersweet, rocking fantasy that was released on her Little Fugitive album a few years after Joey’s death. “I tried to say something, he said, Girl, shut your mouth, they’re playin’ ‘Papa Was a Rolling Stone’/Last night I was dancin’ with Joey Ramone.”

The lyrics include a great playlist with such venerated oldies as “The Worst That Could Happen” by Brooklyn Bridge, “He Hit Me and It Felt Like a Kiss,” “Glad All Over,” and “Needles and Pins.” (The Ramones themselves covered that last Jackie DeShannon classic.) I’m sure Joey would have loved to dance to any of those. ▼ “Our Ramones” and “Ramones Forever” by The 99ers. Yes, this Minnesota band has two different songs on two different albums celebrating Mama Ramone’s baby boys. I prefer the latter one, which is from the 2011 album Everybody’s Rocking. ▼ “Remember the Ramones” by The Fleshtones.

Released earlier this year on The Fleshtones’ most recent album, Wheel of Talent, this rouser is a sweet tribute from a fellow New York band that started out at about the same time as the Ramones. It’s with complete sincerity that The Fleshtones sing, “You don’t know what it means/To hit the Bowery and make the scene/ For a rock ’n’ roller and a kid from Queens.” ◀

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PASATIEMPO I July 18-24, 2014

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PASA TEMPOS

album reviews

JEAN-LOUIS MATINIER AND MARCO AMBROSINI Inventio (ECM) Inventio is a strange collaboration, with unlikely instruments in a program that matches compositions ranging back to the 16th and 17th centuries with recent pieces from the recording’s principals — Jean-Louis Matinier and Marco Ambrosini — that occasionally sound as if they’re performed on electronic instruments. (They’re not.)

Matinier plays the accordion in ways that occasionally recall the instrument’s romantic implications while avoiding any pretense to the traditional ethnic music that has adopted it. He teams with Ambrosini, who plays the nyckelharpa, a Swedish folk instrument that uses a short bow on strings and whose pitch is controlled by depressing keys along its neck. Its sound, though much like a violin, is more raw and resonant. Both instruments have orchestral capabilities (the nyckelharpa has drone, melody, and a dozen resonant or harmonic strings), and their overlapping tones can be especially rich and pleasant, as on “Siciliènne,” a meditative piece so blended that it sounds as if it comes from a single instrument. As arranged by Matinier and Ambrosini, “Inventio 4,” from J.S. Bach’s Two-Part Invention No. 4 (BWV 775), becomes an intense dance that moves between major- and minor-key feels. The stateliness of Giovanni Battista Pergolesi’s “Qui Est Homo” contrasts with the racing, persistent pulse of the duo’s “Taïga.”

Inventio, a gorgeous recording, makes a seamless, atmospheric program of old and new. — Bill Kohlhaase MESHELL NDEGEOCELLO Comet, Come to Me (Naïve) In the Lilith Fair days of the 1990s, singer, songwriter, and bassist Meshell Ndegeocello appeared to be the next generation of funk — Sly Stone and Bill Withers with a little bit of hip-hop and Ani DiFranco; Lauryn Hill just before Lauryn Hill. For whatever reason, her career stalled shortly after takeoff. Blame it on her being a bisexual African American woman without Beyoncé’s looks if you will; there is perhaps merit to that. Or you can blame it on the fact that she chases one gnarly muse. Comet, Come to Me is the latest proof of this. The ambitious album features pop composition executed at a very high level, in which instruments play off one another beautifully, dropping away and slinking back in, wrapping around one another and drawing out each other’s strengths. Ndegeocello also rescues reggae from the frat-house corner it’s been stuck in; the deep bass, snare rolls, and up-strumming of guitars of “Forget My Name” and the sprightly piano and shuffling organ of “Comet, Come to Me” remind us how seductive that music can be.

She also channels Joan Armatrading on the rock song “Continuous Performance” and stretches out in the luxurious, thoughtful ballad “Choices.” The album’s only weak moment is its opening track — a cover of Whodini’s rap classic “Friends,” which doesn’t quite coalesce. It’s also the most ambitious moment, proving once more how challenging a muse can be.

— Robert Ker

Santa Fe Chamber Music Festival: The First Two Weeks!

All concerts this week @ SFA: St. Francis Auditorium at the New Mexico Museum of Art, 107 W. Palace Ave.

SCHUBERT & BRAHMS

BEETHOVEN & SHOSTAKOVICH

YOUTH CONCERTS – FREE!

JUL 20 + 21

JUL 24

MON JUL 21 10 AM @ SFA

SUN + MON 6 PM @ SFA

THU 6 PM @ SFA

Savor the magical sound of Schubert in his String Trio in B-flat Major. Also, rising star pianist Alessio Bax and a stellar ensemble perform the fiery Brahms Piano Quartet No. 1 in G Minor!

Be there for Beethoven’s elegant Piano Quartet in E-flat Major with Jennifer Frautschi, Hsin-Yun Huang, Wilhelmina Smith, and Benjamin Hochman and Shostakovich’s Piano Trio No. 2. And composer Brett Dean plays his own Sketches for Siegbert.

MONDAY CONCERT SPONSORED BY OMAHA STEAKS

Percussion Ensemble: Joseph Ferraro, Angela Gabriel, Robert Klieger, Gregg Koyle, Jeffrey Milarsky, and David Tolen

MON JUL 28 10 AM @ SFA Jennifer Frautschi, violin Hsin-Yun Huang, viola Wilhelmina Smith, cello

Incredible Variety.

Beloved Favorites.

Dazzling Discoveries.

The Festival Season begins!

Join us as the world’s most celebrated chamber musicians come together to perform some of the world’s greatest chamber music!

Sunday, July 20 and Monday, July 21 at 6pm in the St. Francis Auditorium our opening concerts include Schubert’s String Trio in B-flat Major performed by violinist Jennifer

MUSIC AT NOON noon @ SFA

BREAKING BACH

JUL 26

HAYDN, LIGETI, MENDELSSOHN

Generously sponsored by the Edgar Foster Daniels Foundation

SUN + MON 6 PM @ SFA

Celebrated pianist Benjamin Hochman plays two sonically charged, dance filled Bach Partitas and Dallapiccola’s virtuosic Quaderno Musicale di Annalibera.

High-spirited trios by Haydn and Ligeti! And Mendelssohn’s rich, dramatic String Quintet No. 2 performed by violinists William Preucil and Jennifer Frautschi; violists Brett Dean and Hsin-Yun Huang; and cellist Mark Kosower.

SPONSORED BY THORNBURG INVESTMENT MANAGEMENT

MONDAY CONCERT SPONSORED BY OMAHA STEAKS

and cellist Wilhelmina Smith. Get a first look at sizzling pianist Alessio Bax in an outstanding ensemble featuring William Preucil, violin; Hsin-Yun Huang, viola; and Mark Kosower, cello playing the

JUL 27 + 28

SAT 5 PM @ SFA

Frautschi, violist Hsin-Yun Huang,

beautiful, gypsy-influenced Brahms Piano Quartet No. 1 in G Minor.

TUE JUL 22

Be sure and select your Music at Noon seats soon – tickets are

JON NAKAMATSU PIANO RECITAL

going fast! There’s an amazing

Featuring the beloved music of Robert Schumann, including Widmung; Papillons, Op. 2; and the fantastic Carnaval, Op. 9.

concert experience waiting for you now through August 25!

THU JUL 24

MENDELSSOHN & BRETT DEAN Mendelssohn’s passionate Trio No. 1 performed by William Preucil, Mark Kosower, and Jon Nakamatsu. And Brett Dean’s moving Sextet, “Old Kings in Exile.”

ORION STRING QUARTET

ALL HANDEL

JUL 31

AUG 2

THU 6 PM @ SFA

Pre-Concert Talk: 5 pm @ SFA The Orion String Quartet returns to perform the world premiere of Brett Dean’s String Quartet No. 2, “And once I played Ophelia” and Beethoven’s transcendent String No. 15 in A Minor.

SPONSORED

BY Quartet THORNBURG INVESTMENT MANAGEMENT

SAT 5 PM @ SFA The extraordinary music of George Handel with Grammy award-winning mezzo-soprano Sasha Cooke performing La Lucrezia. Also his renowned Piano Suite No. 5, “The Harmonious Blacksmith” and Flute Sonata in C Major.

TUE JUL 29

ALESSIO BAX PIANO RECITAL

Marc Neikrug, Artistic Director

Masterworks by Beethoven, Mussorgsky, and Rachmaninoff. “Perhaps the most elegant of today’s young pianists.” — The New Yorker

RESERVE YOUR SEATS NOW!

THU JUL 31

505.982.1890

ALL BRAHMS

Fascinating and transcendent music by Brahms!

Sonatas Nos. 1 and 2 for Cello and Piano, performed by pianist Victor Santiago Asuncion and cellist Joseph Johnson.

SantaFeChamberMusic.com Ticket Office: NM Museum of Art, 107 West Palace Avenue

SPONSORED BY THORNBURG INVESTMENT MANAGEMENT

The Santa Fe Chamber Music Festival is funded in part by the National Endowment for the Arts, the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax, and New Mexico Arts, a division of the Office of Cultural Affairs.

PASATIEMPOMAGAZINE.COM

27

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28

PASATIEMPO I July 18 - 24, 2014

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ON STAGE Tour de force: Juan Siddi Flamenco

Juan Siddi Flamenco has moved on up to the Lensic Performing Arts Center (211 W. San Francisco St.).

Under a new affiliation with Aspen Santa Fe Ballet, the company now tours instead of working six nights a week all summer in Santa Fe. The Lensic performance at 8 p.m. on Friday, July 18, offers a glimpse of Siddi’s new improved company, with an expanded cast of 13 dancers, singers, and musicians. “Imagine five girls in long trains dancing on stage at the Lensic,” Siddi said. Tickets, $25 to $72, are available by calling 505-988-1234 or visiting www.ticketssantafe.org. — M.W.S.

Playing with fire: music by Huang Ruo

The Santa Fe Opera premiere of Huang Ruo’s Dr. Sun Yat-sen is still a week away, but music lovers interested in discovering other pieces in his expansive catalog will get an hourlong chance at 4 p.m. on Sunday, July 20, at Stieren Orchestra Hall on the opera company’s campus (seven miles north of Santa Fe on U.S. 84/285). The cutting-edge Del Sol String Quartet will perform his String Quartet No. 3: Calligraffiti, which is said to explore the duality of the composer’s experiences in China and in New York through the prism of the visual art forms of calligraphy and graffiti, and participate in his Yueh Fei for eight players.

Soprano Devon Guthrie assists the foursome in his Elegy, and the composer sings with a combination of Chinese and Western instruments (drawn from his own FIRE Ensemble as well as from Albuquerque’s Chatter) in a performance of his Flow. Tickets, $15, are available at the door. Call 505-986-5900. — J.M.K.

A fine romance: An evening with Brahms

Choral music enjoyed a vogue in much of Europe during the 19th century, but it reached a pinnacle in Germany. Choral societies of various sorts were founded in all of its major cities, sometimes taking the form of civic or university chorales, sometimes as all-male or all-female groups. One of the richest troves of Romantic choral music came from Johannes Brahms, who held a job directing a women’s chorus in Hamburg from 1859 to 1861. Joshua Habermann leads the Santa Fe Desert Chorale in a cappella and pianoaccompanied songs from six of Brahms’ choral collections, including selections from both volumes of his Zigeunerlieder (Gypsy Songs).

Pianist Debra Ayers assists and offers two of the composer’s op. 119 intermezzos as solo items.

The program is unveiled at 8 p.m. on Tuesday, July 22, and is reprised at the same hour on July 26, July 31, and Aug. 1, in every case at the First Presbyterian Church, 208 Grant Ave. Tickets ($20-$55) are available through the Desert Chorale’s box office (505-988-2282; www.desertchorale.org). — J.M.K.

THIS WEEK Sweet swan of Avon: Shakespeare x 2

Shakespeare is always in season, but this week brings Santa Feans a double dose.

The Santa Fe Shakespeare Society launches a three-weekend run of its Summer Shakespeare, which this time around ushers viewers into the wacky Forest of Arden for As You Like It, directed by Jerry Ferraccio. Plan on an al fresco performance (chairs and picnic tables provided) on the campus of Monte del Sol Charter School (4157 Walking Rain Road), but be comforted in the knowledge that the show will go on — moved to an inside location — in the event of inclement weather. Performances take place at 6 p.m. on Friday through Sunday, July 18 to 20, and continue the next two weekends, through Aug. 3 (no performance July 27). Tickets ($5 to $20) are available on-site. Dogs and alcohol are not welcome. For information, call 505-490-6271.

Also this week, Shakespeare aficionados will convergeontheJeanCocteauCinema(418Montezuma Ave.) for screenings of Henry IV, Part Two, broadcast from the Royal Shakespeare Company in Stratford-upon-Avon. The production, directed

by Gregory Doran, stars Antony Sher as Sir John Falstaff, Jasper Britton as the title character, and Alex Hassell as Prince Hal. Screenings take place at 4 p.m. on Saturday, July 19; 3 p.m. on Sunday, July 20; and 7 p.m. on Tuesday, July 22.

For information or to reserve tickets, call 505-466-5528. — J.M.K.

PASATIEMPOMAGAZINE.COM

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30

PASATIEMPO I ????????? ??-??, 2014

This weekend, Santa Fe Opera unveils the fourth of this season’s productions, a double bill comprising an adaptation of Mozart’s The Impresario (Der Schauspieldirektor) and Stravinsky’s Le rossignol (or Solovyei, or The Nightingale).

at the opera The Impresario

Music by Wolfgang Amadè Mozart. Libretto by Johann Gottlieb Stephanie.

Premiere: Feb. 7, 1786, Schönbrunn Palace, Vienna. Sung in English.

Le rossignol

M

Music by Igor Stravinsky. Libretto by the composer with Stepan Mitusov, after a tale by Hans Christian Andersen.

Premiere: May 26, 1914, Palais Garnier, Paris. Sung in Russian.

ozart’s miniature opera The Impresario (Der government positions without ethnic bias, and estab- event. The party celebrated a visit by Joseph’s sister Schauspieldirektor in its original German) lishing merit-based promotions for state employees. Marie Christine and her husband, Duke Albrecht of falls under the rubric of “occasional music,” Not all of these advances survived his death in 1790, Sachsen-Teschen, who jointly served as regents of a factor that usually discourages the on- and even during the ’80s the effects of his idealism the Habsburg territories in the Netherlands. The only going success of a musical composition. were considerably undercut by costly warfare against space in the imperial palace at Schönbrunn warm The term occasional is to be understood the Ottoman Empire and a teetering economy at home. enough to receive a very large crowd in the middle not in the accustomed sense of “now and This did not prevent him from paying careful attention of winter was the palace Orangerie, where noble then” but rather to signify “occurring on to the arts programs at his court in Vienna. In 1787 he attendees began arriving in a carefully orchestrated or created for a specific occasion or event.” undertook a reorganization of the court’s music depart- procession of carriages in the afternoon, returning to The Oxford English Dictionary their homes five hours later. The official THE OCCASION FOR WHICH MOZART WROTE THE IMPRESARIO WAS A offers a definition explicitly for artistic court protocol publication recorded: “Immediately upon their arrival at creations — “Of a speech, literary comsparkling one. Joseph II had been named Holy Roman Emperor in 1765, and 4 o’clock in the Orangerie a banquet of position, religious service, etc.: Produced beginning in 1780 he was the sole ruler of the Habsburg dominions of Austria. on, or intended for, a special occasion” — 82 covers was served at a table prepared History views him as a conand among the usage examples it tenin the middle; the Imperial Royal pages trolling but forward-looking ders is an item from an 1883 edition of serving. During the banquet, the Imperial monarch at a time that was the Manchester Guardian that bemoans and Royal Chamber Music performed generally challenging for kings somebody’s literary effort: “Some of his nearby with wind instruments.” verses are purely occasional and have no As soon as dinner ended, the room and queens. claim to stability.” was rearranged, and “his Majesty with By and large, occasional music is written his guests repaired to the theatre erected for its moment without much of a glance at the other end of the Orangerie, where toward posterity. It is not impossible for a German play with arias intermingled occasional music to cross over into the was performed. When this was finished, enduring repertoire, although it does the entire company repaired to the theso … very occasionally. Examples include atre at the other end, where an Italian Tchaikovsky’s 1812 Overture, composed singspiel was at once performed.” The for the consecration of a Moscow cathefirst of these, the German piece, was dral, and Sibelius’ Finlandia, written for a Mozart’s The Impresario; the second, the gala of the Finnish Press Pension Fund. Far more often, ment in a way that would support the two composers of “Italian singspiel,” was Salieri’s Prima la musica, poi a piece of occasional music serves its purpose and then his realm whom he admired the most: Antonio Salieri, le parole (First the Music, then the Words). Scenes is promptly forgotten or even lost. who since 1774 had served as court composer and con- from various popular plays were interpolated in the The occasion for which Mozart wrote The Impresario ductor of Italian opera, and Wolfgang Amadè Mozart, proceedings, and by the time the guests returned to was a sparkling one. Joseph II had been named Holy who was greatly applauded as a pianist and a freelance their homes — the reverse procession began at nine in Roman Emperor in 1765, and beginning in 1780 he was composer of wide-ranging abilities. As part of Joseph’s the evening — they had been treated to a lighthearted the sole ruler of the Habsburg dominions of Austria. restructuring, he named Mozart to the position of court manifestation of the complementary branches of the History views him as a controlling but forward-looking chamber musician (Kammer Musicus) in December lyric stage that figured in Joseph’s music unit, German monarch at a time that was generally challenging for 1787, and two months later he promoted Salieri to the and Italian opera. kings and queens (to wit, Joseph’s estranged sister position of court music director (Kapellmeister).

Both were one-act comic pieces, both featured the Marie-Antoinette of France and her husband, Louis leading performers of their respective wings, and XVI). During his decade as emperor, his achievements n important step on the path to these dovetailed both were based on operatic in-jokes involving conincluded banning serfdom, abolishing the death penalty, appointments took place on Feb. 7, 1786: a court flicts that arise between temperamental sopranos. aggressively supporting religious tolerance, making elefestivity that included the premieres of operas mentary education compulsory for all children, filling both composers had written specifically for the continued on Page 32

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Santa Fe Opera, continued from Page 31

Stravinsky in Santa Fe

Igor Stravinsky was 68 years old and a senior eminence of the music world when he first visited Santa Fe in July 1950. Scheduled to conduct two concerts a week apart at the inaugural Aspen Music Festival, he and his wife, Vera, filled the time in between by driving to Santa Fe with the duopianists Vitya Vronsky and Victor Babin, Tesuque residents who were their colleagues at Aspen. During the trip they also visited Frieda Lawrence in Taos, partied with the Witter Bynner circle, and took in the Corn Dance at Santo Domingo (now Kewa) Pueblo. Among their local acquaintances was Mirandi Masocco Levy, who cultivated a friendship with the Stravinskys and several years later introduced the composer to John Crosby, who was in the process of founding Santa Fe Opera. Quixotic venture that the creation of the opera was, the people supporting it agreed that the participation of someone famous couldn’t hurt, and Levy accordingly phoned Stravinsky and extracted his cooperation. His opera The Rake’s Progress was scheduled for the opening season, in the summer of 1957, and his attendance added luster to the fledgling enterprise. Wrote his biographer Stephen Walsh (in Stravinsky: The Second Exile), “It was typical of him that, where a youthful venture was in question and there was enthusiasm for his work but no apparent intention to overexploit his name and presence, he gave himself unstintingly to the common effort.”

Notwithstanding that Stravinsky encountered some physical issues because of the altitude, he returned to Santa Fe every year from 1959 through 1963. During those years, Santa Fe Opera presented six of his stage works — Mavra, Oedipus Rex, Perséphone (in its American premiere), Renard, and Le rossignol, in addition to The Rake’s Progress. In fact, all six were included in the 1962 season, conceived as a celebration of the composer’s 80th birthday. The festival opened on Aug. 1 of that year, with the composer himself conducting Le rossignol in a triple-bill with Mavra and Renard. Two ancillary concerts offered some of the master’s chamber works, and a program of his sacred music was put together at the Cathedral of St. Francis of Assisi, with the composer conducting his own Cantata (1952). A group of young composers was brought in for the duration of the festival to observe Stravinsky up close, and four eminent cultural figures — Milton Babbitt, Carlos Chávez, Roger Shattuck, and Virgil Thomson — were rounded up to deliver lectures on various aspects of the composer’s work. The Museum of New Mexico mounted an exhibition titled Stravinsky and the Dance that included designs by Picasso, Matisse, and Chagall. A congratulatory telegram arrived from President John F. Kennedy. “Santa Fe is my family,” Stravinsky told the New York Herald Tribune. “So the celebration is like having my birthday at home.”

To this day, tablets around town attest to the reverence Stravinsky was accorded in Santa Fe. At Santa Fe Opera (where many opera-goers gather on the Stravinsky Terrace alongside a bust of the composer), a plaque recalls “the incomparable distinction and the brilliant artistic assistance he conferred upon the Santa Fe Opera.” Another, in the St. Francis Auditorium of the New Mexico Museum of Art, commemorates that “in this auditorium on Aug. 21, 1962, the American concert première of The Flood by Igor Stravinsky was performed in the composer’s presence,” and sharp-eyed visitors to the Cathedral Basilica of St. Francis of Assisi are informed that “in this cathedral … Igor Stravinsky conducted Threni, July 12, 1959/Symphony of Psalms, July 17, 1960/Cantata (1952), August 19, 1962/Mass, August 18, 1963. These performances were offered free to the people of Santa Fe. … Upon the conclusion of the performance here [of the Mass], Maestro Stravinsky was invested by the Vicar General of Santa Fe with the Papal Knighthood of Saint Sylvester in the degree of Commander with Star. … This occasion marked the last appearance of Igor Stravinsky in Santa Fe.” Igor Stravinsky conducting pit orchestra, Santa Fe Opera Theater; Negative. No. HP.2010.24.4, courtesy Palace of the Governors Photo Archives (NMHM/DCA)

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PASATIEMPO I July 18-24, 2014

Joseph instructed his theater director to pay Salieri 100 ducats and Mozart 50, which presumably reflected that the former’s piece was a full opera, if a short one, while Mozart’s consisted of only an overture and four vocal numbers. Opinions about the pieces were mixed. Count Karl von Zinzendorf und Pottendorf, an indefatigable diarist who penned private thoughts on court events, enjoyed Salieri’s opera for providing the soprano Nancy Storace an opportunity to render a spot-on parody of a popular Italian castrato, but he dismissed The Impresario as “very mediocre.” Two weeks later, a Vienna periodical reported: “Occasional plays, given at a feast by an idolized monarch for a beloved sister: who would examine them by the torchlight of criticism, where sympathetic participation in pleasure stifles any cold-blooded examination?

But it is most certainly not due to national partiality, nor to base flattery, if we say that the German piece infinitely surpassed the Italian one in intrinsic value.”

T

he text for The Impresario was penned by the dramatist and actor Johann Gottlieb Stephanie (“Stephanie the Younger”), who referred to his libretto as a Gelegenheitswerk (occasional piece). He himself played the part of the hapless theater impresario who, trying to put together a cast for an out-of-town production in provincial Salzburg (Mozart’s hometown), auditions several sopranos, of which two, Madame Herz (Mrs. Heart) and Mademoiselle Silberklang (Miss Silvertone), grow so antagonistic to each other — notwithstanding the diplomacy of the tenor Herr Vogelsang (Mr. Birdsong) — that the impresario gives up on the whole project. The imperial protocol was right to characterize Mozart’s piece as “a German play with arias intermingled,” but it was the music, rather than the play, that staked a small place in posterity. The Overture remains at the edge of the active orchestral repertoire, the arias for the two sopranos are amusing workouts that transcend their jokes, and the two vocal ensembles — a trio (with Herr Vogelsang) and a quartet (with him and a bass, Herr Buff) — are credible examples of comic writing from a composer who was in the throes of composing Le nozze di Figaro, among other pieces. In the catalog Mozart kept of his compositions, The Impresario (which was later given the Köchel number 486) falls directly after the Piano Concerto in E-flat Major (K.482) and immediately before the Piano Concerto in A Major (K.488), which places it in the most supernal of company.

The Impresario still had life in it after the 1786 banquet. During the 1790s, it was revived in both Vienna and Weimar — in the latter case with text adapted by no less a figure than Goethe. As the piece’s topical references faded from the collective memory, the music was sometimes retrofitted with new scenarios.

Edward J. Dent, in his classic 1913 study of Mozart’s operas, noted: “Towards the middle of the last century, … this little piece was turned into an opera with Mozart, Schikaneder, and Aloysia Lange as the principal characters.” (Schikaneder was Mozart’s friend, who wrote the libretto of Die Zauberflöte; Mozart’s sister-in-law Lange was the original Madame Herz.) Among the more recent adaptations is one by Peter Ustinov, who tailored a script about a village intent on founding a music festival despite the overwhelming stench emitted by sulfuric waters at a local spa.

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odern taste tends toward keeping The Impresario close to its pure form, though reducing the spoken text. Santa Fe Opera is not doing that.

Instead, the company has expanded the musical side of the work by inserting a handful of unrelated pieces by Mozart, to which English words are fitted

by Ranjit Bolt and translator Penny Black, the whole enterprise being credited as the conception of Michael Gieleta, who directs the production. The “extra” numbers are the concert arias “Un bacio di mano” (for bass, K.541), “Clarice cara mia sposa” (for tenor, K.256), “No, che non sei capace” (for soprano, K.419); the opera aria “Fin ch’han dal vino” (the title character’s “Champagne Aria” in Don Giovanni); the songs “Ein deutsches Kriegslied” (aka “Ich möchte wohl der Kaiser sein,” K.539) and “Komm, liebe Zither, komm” (K.351/367b, notable for its mandolin accompaniment); and the scatological macaronic canon “Bona nox” (K.561). The whole thing becomes sort of Eastern European. Madame Herz is now Vlada Vladimirescu, Mademoiselle Silberklang turns into Adellina Vocedoro-Gambalunghi (“GoldenvoiceLonglegs”), Herr Vogelsang is renamed Vladimir, and the bass actor, Herr Buff, assumes the handle of van der Puff. The plot newly fitted to the piece involves efforts by ex-pats to produce an opera in Paris in 1919 and the audition process leading thereunto.

The opera planned for production is Le rossignol,

by Igor Stravinsky, a work that was in fact premiered in Paris in 1914 — a hundred years ago — in a production by the Russian impresario Serge Diaghilev.

That is the work that occupies the second half of the evening at Santa Fe Opera. (Known as Solovyei in Russian and The Nightingale in English, it is widely referred to by its French title no matter the language of a given production.) Whereas The Impresario is a one-act opera, Le rossignol unrolls over three acts. It is short nonetheless, its entire running time clocking in at some 45 minutes. If The Impresario requires eking out, Le rossignol is likely to seem very complete in and of itself, a work jam-packed with unquestionable musical beauty.

It is, however, a problem work in Stravinsky’s catalog, its musical language spanning two quite different phases of his career. Stravinsky first turned to Hans Christian Andersen’s classic tale The Nightingale at the behest of his composition teacher, Nikolai RimskyKorsakov, and he fashioned his own libretto with the help of his friend Stepan Mitusov. Still a journeyman composer, he worked on his opera for about a year beginning in the summer of 1908, but then he got sidetracked for the best of reasons. Diaghilev planned for his Ballets Russes to develop a ballet on the Russian folk legend of the Firebird, but he grew frustrated when the composer he had chosen to write the score, Anatoly Lyadov, persistently failed to deliver. He approached another two (or maybe three) composers, beginning with Nikolai Tcherepnin, but none of them seemed to be on the right track. Diaghilev had recently hired young Stravinsky to orchestrate a couple of Chopin movements for a Ballets Russes production (Les Sylphides) and thought perhaps Stravinsky would succeed where Lyadov and the others had not.

Stravinsky set aside work on Le rossignol and for nine months labored instead on The Firebird, which remains one of his most popular masterworks.

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wo more Diaghilev collaborations followed quickly: d’or. Diaghilev had the nightingale and the fisherman Petrushka and The Rite of Spring. Not until the sum- sing their parts from the orchestra pit, a conceit that mer of 1913 did Stravinsky revisit the opera he had has often been followed in ensuing productions, with set aside, now spurred by a commission from the dancers typically portraying those characters onstage.

Free Theatre of Moscow, an experimental company. He The effect is intriguing, making the work seem a sort recognized the problem from the outset. After writing of hybrid of opera, ballet, and pageant-like spectacle. the first act back in 1908, he had spent the ensuing five years changing the course of classical music. Audience e rossignol met with neither popular nor critical expectations about his work had altered greatly. So success when it was new, in large measure for had his own; by 1913 Stravinsky considered himself a precisely the reason that Stravinsky had tried to composer of ballets rather than of operas. How could rationalize away. A review in Le Ménestrel bit at he — and why should he — revert to an earlier operatic its Achilles tendon, though wishing the recent five style to finish the piece? He tried to convince the Free years of Stravinsky’s development had never occurred: Theatre to present the completed act as a stand-alone “One cannot say that The Nightingale is quite as outrawork, an evocative scene in which a fisherman in ancient geous as The Rite of Spring. Apart from some croaking China hears the ravishing song of a nightingale, digni- of frogs out of season, and the mooing of a young taries from the court of the Chinese emperor bear COUNT KARL VON ZINZENDORF UND POTTENDORF, an indefatigable diarist who the bird off to the royal penned private thoughts on court events, enjoyed Salieri’s opera for providing the palace, and the fisherman soprano Nancy Storace an opportunity to render a spot-on parody of a popular Italian laments that he will no castrato, but he dismissed The Impresario as “very mediocre.” Two weeks later, a longer hear its singing.

Vienna periodical reported: “Occasional plays, given at a feast by an idolized monarch The ensuing two acts for a beloved sister: who would were to chronicle the nightingale’s fate from examine them by the torchlight then on: how the emperor of criticism, where sympathetic of China is moved to participation in pleasure stifles tears by its song; how the any cold-blooded examination? emperor of Japan sends But it is most certainly not due his fellow monarch a to national partiality, nor to base mechanical nightingale as a gift; how the real nightflattery, if we say that the Geringale, disgusted by the man piece infinitely surpassed mechanical bird’s soulless the Italian one in intrinsic value.” repetitions, flies back to the forest, thereby earning official banishment from court; how the Chinese emperor falls gravely cow, the music holds together more or less. But all ill but is saved from death when the real nightingale is changed beginning with the second act, and we returns to charm away the grim reaper, reminding enter the new manner of Mr. Stravinsky. It is then everybody that nature cannot be replaced by technology. that we hear intolerable cacophony, an accumulation The Free Theatre remained intransigent. They wanted of strange harmonies that succeed each other without the full story. The composer finally rationalized how rhythm or sense; this music sounds like a wager that he might proceed. In his autobiography, written in one could make the simple-minded public and the 1935-1936, he recalled: snobs of our concert halls swallow anything at all.”

Not everyone agreed. A defense came from the pen of As there is no action until the second act, I told myself Maurice Ravel: “I personally did not find the difference it would not be so unreasonable if the music of the so enormous. The composer’s technique had merely Prologue [i.e., Act 1] bore a somewhat different charevolved.” Composer Reynaldo Hahn also leapt to the acter from that of the rest. And, indeed, the forest with work’s aid, wondering if “a more fascinating quality its nightingale, the pure soul of the child who falls in of illusion or a more perfect accord between music love with its song — all this gentle poetry of Hans and staging has ever been achieved in the theatre.” ◀ Andersen’s could not be expressed in the same way as the baroque luxury of the Chinese court, with its bizarre Santa Fe Opera’s double-bill of Mozart’s “The Impresario” etiquette, its palace fêtes, its thousands of little bells and (performed in English) and Stravinsky’s “Le rossignol” lanterns, and the grotesque humming of the mechanical (sung in Russian) opens at 8:30 p.m. on Saturday, July 19, Japanese nightingale. … In short, all this exotic fantasy and continues at 8:30 p.m. on Wednesday, July 23, and obviously demanded a different musical idiom. at 8 p.m. on Aug. 1, 7, and 15. Heading the cast of “The Impresario” are sopranos Brenda Rae and Erin Morley, and He devoted himself to the opera during the autumn of in “Le rossignol” Morley and tenor Bruce Sledge. Kenneth 1913 and winter of 1914, and just before he finished his Montgomery conducts. Michael Gieleta is the director. score the Free Theatre went out of business. Diaghilev Santa Fe Opera is seven miles north of Santa Fe on wasted no time securing the piece for his upcoming U.S. 84/285. Single ticket prices vary from performance Ballets Russes seasons in Paris and London, which to performance depending on demand. Prices start at is why Le rossignol was unveiled at the Paris Opéra, $32; standing room tickets are $15. Call 505-986-5900 in a double-bill with Rimsky-Korsakov’s opera Le coq or 800-280-4654 or visit www.santafeopera.org.

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PASATIEMPOMAGAZINE.COM

33

IndIan

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PASATIEMPOMAGAZINE.COM

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WE ARE FAMILY T

here’s no easier theme to pull out of a jazz festival than that of legacy. And that’s what jumps out from the lineup of this year’s New Mexico Jazz Festival, which began on July 11 at the Outpost Performance Space in Albuquerque and shifts to Santa Fe on Sunday, July 20, for a performance from a group led by legends Dick Hyman and Bucky Pizzarelli. The legacy theme is most obvious in the booking of the Jack DeJohnette Trio with saxophonist Ravi Coltrane and bassist Matthew Garrison. As a young Chicago transplant in mid-1960s New York, DeJohnette played behind Coltrane’s father, the saxophone titan John Coltrane. Garrison’s father, Jimmy Garrison, was the group’s bassist. Hyman, a living, breathing encyclopedia of early piano styles, is a one-man compendium of jazz history, and guitarist Pizzarelli, father of popular guitarist-vocalist John Pizzarelli, is also a fret-pressing piece of jazz past. Drummer Terri Lyne Carrington’s ultramodern Mosaic Project has made a significant contribution to the legacy of women in jazz just by employing so many. Festival co-director Tom Guralnick points out that drummer Tootie Heath, who played the Outpost as part of the festival on July 13, is from one of jazz’s great families, which includes saxophonist Jimmy Heath and the late bassist Percy Heath.

Guralnick admits that the word legacy wasn’t on his mind when he assembled this year’s lineup. “These associations didn’t come by design. I look at who’s available, who’d be popular, and that’s how it’s decided.”

The legacy issue is sure to come up at this year’s “Meet the Artist“ discussion at the Lensic on July 26. National Endowment for the Arts Jazz Master DeJohnette will give a talk with writer and critic A.B. Spellman, a fixture at the festival for the last three years. Guralnick said he feels like the festival has settled into a comfortable framework, with a mix of concerts in Albuquerque and Santa Fe, including free events offered in both cities. “The fest is a little shorter, a little more condensed, than it was in the first couple of years, when we’d have two concerts on one night in two cities. It wasn’t tenable to do that. But I like the rhythm we’ve gotten into now.”

son spots the jack dejohnette trio

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PASATIEMPO I July 18-24, 2014

continued on Page 38

m y

i n t e r e s t s

have always been eclectic, so making music ... is just a natural process. All music is world music anyway, no matter what genre ... It’s really about the individual. Each person has their own voice to pursue. — Jack DeJohnette

Chris Griffith

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Sandrine Lee

Jack DeJohnette Trio: from left, Matt Garrison, Ravi Coltrane, Jack DeJohnette

here’s a generational symmetry in the makeup of the Jack DeJohnette Trio, the result of a legacy that stretches back almost 50 years. When the drummer first arrived in New York City from Chicago in the mid-1960s, he quickly made a splash. In addition to a highly visible stint with saxophonist Jackie McLean’s group, DeJohnette made several appearances with saxophonist John Coltrane, sometimes alongside regular drummer Rashid Ali. On bass was Jimmy Garrison. DeJohnette wasn’t yet 25. Today, he’s somewhat modest about the experience. “Rashid was the main drummer,” DeJohnette said from the Grand Hôtel Suisse Majestic in Montreux, Switzerland, ahead of an appearance for the jazz festival there. “I was really just there for backup.”

DeJohnette’s trio, with Ravi Coltrane on saxophone and Matthew Garrison on bass, which plays the Lensic Performing Arts Center on Saturday, July 26, as part of the New Mexico Jazz Festival, makes a fathers-and-sons

connection to those days. “I’ve known Ravi and Matthew since they were kids,” said the drummer. “It’s sort of like a family. When Ravi came to New York, we would see each other. And Matthew even lived with us for a while when his mother was away with a dance company in Italy.” This threesome first performed together some 20 years ago at a now-celebrated Coltrane tribute concert that DeJohnette programmed. In 2004 Coltrane and DeJohnette teamed with bassist Charlie Haden, among others, on pianist-organist (and Ravi’s mother) Alice Coltrane’s spiritually minded recording Translinear Light. The DeJohnette-Coltrane-Garrison trio got back together in 2013 to play Brooklyn’s ShapeShifter Lab. Their visit to Santa Fe is part of a summer-long tour, much of which has been spent in Europe.

The relationship between the three may sound like the perfect setup for some tribute band, but that’s not DeJohnette’s way. The group will work through a variety of originals and a familiar tune or two. They won’t be playing in anybody else’s style, including that of famous fathers; nor will the sound always be the usual acoustic jazz trio thing. “Matthew is a wizard with electronics and computers, which add a lot of nice harmonic voicings to the group,” DeJohnette said. “Ravi’s done a remarkable job establishing his own voice separate from his father’s. I play the piano. Together the three of us have a unique thing. It’s a nice surprise, always stimulating and always different, in a good way.”

DeJohnette, a pianist until he took up drums at age 18, has always had a taste for the different. His piano training began at age 4 with a classical teacher, whom he remained with for a decade. “[Classical music] was just part of my piano studies,” he said. “That was the thing to do. That’s where you learned technique and how music goes together. Later I got interested in the great composers and really got into the music. I got called to jazz, but I still have a great appreciation for classical works and classical artists.” Many of his early experiences came through Chicago’s Association for the Advancement of Creative Musicians, a cooperative that favored avant-garde music (though sometimes inspired by early jazz styles). In 1966 he began touring with saxophonist Charles Lloyd in a quartet that included pianist Keith Jarrett. The Lloyd Quartet recorded in Russia and played the Fillmore in San Francisco. It was popular not only with jazz fans but with young crossover-music lovers from rock and soul backgrounds. After leaving the Lloyd group in 1968, he joined trumpeter Miles Davis’ group and cut one of the era’s most influential recordings, Bitches Brew.

He stayed with Davis until 1972.

At the same time, DeJohnette began putting together his own bands and recording his own compositions.

His first recording, The DeJohnette Complex, came in 1968. A combination of post-bop, new music, and rock-influenced tunes — the drummer doubled on piano and melodica — it marked the start of the characteristic formula that DeJohnette has followed over the years: putting together variously instrumented, variously configured bands to play compositions that call on a wide range of influences. “I used to listen to all kinds of music even before I started taking piano,” said DeJohnette. “My interests have always been eclectic, so making music like that is just a natural

Jack DeJonette, continued from Page 37 process. All music is world music anyway, no matter what genre, if it’s classical, folk, rock. It’s really nothing new, and there’s a lot of players out there besides me who think that way. It’s really about the individual.

Each person has their own personal voice to pursue.”

In the late ’70s, DeJohnette put together his first New Directions ensemble, usually two saxophonists and a bassist but at times including a trumpeter and guitarist. The group became a vehicle for DeJohnette’s compositions, which often referenced other musicians.

“Writing’s been mostly a natural gift. The music comes naturally. I just sit down at the piano and follow what happens. Or if I’m writing with a person in mind — I’ve written tunes about a few of my favorite musicians, Ahmad Jamal, Eric Dolphy, Herbie [Hancock] — then I start to think about the person, what I know about them, get a title, and then things just start coming up.

Basically, I just follow my intuition.”

Perusing DeJohnette’s discography reveals that he’s worked with the most promising musicians of the day, no matter the year. The great saxophonists that played on his Special Edition album included David Murray and Arthur Blythe. The pulsing Audio-Visualscapes from 1988 included saxophonists Gary Thomas and Greg Osby, who were leading their own musical revolution with the forward-thinking M-Base Collective. His 1990 recording, Parallel Realities, was a trio effort with guitarist Pat Metheny and keyboardist Hancock. In 1992 he came out with Music for the Fifth World, a project that included Living Colour guitarist Vernon Reid and former Miles Davis guitarist John Scofield. Maybe his most visible position today is as a member of Keith Jarrett’s trio, a gig he’s held for some 30 years. In 2012, the year he turned 70, DeJohnette was made a National Endowment for the Arts Jazz Master, an award that honors “living legends” who have made exceptional contributions to the advancement of jazz. Over the years, DeJohnette has refined a drumming style that’s immediately recognizable, a rolling, driving propulsion that seems to combine the post-bop style of Philly Joe Jones and Max Roach with the polyrhythms of John Coltrane drummer Elvin Jones. His rhythms can be both gentle and explosive, smothering or as subtle as a child’s touch.

The current trio offers the exact kind of circumstances in which DeJohnette shines, the chance to push and complement an assured saxophonist like Coltrane while showcasing his own persistent and detailed notion of rhythm. In that, the show is something like his youthful appearances with Ravi’s father. He and Ravi haven’t talked much about the drummer’s experiences playing behind the elder Coltrane (Ravi was 2 when his father died in 1967). “We’ve said some things, not a lot. Ravi is into his own music. That’s what we talk about mostly, and the other people we work with. But there’s definitely a connection there between us, a kind of understanding, especially when we play.” — Bill Kohlhaase

details ▼ 7:30 p.m., Saturday, July 26 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $20-$50, 505-988-1234, www.ticketssantafe.org

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PASATIEMPO I July 18-24, 2014

Terri Lyne Carrington

Annette Brown

▼ Jack DeJohnette Trio with Ravi Coltrane and Matthew Garrison

for the record

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terri lyne carrington’s mosaic project

he final two New Mexico Jazz Festival concerts at the Lensic Performing Arts Center feature two drummers: Terri Lyne Carrington and her Mosaic Project on July 25 and the Jack DeJohnette Trio on July 26.

Carrington considers DeJohnette (her elder by a couple of decades) to be her “biggest mentor,” describing his playing as “just very fluid, like water.”

She was born in Medford, Massachusetts, the daughter of saxophonist Sonny Carrington. As such, she grew up with a lot of music going on around her. “Oh yeah.

From the womb,” she said by phone during a cab ride in Massachusetts. “He played a lot of records all the time. It was like [tenor saxophonists] Gene Ammons and Sonny Stitt and Stanley Turrentine, a lot of organ groups led by Jimmy McGriff, Jack McDuff, and Jimmy Smith, [pianist] Les McCann, that kind of stuff. It gave me a good foundation.”

She moved to Los Angeles in the late 1980s and was the house drummer for the Arsenio Hall Show. A decade later she was the drummer on Quincy Jones’ late-night show Vibe. She has released seven albums under her own name and has performed or recorded with Stan Getz, Clark Terry, Herbie Hancock, Wayne Shorter, and other jazz stars. In 2003 her alma mater, the Berklee College of Music in Boston, awarded her an honorary doctorate. She taught music for two years at the University of Southern California and has been a professor at Berklee for eight years.

s o m e t i m e s we singers are encouraged to have this interaction with the audience, and you’re kind of in your own solo world, without connecting as much with the band and being a unit. The audience interaction is important, but I think what should come first is feeling like you’re united with and connected with the band. Then you can come out from there.

In June Carrington had an opportunity to work a bit “outside of the box,” playing more in the avantgarde vein in a “Night of Improvised Round Robin Duets” at New York’s Town Hall, sponsored by the Red Bull Music Academy. Has she ever played such music before? “Sure. I was very tight with Lester Bowie over the years; I got to play a little bit with him. And this round-robin event was very, very cool, playing with Marc Ribot and David Murray. I got a lot of compliments from people, saying, I never heard you play like that. It was all improvised and you didn’t know who they were going to put you with.”

Asked if she has any other living heroes of the drum, she said, “Roy Haynes is my all-time favorite. I mean, he was the person who influenced Jack. Him and Elvin Jones. Jack is a perfect combination of Elvin and Roy.” Carrington has recently made a name for herself as a producer as well as a drummer. She won the top award in the Rising Star-Producer category in the recent DownBeat Critics Poll, published in the magazine’s August issue. She both performed on and produced Dianne Reeves’ new album, Beautiful Life.

She is currently producing a disc by harmonica player Grégoire Maret and early next year will work on a CD by saxophonist Tia Fuller.

Carrington’s last release was Money Jungle: Provocative in Blue. It’s a trio disc with Gerald Clayton and Christian McBride, as well as many guests, and was recorded as a tribute to the 1963 album of the same name featuring Duke Ellington, Charles Mingus, and Max Roach.

The drummer’s album before that, The Mosaic Project, is an all-female effort featuring 16 musicians.

Two of them, pianist Geri Allen and bassist Esperanza Spalding, joined Carrington in June for a series of gigs at New York’s Village Vanguard. The Mosaic Project won a Grammy for Best Jazz Vocal Album. Spalding, Dianne Reeves, Dee Dee Bridgewater, and Carrington are among those who sang on the CD. Money Jungle came out 17 months ago. Is Carrington working on another CD? “I am. I’m doing a Mosaic II right now, leaning a little more toward R&B, vocally.

It will be Oleta Adams, Valerie Simpson from Ashford & Simpson, Paula Cole, Lizz Wright, Lalah Hathaway, Chanté Moore, and a couple of others.”

Carrington said the band she presents at the Lensic is “basically a sextet with two vocalists.” Hitting the stage with her are vocalists Lizz Wright and Gretchen Parlato, saxophonists Fuller and Grace Kelly, pianist Rachel Z, guitarist Matt Stevens, and bassist Josh Hari. “We’ll play mostly songs from The Mosaic Project and also a few songs from Lizz Wright’s repertoire and one song from Tia Fuller’s last record.”

Parlato, who is known for her radically intimate, gauzy vocal style, blasted off in the jazz world after winning the Thelonious Monk International Jazz Vocals Competition a decade ago. The California native moved to New York City and started collaborating with Kendrick Scott, Terence Blanchard, Lionel Loueke, and others. She has released four albums as leader, most recently 2013’s Live in NYC. She teaches jazz voice at the Manhattan School of Music. “I’m joining forces with Theo Bleckmann, who is also an instructor outside the box of traditional jazz studies,” Parlato said in a mid-July interview.

“The singers can get their traditional jazz from other teachers there, but we’re hoping to open their minds to explore.”

The young singer also offers a series of workshops.

One is “I’m With the Band,” a title that perhaps implies a nonconformist approach: prioritizing attention to other band members over the audience.

“Sometimes we, us singers, are encouraged to have this interaction with the audience, and you’re kind of in your own solo world, without connecting as much with the band and being a unit. The audience interaction is important, but I think what should come first is feeling like you’re united with and connected with the band. Then you can come out from there.

“In that workshop we try to get singers to realize the depths of what is actually happening onstage with everything technical and emotional and spiritually and how to tap into themselves and connect with the band and make the music come to a higher and a deeper place.”

Parlato is the daughter of longtime Albuquerque resident David Parlato, who played bass with Frank Zappa, Paul Horn, Don Ellis, and others from the 1960s through the 1990s. A bassist around Northern New Mexico in the 2000s, he gave up active playing a few years ago but still taught at the Outpost Performance Space in Albuquerque. “He’s doing great,” his daughter reported. “He’s living in Oxnard, California, now and he’s playing bass again, doing some touring with the Grandmothers of Invention.” The Zappa-alumni group toured Europe this month.

Gretchen Parlato

Gretchen Parlato’s unconventional side shows up not only in her singing but on her website, which includes video appearances by Helen McKenzie, a colorful-wig-wearing, outlandish alter ego. “It helps me let go,” she said, laughing. “It’s still a dream to incorporate that in a show.” It is unlikely that Helen McKenzie will make an appearance in Santa Fe, but Parlato will bring her new baby boy, her first child, with her to New Mexico. — Paul Weideman

details ▼ Terri Lyne Carrington’s Mosaic Project ▼ 7:30 Friday, July 25 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $20-$50, 505-988-1234, www.ticketssantafe.org

continued on Page 40

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39

Jazz Festival, continued from Page 39

abuzz with dick hyman: bumblebee’s jazz all stars

AP photo/Rich Schultz

Dick Hyman

Bucky Pizzarelli

M

ore people than know it have heard Dick Hyman playing piano. Known among jazz fans for his amazingly detailed technique and an ability to mirror the styles of Fats Waller, Scott Joplin, Earl Hines, and others, Hyman has had an extensive studio career.

He has directed the music for a string of Woody Allen movies, played hundreds of recording sessions, and made network-television appearances dating back to the 1950s. A member of the NBC Studio Orchestra for some five years, he was the pianist for NBC’s Sing Along With Mitch. At the same time, he served as musical director for the popular morning television personality Arthur Godfrey. “I was open to all possible types of music and employment in New York,” Hyman told Pasatiempo from his home in Venice, Florida. “Being on staff at NBC for five years, playing organ on the early-morning shows, you never knew what kind of program you’d be assigned to and some of them were pretty strange.”

Hyman will co-lead a sextet, Bumblebee’s Jazz All Stars, with guitarist Bucky Pizzarelli on Sunday, July 20, at the Lensic Performing Arts Center as part of the New Mexico Jazz Festival. Pizzarelli was also a member of the NBC Orchestra in the ’50s and has impressive studio credentials. Like Hyman, he’s been treasured for decades as a jazz musician. “I like to kid Bucky that he’s the only one in the business older than 40

PASATIEMPO I July 18-24, 2014

me and still playing,” chuckled the 87-year-old Hyman.

“We’ve been playing together in the studio for all the band leaders and singers you can possibly think of since before the 1960s. He was everybody’s favorite bass guitarist. He was well-known for being one of the first players around New York who could play those [Antonio Carlos] Jobim tunes, that bossa nova stuff.”

Some of Hyman’s opportunities to play with stellar jazz musicians came when TV programs brought in big-name jazz stars, common in the days when blackand-white television was still the norm. “I was doing this show nightly, just me and the bassist, on this local New York channel. We’d accompany the various singers that came in. One night we were advised to hire a drummer because Charlie Parker and Dizzy Gillespie would be coming on to receive the Esquire music award for 1952. Turns out that the [tape of this broadcast] is some of the only film of Parker actually playing.” Hyman had played with Parker before.

After long days on network television, he spent his nights working in clubs. “I was playing at Birdland, as a regular, with Lester Young. One night when Bud Powell was late, Parker had me take over. It was the band with [trumpeter] Red Rodney, bassist Tommy Potter, and drummer Max Roach.”

Hyman’s technical facility playing ragtime and classic jazz is the result of close and repeated listening.

“I grew up with an old record collection that dated back to the times before I was born. I got accustomed to that 1920s sound.” The facility also came from early piano training from his uncle, Anton Rovinsky, known in his day for performing the music of Charles Ives. “Playing classical music was greatly beneficial for me,” Hyman said. “It’s what largely gave me my chops. It’s not that I learned a lot of repertoire or became a classical musician. But it really helped my general playing. In those days you had the jazz guys on one hand and the classical guys on the other. They were two completely different careers.” One composer he did study in depth was Chopin. “Chopin is very congenial to the kind of piano I like to hear and play.

It sounds improvisatory but is sweeping and romantic. Little bits of Chopin sometimes pop up when I play a piano solo.”

Hyman had another important teacher. While a student at Columbia University, he won 12 piano lessons from swing pianist Teddy Wilson, famous for his role in the Benny Goodman Trio. (Hyman would later play in Goodman’s orchestra.) “It was a great honor to get to know him, and we stayed in touch for a long time. [Wilson died in 1986.] I learned touch from him, as I did from my uncle, and the necessity of practice, of being prepared. Wilson’s manner of dealing with standards, his improvisations, was unmatched in that style.”

Hyman has an amazing ability to play in the style of a number of great pianists, as witnessed by recordings made beginning in the 1970s, including Dick Hyman Plays Fats Waller and Scott Joplin: 16 Classic Rags. “The best way for me was to always learn this music by ear. Back then, a fair number of these tunes were published [as sheet music] and I have those too. But it was the records where the music really came across.”

Hyman also has his own, stand-apart style, one that can be heard on such recent recordings as Live at the Kitano (with clarinetist Ken Peplowski) and

The Great American Songbook: Gershwin, Porter, Berlin, Arlen. “My own styles come from an amalgamation of things,” Hyman said. “What I play now is clearly in my own way, but it reflects everything else I can play.

I’ve put together a lot of things, a lot of music including classical music. And then there’s things I read and think about. I was known to be a player of some diversity and enjoyed doing that even when it wasn’t jazz piano. There’s a lot of commercial things that I did that I wouldn’t especially enjoy hearing anymore.”

I was fortunate to be around at a time when the music business was alive and booming ... But it’s a question I ask myself now: How was it I could do three recording sessions and then go out at night and play? — Dick Hyman Hyman didn’t have to compromise for one of his most visible jobs, that as music director for a dozen Woody Allen films, beginning with Zelig in 1983.

“I had played piano pieces for some of his previous films. I’d get a call from his office. There was some old-time piano required. I’d do it, and that generally led to the whole thing. But [Zelig] was the first movie in which he trusted me to be musical director.”

Hyman’s been focusing on another side of music lately, that of composer. He’s recorded his first piano concerto — “Concerto Electro” — and performed his “Ragtime Fantasy” with the Venice (Florida) Symphony. One of his pieces, “From Chama to Cumbres

by Steam,” was written for orchestra, jazz combo, and prerecorded railroad sounds. “Yes, I’m writing more these days,” he agreed. “I’m hurrying to finish up a commission from the symphony here in Venice. And I’m putting together a lot of other things. I call my work concert pieces. They’re not classical compositions, nor are they altogether jazz concert pieces. Some are for orchestra and soloist, and I’m occasionally called to play them.”

The band he and Pizzarelli have put together for the New Mexico Jazz Festival is a one-time shot that includes musicians of various generations and styles.

He says the group won’t go too far back for its material. “We’ll be off in a newer direction. This won’t be old-time music. I got to know [saxophonist] Jimmy Greene on a jazz cruise last year. He’s more of a Coltrane disciple. [Trumpeter] Randy Sandke has been on one of my recordings. [Bassist] Jay Leonhart is an old associate. [Drummer] Lewis Nash, I did some sessions with him a few years back. I’ll play one or two of my own tunes as a solo. Bucky will do his marvelous solo things. We’ve all been around. We know what to do.” — Bill Kohlhaase

details ▼ Bumblebee’s Jazz All Stars with Dick Hyman and Bucky Pizzarelli ▼ 7:30 p.m., Sunday, July 20 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $20-$50, 505-988-1234, www.ticketssantafe.org

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SITE Santa Fe

THIS LAND IS OUR LAND SITE Santa Fe’s biennial exhibition

F

or the past few decades international biennials have been all the rage in the art world, with the Venice Biennale leading the pack and other popular ones happening in Berlin, Sydney, and Havana, among other places. In the United States SITE Santa Fe, a venue for international biennials since its founding in 1995, has launched eight of them, all with a focus on contemporary art. There is no doubt that international biennials have put numerous artists and curators on the map, but critical attention is often still paid to major players such as Julian Schnabel, James Turrell, John Baldessari, Bruce Nauman, and Cindy Sherman. According to Irene Hofmann, SITE’s Phillips Director and chief curator, the model that has come to dominate contemporary art expos around the world showcases a star curator and star artists, resulting in exhibitions that have come to look the same in different cities.

It came as a surprise when, after SITE’s last biennial, 2010’s critically well-received The Dissolve, the venue announced that it was putting biennials on hiatus. The intention was not to abandon biennials altogether but to invest in a new model — one that centers on a North/South trajectory rather than an East/West one, the latter being the typical focus of many of the most significant contemporary art festivals taking place internationally. In the spring of 2013 SITE announced its return to the biennial model with Unsettled Landscapes, the first in a planned series of exhibitions under the general title SITElines: New Perspectives on Art of the Americas. The series, which the museum has made a commitment to curate and show through 2018, is centered on contemporary art of the Americas, from Nunavut, Canada’s northernmost territory, to Tierra del Fuego. It’s been a long time coming, but Unsettled Landscapes is poised to open to the public on Saturday, July 19.

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PASATIEMPO I July 18-24, 2014

Michael Abatemarco I The New Mexican In the interim between The Dissolve and Unsettled Landscapes, SITE’s staff hasn’t been sitting around eating bonbons. To make the new biennial happen, Hofmann assembled a team of four core curators: Hofmann; Janet Dees, SITE’s curator for special projects; and independent curators Candice Hopkins and Lucía Sanromán. In addition, the team has satellite curatorial advisors located in Spain, Canada, Argentina, Costa Rica, Mexico, and Trinidad and Tobago. “It was not going to be something we could just throw together,” Hofmann told Pasatiempo. “We had to do proper research. We had to build our network. We’ve been traveling all over the Americas to learn where the cities are where art is being made that just does not get seen in the United States and at many biennials.” The concept for Unsettled Landscapes originated informally in Hofmann’s living room. “We talked about the state of biennials internationally, and we found that our colleagues around the world shared our feelings of dissatisfaction about the structure of biennials. We started to identify what it was that was contributing to the same kind of biennials again and again and the same kinds of challenges that were becoming more and more dissatisfying for institutions, for audiences, and for the artists who were participating. One of the things that came up a lot was this notion of the parachuting curator. What happens when you have this curator dropping into a place like Santa Fe, like Istanbul, like Venice — pick the city. There are so many seductive things about a place, about its history, about its culture that get misunderstood with just a first look.”

To address the disconnects that can come with such an approach, the SITElines curatorial team brought a sense of place to bear on what would

happen here. The result is that Santa Fe is given a central position as a kind of median along the Pan-American Highway, with Unsettled Landscapes based on the themes of landscape, territory, and trade. “Historically, the SITE biennial has been known as an exhibition format that encouraged site specificity external to the physical confines of the building,” Sanromán said. “There was always a level of tension in how these works are participatory or not participatory with communities that live in Santa Fe. We have all seen endless amounts of works by wonderful artists who really pay no attention to the fact that there are certain sensitivities, histories, and localities that need to be addressed.”

Unsettled Landscapes includes site-specific installations by more than 40 artists representing Canada, the United States, Mexico, Argentina, Brazil, Chile, Colombia, Cuba, Peru, Suriname, the Bahamas, and other nations, with local participation as well.

You can hear the curatorial team discuss this premier exhibit in the SITElines series at the Santa Fe Farmers Market Pavilion on Friday. ◀

details ▼ Unsettled Landscapes, first in the SITElines biennial exhibition series Opening 2 p.m. Saturday, July 19; exhibition through Jan. 11, 2015 SITE Santa Fe, 1606 Paseo de Peralta, 505-989-1199 No charge July 19, then entry by museum admission ▼ Curators’ introductory lecture 4 p.m. Friday, July 18 Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta $15 (discounts available)

PABLO HELGUERA: New Mexico memory lanes

ON

Saturday, July 19, artist Pablo Helguera and others perform music at San Miguel Chapel, focusing on Spanish romances, or “very tragic ballads,” some of which can be traced back to the Middle Ages. The performance is an adjunct to his mixed-media installation Nuevo Romancero, Nuevomexicano, 2014, at SITE Santa Fe. As the title implies, these pieces tell stories of old New Mexico.

The work, a SITE commission, is part of the biennial exhibition Unsettled Landscapes. “The installation has two sections,” the Mexico-born artist said. “One is at first invisible, hidden by a curtain, and the other side feels more like a museum with objects from the different periods. There will be a Clovis point, a small object that changed completely the understanding of the history of humankind.”

Other sections show objects from the 1830s and 1840s and tell stories about the 1830s New Mexico gold rush and an expedition in search of Mexican freedom fighter Pancho Villa. One installation relates the life of Maria Gertrudis Barceló, who was known in Santa Fe as Doña Tules. “She was a casino owner, a grande dame of gambling, and basically a power broker of governors and generals, a very interesting person,” Helguera said.

He was speaking from New York’s Museum of Modern Art, where he has served as director of adult programs for seven years. Before that, from 1998 to 2005, he was head of public programs in the education department of the Guggenheim Museum in New York. Performance, installation, photography, and sculpture are among Helguera’s artistic mediums. His 2006 project The School of Panamerican Unrest was staged in a “schoolhouse” vehicle that traveled from Anchorage, Alaska, to the Chilean/Argentinian archipelago Tierra del Fuego, making 40 stops along the way. More recently, in 2012, he presented a solo exhibition at Palacio de Bellas Artes in Mexico City.

Helguera was an early member of a roundtable that convened at SITE Santa Fe to talk about the nature of biennials. The advisory group ultimately decided to shift SITE’s exhibition focus, including initiating SITElines: New Perspectives on Art of the Americas, of which Unsettled Landscapes is the first of three editions.

Helguera has often visited Santa Fe to do research and dig up interesting stories. “Besides being one of the artists for Unsettled Landscapes, I am doing a special residency with SITE where I will come back over the next two years to continue to develop this project and present the final version at the 2016 biennial. The way that I work is I go to a place and I immediately have an interest in the history, and I try to find things about the place that only could have happened there and that in a way define the place,” he said.

“I’ve always been fascinated by the Mexican period [1821 to 1846 in New Mexico], which I feel is not very discussed, especially the years leading to the

U.S.-Mexico War, which had dramatic consequences for both countries. In 1835 or so, before the Texas war and annexation, before Texas tried to reclaim its independence, Mexico owned all of Texas, California, Arizona, Nevada, Utah, New Mexico.

It was huge. The U.S. was a much smaller country.

“New Mexico is an incredible place to tell the story of how everything unfolded. And New Mexico is so different from the rest of the United States because of its rich cultural history, the Native American history, and the very strong connection to its Spanish past. To me one of the fascinating aspects of this project is how dramatic are these stories that reveal a real drama with the land, with the place.”

— Paul Weideman

details ▼ Nuevo Romancero, Nuevomexicano 2014 musical event with Pablo Helguera, Joaquín Gallegos, Sitara Schauer, and Alysha Shaw ▼ 3 p.m. Saturday, July 19 ▼ San Miguel Chapel, 401 Old Santa Fe Trail ▼ $10-$15, 505-989-1199

Pablo Helguera: Punitive Expedition (#4), 2002, stereoscopic postcard, text; opposite page, Jamison Chas Banks: Inland Empire: A Suspended Animation, 2013, mural for the New Mexico Rail Runner Express, Albuquerque; all images courtesy SITE Santa Fe

PASATIEMPOMAGAZINE.COM

43

SITE Santa Fe BLUE CURRY: When the ships come in

GLENDA LEÓN: This tree is more than a tree

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44

PASATIEMPO I July 18-24, 2014

rtificial leaves, trees, and glue comprise the medium for Glenda León’s work Esperanza (Out of Season), featured in SITE Santa Fe’s biennial exhibition. The first iteration of this evolving artwork was performed in Montreal, in the context of a performance-art show hosted by the artist-run La Centrale Galerie Powerhouse and curated by Tagny Duff.

“Choosing this project for a performance-art festival was also a gesture responding to a book I wrote about performativity in arts,” León said.

“One of the main concepts in this book was that the action in some works of art was done not by the artist-performer but by other elements, in this case, nature.

“I glued several artificial leaves to the branches of a tree, and they were identical to the real ones, so at the beginning no one could notice this intervention.

It was just until the arriving of the autumn that we could see that there was something bizarre in that tree, as some of its leaves where still so green.” In Santa Fe her piece will gain a new dimension because instead of one tree there will be several. The five chokecherries and flowering crabapples were recently transplanted to the grounds of the museum, adjacent to Santa Fe Railyard Park.

León typically works in installation, drawing, photography, and video art, exploring what she calls the “interstices between visible and invisible, between sound and silence, between ephemeral and eternal.”

Born and raised in Havana, the artist studied philology and classical ballet after high school. She went on to earn her bachelor’s degree in art history at the Universidad de La Habana and her master’s at the Academy of Media Arts in Cologne. She now divides her time between Havana and Madrid.

Bill Stengel

hen you think of the Bahamas, chances are images of pristine beaches, grass huts, and cocktails come to mind. The tourist industry feeds on the public’s preconceived notions of life in this paradise, ignoring the workaday reality of the people who live there.

Nassau-born artist Blue Curry, now living in London, had an idea for an installation that would subtly challenge the image of Nassau as merely a playground for tourists and at the same time would honor an aspect of its history. His project for Unsettled Landscapes, called S.S.s, is a live video feed of Nassau’s port, where cruise ships come in daily, spilling thousands into the city. “The camera’s been set up and running for a while,” Curry told Pasatiempo. “When they approached me about doing something for SITE, I immediately went back to a project I proposed five years ago for a grant. I was looking at cruise ships and their presence in the Caribbean in conjunction with these set fantasies people have about the Caribbean. The constructed image the region has tends to be quite dumbed down, a site for leisure, consumption, relaxation, and nothing else. As a person from there, you know there’s more to it, but your own government, the tourism machine, all of it, will only stand behind one image of the place. I wanted to take a decommissioned cruise liner and sail it through the Caribbean from port to port as sculpture.

It wasn’t reasonable in terms of cost. When SITE came to me I had the idea, kind of like a reclaiming exercise, to use the port as a site for sculpture, installation, and critical engagement.”

Curry had been doing some research on Fort Fincastle, an 18th-century structure that rests above the port where the ships come in. “The flag mast on top was a signal mast. What it did was communicate with ships coming into the harbor.

More importantly, it told people in the community what was happening so they’d find out that ‘There’s a steam ship coming in from New York, and I can tell by this flag.’” In time, the port’s focus changed from commerce to tourism, and the mast was taken down. Accompanying the live feed of the harbor, SITE has a mast installed outside its entrance. Each day, as new ships enter the port, flags representing the ships are run up the pole. If no ships come in, no flags go up. The flags are not the official banners representing nations from which the cruise liners hail but instead are repurposed beach towels, a fitting symbol of an island nation known for its soft, powdery sands and turquoise waters. “The Bahamas tend not to have many raw materials or resources,” Curry said. “That’s why we’ve ended up becoming so dependent on tourism and selling ourselves on beauty.”

— Michael Abatemarco

Two recent examples from her résumé are Hacia el Silencio, a multimedia solo show hanging through July 25 at Galería Senda in Barcelona, and the sound installation Música de las Esferas, which was featured in last year’s Venice Biennale.

“In the first years of my career I used artificial elements to point out about what is eternal and what is natural. In an ironic way, this reminds me of the Renaissance and how they simulate nature so much in their artworks as a result of a deep observation and close relationship with it.

“I’m also very interested in remarking the process of this work. It’s the nature who gives it life, as in the first days or months of the show. This could be a very anonymous piece, which is also a way to annul the ego of the artist (and the ego as a wider concept), something a bit bizarre too, as they usually like to be in the first and more visible places in the shows.

“I want to underline the fact that nowadays the artificial things have inundated the world, from the food to all sort of materials. This is also a subtle intervention in the city, a touch of banishment within its daily rhythm, a metaphor to encourage us to be positive even when it may look that it is not the time for that.”

— Paul Weideman

Top, Glenda León: Esperanza (Out of Season), 2014, artificial leaves, trees, glue; bottom, Blue Curry: S.S.s, 2014, live video feed; opposite page, Jamison Chas Banks: inspiration image for Retour des Cendres (Return of the Ashes) Vol. 1, 2014, photograph

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JAMISON CHAS BANKS: Evening the scoreboard

S

anta Fe artist Jamison Chas Banks’ Unsettled Landscapes project, Retour des Cendres (Return of the Ashes) Vol. 1, references the history of his own Cherokee and SenecaCayuga heritage as well as that of French military and political leader Napoleon Bonaparte (1769-1821).

“It’s really a personal narrative about the region where I come from. I grew up in Kansas but my ancestors were exiled to Oklahoma,” Banks said. “What I’m talking about is the Louisiana Purchase. Napoleon was actually the one who sold the territory to the United States. His final campaigns were financed through that deal. Oddly enough, Napoleon started the whole process for us to be exiled.

If the land hadn’t been opened up, it couldn’t have been utilized. It’s a cause-and-effect kind of thing.”

The project comprises found objects, historic photographs, and a replica of a scoreboard from the 1960s television program Home Run Derby, which pitted baseball greats against each other in home-run competitions. Banks’ scoreboard, however, rearranges the words as “Run Home Derby,” a reference to the tragic experience of Native Americans and boarding schools. “A lot of children would run home to escape from the brutality and actually perish from exposure.” Banks included the scoreboard because it also alludes to his family history. “It pays allegiance to the masculine history of my family and what they had to deal with and overcome. After people were exiled to Oklahoma, the children were, most of the time, taken to boarding schools.

My grandparents were indoctrinated

into that. But through the negativity, there was one positive aspect, and that was baseball. My grandfather played baseball, and he actually made a living playing semipro baseball for about a decade. He told us that he grew up in the same town as Mickey Mantle. He said they actually played stickball during the Depression.” In the center top of the scoreboard is a map of the United States showing the geographic extent of the Louisiana Purchase. The numbers on the scoreboard indicate that the game, played between Purchasers and Exiles, is still in progress, with innings to go. “The numbers are a low score, but I wanted them to be significant to the history of the United States. The Purchasers are the Louisiana Purchasers, the people who have come here. The Exiles are the people who were sent away.”

Banks intends to continue working on the project as a documentary film. His original concept for the project was as a film, and he hopes to finance a trip to St. Helena, the remote island where Napoleon died in exile. “Retour des Cendres also refers to France’s attempts to bring Napoleon’s body back from St. Helena. It’s a return of the body, or the return of ancestry in a sense — dealing with those social issues, political issues, and how they meet at different avenues. I was going to travel to St. Helena and do this self-imposed exile. To get to St. Helena, you have to take a boat, and it’s about a five-day journey. What I’m really trying to do is neutralize my own historical exile by going back.”

— Michael Abatemarco

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45

SITE Santa Fe MILER LAGOS: The tree-ring cycle

ON

July 6, Miler Lagos was busy turning newspapers back into a tree. The Great Tree is the Colombian artist’s commissioned piece for Unsettled Landscapes. His materials totaled three tons of newspapers (produced with soy ink on recycled newsprint), printed and donated by The Santa Fe New Mexican, along with copies of The New York Times, the Santa Fe Reporter, and The Demon Tattler, Santa Fe High’s school newspaper.

Lagos earned his B.A. in fine arts at the Universidad Nacional de Colombia in Bogatá. For his solo shows over the past several years in New York City, Toronto, Bogotá, Buenos Aires, Mexico City, and Valparaíso, he has employed mostly natural materials (including weeds) as well as candies, newspapers, and books. As for using newspapers for his Unsettled Landscapes work, he told Pasatiempo, “Each ring of a tree is like a file of the time and place in the same way that each page of newspaper is a file of the area and the time. This is the reason I want to use newspaper. It’s the connection between print media and sculpture. It’s easy to think this is about ecology, but, no, it’s through my activity as a sculptor — and I was looking for the nature of materials until I found newspaper, and it made me think of print media and how many papers have been used to keep alive images from history, like Albrecht Dürer’s Apocalypse woodcut series, which is still printed in books of art.”

The first month of work for his biennial piece was done by a SITE Santa Fe crew, which unfolded pages from the newspapers and removed glossy ad inserts. Lagos and his assistant, Otoniel Borda, then spent two weeks making stacks of the two sizes: full (broadsheet) and single (tabloid). In early July, the two worked on the last and topmost

section of the 12-foot tree. They drilled holes in newspaper stacks several inches thick and secured them with bolts and steel braces. A wavy pattern representing the tree trunk’s cross section had been sketched on the top piece of paper. While we talked, Borda used a utility knife to cut off corners, a few newspapers deep with each swipe, following that pattern. For the next step, Lagos wielded an electric angle grinder to blend and smooth the swipe-cuts, shaping this developing section of tree trunk. Most of the tree is gray — a result of the extent to which the soy ink soaks into the newsprint. Lagos “paints” some areas of the trunk darker, using the grinder simply for friction. He discovered that the paper darkens as it “tries to burn” and now uses that as a coloring technique.

The Great Tree is modeled after the ceiba, a very large tropical tree found from Mexico to Peru, its trunk and buttress roots flaring out dramatically at its base. During the interview with Pasatiempo, the artist told a story from the Tikuna people in the Amazon: There was once a gargantuan ceiba tree. The people had to cut it down because it darkened the whole jungle. When it fell, it created the Amazon, all the branches forming the river’s tributaries. Though clearly not as massive as the one in that legend, the artist’s tree looks quite realistic. “As an artist it is always difficult to pretend to make a natural thing, but at least we can suggest in the imagination some ideas,” Lagos said. “So this is an idea of the tree that I have in my mind, and also that the paper permits me to do. It’s a kind of negotiation between the material and the artist’s idea. All of the conceptual layers inspire me to do a project like this.”

— Paul Weideman

Miler Lagos

Above, Miler Lagos: The Great Tree, 2014, stacked, carved, and “painted” newspaper; left, close-up of some newspaper stacks used for The Great Tree; opposite page, top, Iñigo Manglano-Ovalle: installation of Well 35°58'16" N 106° 5' 21" W at Santa Clara Pueblo, 2014; bottom, site for the well, 2014 46

PASATIEMPO I July 18-24, 2014

O N E XHIB IT THRO U GH O C TO B ER 12 IÑIGO MANGLANO-OVALLE: Well-being

I

Bill Stengel

ncreasingly, water is becoming the world’s most precious resource. The privatization of water by corporations is adding to the decimation of communities around the world, as detailed in the 2004 documentary Thirst. Population growth, pollution, and disputes over access to what some see as a basic human right and others see as a commodity have led to water being dubbed “blue gold,” the oil of the 21st century. In response to the issues raised by water rights, artist Iñigo Manglano-Ovalle, originally from Madrid and now living in Chicago, created a project for Unsettled Landscapes called Well 35° 58' 16" N 106° 5' 21" W. It potentially makes water available for anyone — anyone visiting one of two locations in New Mexico, that is. In collaboration with Santa Clara Pueblo artists Roxanne Swentzell and Rose Simpson, Manglano-Ovalle installed a working well on their family property near the pueblo, tapping into an underground aquifer. The title gives the geographic coordinates of the well’s location.

Initially, Manglano-Ovalle, whose Phantom Truck installation was among the highlights of SITE’s 2012 exhibition More Real? Art in the Age of Truthiness, wanted to broach an aquifer within Santa Fe city limits. “I knew there was an aquifer here. There’s also a couple of city wells not far from SITE Santa Fe. Maybe we could tap it. We’d drill the well, we’d install it, we’d lock it, and we’d give the keys to the Water Division. That became politically impossible.”

When he was invited out to Simpson’s property, the first thing she did was offer him a glass of water, a common enough gesture but a symbolic one. “My conception was that the well would be located on the property owner’s land and that the property owner would determine who had access to this water, including whether they would invite people to see the well as art.”

After installing a drilling rig on the site, Manglano-Ovalle began to dig down 142 feet to reach sthe aquifer.

“By all indications the water is fantastic,” he said. “The pump will be there for the community, but [water will] also be transported to SITE Santa Fe. I am hoping there will be glasses here,

Judy Chicago, The Return of the Butterfly, from A Retrospective in a Box, 2012. Lithograph.

Collection of the New Mexico Museum of Art, museum purchase, 2013.

and if you want to, you can have some water. At a certain point it’s that idea of consuming or imbibing the artwork.

My hope is that SITE will make the water accessible to you, that you can drink it, and that Rose and Roxanne will invite people to come up and pump water there.” A corresponding nonfunctional sculptural component, a simple elegant pump, is installed at SITE along with photo documentation about the project.

“Water is a simple resource that’s the basis of life. Increasingly, there are political, social, cultural, and economic conflicts over water, whether we’re talking about taking water from this area of the country and transporting it all the way to the West Coast or tapping the Great Lakes Basin in the future to feed the rest of the United States or who controls water between Jerusalem and the Gaza Strip. This piece is pointing to those larger issues.

It’s site-specific on one level, local on another level, and global.”

— Michael Abatemarco

Large-scaleprojectsandsmall-scalepersonalworks in an impressive array of media by artist, author and educator Judy Chicago. This exhibition focuses on works produced in the last three decades while the artist has been living and working in New Mexico.

PAINTING WORKSHOP Saturday, July 19, 1–3:30 p.m.

“The Ritual Table.” Start with a tour of Local Color, looking at Judy Chicago’s symbolic, storytelling Seder plates. Participants will create a usable placemat for their table. Pre-register at NMMOAworkshops2014@gmail.com. Dropins welcome when space is available. Free with regular museum admission.

107 W. PALACE AVE | ON THE PLAZA IN SANTA FE | 505.476.5072

nmartmuseum.org

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47

SITE Santa Fe JASON MIDDLEBROOK: Treasure for Treasure

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PASATIEMPO I July 18-24, 2014

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ndrea Bowers is known for making art in the service of the campaigns for gender equality and environmentalism. A recent piece, #sweetjane, examined a 2012 Ohio case in which two members of the Steubenville High School football team were convicted of raping a 16-year-old girl.

Bowers’ two works in the SITE biennial deal with real-life cases of land rape. Memorial to Arcadia Woodlands Clear-Cut (Green, Violet, and Brown) is a hanging sculpture made of cords and wood pieces. “I was arrested for trying to save a forest of trees in Arcadia, California, with three other activists,” she said in an interview from her Los Angeles home. “Upon my release I went to the site of the clear-cut, and there were huge piles of chipped wood. They had put all the oaks and sycamores in tree chippers. I went out there and filled a pickup truck with wood chips. I wanted to try to make a memorial, a small gesture of monumentalizing those trees.”

The wood hunks hang on lengths of paracord and rope, the climbing gear used by environmentalist tree sitters. “That’s what we use when we’re up there so we don’t drop things like pencils and phones and water. You have to tie everything because of gravity. I’m also always interested in craftsmanship, or rather craftpersonship, of all kinds, and climbers are incredible knot-tiers, so I’ve become interested in using that in my work.”

Her other SITE piece is a video titled The United States Vs. Tim DeChristopher. “A month before George W. Bush was to leave office, he decided to quietly auction off thousands of acres of pristine wilderness in Utah near Arches National Park. Tim is an environmentalist but was also studying economics at the University of Utah, and he felt as if he had to do something besides holding a sign.”

The student went to the property auction and disrupted it by making fake bids on land parcels.

Bowers interviewed the activist before his court case. She said that the Obama administration decided not to follow the Bush proposal to sell the land for gas and oil exploration but did prosecute DeChristopher for his action.

“A fellow artist, who is a famous rock climber, helped me determine all the plots that Tim had bid on, and I videotaped myself walking on them.

The video alternates interviews with Tim and these wide landscape shots, where you see a little spot and it gets bigger and bigger. It’s me walking to the camera. Then, when I arrive, I write down each parcel number and hold it up to the camera.” Her photographs and videotape were actually used in the court case to illustrate the landscape involved.

Bowers, an Ohio native, has an MFA from California Institute of the Arts. Soon after graduating, she worked with other women supporting tree sitter John Quigley, who was trying to save a 400-year-old oak tree near Valencia. “He was the first activist I worked with. I think a really big part of what I feel I can do is tell alternative history: bear witness to these amazing actions of these incredible activists, so that’s what I do.

“Activists bring awareness to things and sometimes they actually save land.”

— Paul Weideman

Karen Pearson

ew York-based artist Jason Middlebrook’s Your General Store operates on the oldfashioned principle of an exchange of goods and services rather than the use of currency. The idea is simple: Middlebrook refurbished a large shipping container and turned it into a general store, but the inventory is made up of original paintings and custom-built objects by him and some fellow artists. “I had this idea a long time ago,” he told Pasatiempo. “There was a ’50s-era gas station at the end of my street, and I loved it.

I wanted to do a general store there but I wanted it to be based on a bartering model, like at an 1800s trading post. I thought, What if it was in a shipping container and it could be potentially mobile? It expanded from that, and I invited my artist friends to contribute pieces.” Too big for SITE’s interior, Your General Store is located in back of the building. Visitors to Unsettled Landscapes can view it during opening-weekend events, and the store, staffed by SITE volunteers, is open for trade through the run of the show.

“The basic premise,” Middlebrook explained, “is that someone’s going to come in here and see something they’re going to want. They can’t buy it. You have to go home and make something — or trade something of equal value. It really takes the whole monetary relationship out of the shopping-for-art experience. Someone can trade a walking stick or a birdhouse. There’s a nautical theme. There’s a bird theme because a lot of my work deals with nature. I dealt so much with birds in my earlier work, and I wanted to narrow the focus. So there’s a traveling metaphor and a nesting theme.”

The store offers pickled foods, glass marbles, paintings, found objects, and plenty of birdhouses, among other unique items. There is even a coat rack made of deer hooves. (“I bought that at a garage sale for five bucks off this kid,” the artist recalled.) To construct the store, Middlebrook fitted reclaimed barn windows into the shipping container’s side panels, installed wood paneling on the floor and walls of the interior, and constructed bins, shelves, and cabinets to display the merchandise. He collaborated with Elan Wonder, a graphic artist from Elizabeth, New Jersey, to paint the ceiling, giving the store a more contemporary feel. From the outside, only the windows offer any indication that the structure is anything other than a shipping container. Trading items ensures that the store always remains stocked, its contents always in flux. Middlebrook hopes to take the store on the road to other venues after Unsettled Landscapes closes in January of next year. A website listing objects available for trade is in the works and should launch the week of the exhibition’s opening.

— Michael Abatemarco

ANDREA BOWERS: The art of activism

Above, Jason Middlebrook: exterior close-up, Your General Store, 2014, shipping container, wood, paint, reclaimed barn windows, glass, concrete, native plants from New Mexico, steel, leather, plastic, canvas, yarn, thread, soil; stop, Andrea Bowers: Memorial to Arcadia Woodlands Clear-Cut, 2013, metal, paracord, rope, wood

Clarissa Tossin: When Two Places Look Alike, 2012 digital photograph

CLARISSA TOSSIN: Place holders

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hen artist Clarissa Tossin was growing up in Brasília in the 1970s and ’80s, she thought for a time that she might like to be an architect.

Designed and developed in the 1950s by urban planner Lúcio Costa and architect Oscar Niemeyer as the new capital city of Brazil, Brasília is a monument to modernism. “Brasília has very specific architecture, which is imposing and very present in everyday life,” Tossin explained. “One of the themes I return to in my work is architecture — how space determines subjects and represents ideologies.”

Tossin now lives in Los Angeles, and much of her work dissects environment and geography. Her piece in SITElines, When Two Places Look Alike, examines, through photographs and video (the latter is not included in SITElines), two eerily identical towns: Belterra, Brazil, and Alberta, Michigan.

Both towns were built in 1935 as housing for Ford Motor Company workers who staffed a rubber plantation (Brazil) and a sawmill (Michigan).

In the series of photographs, Tossin’s hand holds up a fragment of a photograph (usually part of a house) in front of its corresponding twin, thousands of miles away. The houses are modest — one-story, wood-framed, and painted white with green trim. The differences are subtle, like red roofing tiles (typical of the tropics) instead of shingles. The foliage is different: Belterra’s palm fronds replace Alberta’s deciduous trees.

Tossin discovered the towns when she came across Greg Grandin’s book Fordlandia: The Rise and Fall of Henry Ford’s Forgotten Jungle City while researching the auto industry for another piece. (Fordlandia, Ford’s first settlement, predates Belterra, its second, the former having failed due to worker revolts and the massive

dying off of rubber trees.) “The architecture in Belterra was inappropriate and aesthetically, completely foreign to the region,” Tossin said. “I used the architecture to talk about what globalization does in terms of cultural exchange. Belterra was a patronizing, colonizing gesture of an industrial initiative.”

A piece titled Geographic Accident (9,468 miles collapsed) complements When Two Places Look Alike.

In Geographic Accident, Google Earth satellite images of Alberta and Belterra are printed on either side of a huge piece of cotton paper, arranged on the floor dropcloth-style: all peaks and valleys, folds and creases. Seen from above, Belterra is barely distinguishable from Alberta; the towns’ green edges and narrow roads overlap and crisscross. “Initially, I followed a pattern to fold the paper into a car shape, kind of like origami, and from there it unfolded in a more abstract way to create a landscape that merges the two places,” the artist said.

For Tossin, the act of unmapping is at least as potent as the creation of maps themselves. Another piece, Unmapping the World, takes a tack similar to Geographic Accident’s.

Tossin balls up tracing paper and draws maps on the three-dimensional surfaces. The unfurled maps are then hung on the wall in no particular order. Mapping is the practice of the dominant, Tossin explained. In deconstructing accepted methods, the artist skewers the status quo. In part, unmapping “questions the cultural imperialism of the U.S.; unmapping is an artistic gesture that enacts the power position of the mapmaker,” she said. “Because there isn’t one way to do it, I’m proposing that anyone can map. It will always be different, and all of it is valid.”

— Adele Oliveira

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49

Casey Sanchez I For The New Mexican

The BORDER at center Curating at the Edge

Top, Liz Cohen: Welder, 2005; bottom, Marcos Ramírez (Erre): Crossroads (Tijuana/San Diego), 2003 All images (except for Kate Bonansinga) from Curating at the Edge: Artists Respond to the U.S./Mexico Border by Kate Bonansinga (copyright © 2013 by University of Texas Press); used by permission of the artist and the University of Texas Press

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PASATIEMPO I July 18-24, 2014

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nly a few blocks away from the line dividing the United States and Mexico, the Stanlee and Gerald Rubin Center for the Visual Arts has been a beacon for ambitious artists exploring aesthetic and political realities being forged on the border. The feisty exhibit space, a program of the University of Texas at El Paso, turns 10 this year, making it old enough for the museum’s first director, Kate Bonansinga, to look back at some of the seminal shows that have made the Rubin Center a vital place to collaborate and to make art against the backdrop of El Paso/Juárez, the second-largest binational urban space on the U.S./Mexico border.

“We would be at the very forefront of experimentation in the visual arts, a laboratory where the visiting artists would be the researchers and UTEP students would be their assistants,” writes Bonansinga of her institution’s mission in Curating at the Edge: Artists Respond to the U.S./Mexico Border. Published by the University of Texas Press, the book recounts her experiences curating the Rubin Center from 2004 to 2012 and includes several excellent interviews with artists whose work she featured or championed.

Despite the art center’s small budget, Bonansinga built a national reputation for it, though her book’s narrative is far from self-congratulatory. She is candid about her failures, forthcoming about money and personality conflicts, and, above all, passionate about collaboration. She makes living and curating some 275 miles south of Santa Fe seem fun, vital, and edgy. As Santa Fe art writer Lucy Lippard notes in an introduction to Curating at the Edge, the book “is an intriguing hybrid, combining a manual on how to create a distinctive university art center with an informed critical text on art reaching across the U.S./Mexico border.”

“With the Rubin, I wanted to upend and expand people’s expectations of what a Mexican/American art exhibit would look like,” Bonansinga told Pasatiempo. “Because the majority of El Paso is Mexican or Mexican American, I was looking for art that would be both challenging and a port of entry.” With that in mind, she sought out projects that married high-concept and high-tech attributes.

Hydromancy, Bonansinga’s first curated show (2004), featured the work of SIMPARCH, a Las Cruces collective of artist-builders that playfully appropriates the vernacular architecture of the desert Southwest. For this exhibit, the SIMPARCH crew installed one of the black water tanks that dot the Mexican industrial landscape atop a hill behind the Rubin Center. Water from the Río Grande ran downhill through a series of solar stills and pipes until it arrived in the museum as clear, clean, drinkable water — a nod to the times when gathering at the community well mixed survival with socializing.

In her revisiting of the 2008 exhibit Claiming Space, Mexican-Americans in U.S. Cities, she looks at multiple exhibits of San Francisco artist Julio Cesar Morales and his creation of a politicized Latino urban gothic where the lives of immigrants, drug smugglers, and street vendors float in a liminal social space. For Narquitectos, the artist rendered ink and spray-paint illustrations of cross-border marijuana-smuggling tunnels — several of them equipped with train tracks and ventilation systems — that were designed by trained Mexico City architects and commissioned by drug kingpins. Those images are juxtaposed against Undocumented Interventions, a series of watercolors of adult immigrants packed away in car trunks and dashboards, their children ensconced in piñatas and toys to evade detection as they cross the border.

The late 2000s were a bleak time to live in El Paso. Across the river from the Rubin, scorched-earth wars between rival drug cartels made Juárez for a time the most dangerous city in the world, while El Paso found itself among America’s safest cities. Bonansinga recounts how the violence had effectively cut off students at UTEP from their counterparts a mile across the bridge at Universidad Autónoma de Ciudad Juárez, a pair of binational sister campuses that had been exchanging students, ideas, and resources for years. By the end of 2008, UTEP’s president had to issue a memo banning all universityrelated travel to Mexico.

Into this charged atmosphere came Tania Candiana, a Tijuana artist who worked with

Svarzbein

students to create a performance piece in 2009, informed by interviews with clients of local women’s shelters. Dubbed Battleground, the conceptual art piece placed student actors as either warriors or defenders, armed with kitchen and household utensils to protect Juárez from Juárez. Sadly though, real safety concerns left each of the two campuses to stage the work on its own turf, videostreaming performances as if the students were thousands of miles apart.

Battleground is representative of the risktaking artwork that brought internationally known artists to create site-specific work at the Rubin. For UTEP art students, Bonansinga writes, the Rubin was a connection to a larger world of contemporary art.

Though not directly concerned with border issues, one of the book’s most engaging stories is found in Liz Cohen’s exhibit No Room for Baggage, a daring work about lowrider culture that turns tropes about gender roles, auto-body shops, and self-invention in on themselves. A fine-arts photographer by training, Cohen took it upon herself to apprentice under a master Phoenix auto-body worker and learn to build a lowrider, specifically one that transforms itself via hydraulic switches from a Trabant to an El Camino in less than 15 seconds. She dubbed it Trabantimino and posed alongside the car in a bikini, her body whipped into shape by physical trainers.

Whether it should be filed as a brilliant, sustained act of feminism or a pan-American story of self-transformation, Cohen’s car is the only contemporary work that won coveted space at the elite art fair Frieze New York 2012 and also took first prize the following year at the Main Street Showdown Super Show, a well-known lowrider competition in Española.

“She treats that car as an extension of herself,” Bonansinga said. “It’s what I admire in her work. I think it is a creative pursuit to open up the world in which you live so it includes other cultures and subcultures you have not been exposed to. She has a great willingness to become someone other than who she is and to take on all the legwork that goes with that.”

That’s a telling phrase. As Bonansinga’s curation improved, it became clear that the art she featured was less about the identity politics of the United States and Mexico and more about how existing in any sort of borderland forces you to develop a whole new skill set for living. “We did have an aesthetic,” Bonansinga writes. “It was a place where the border was the center.” ◀

With the Rubin, I wanted to upend and expand people’s expectations of what a Mexican/American art exhibit would look like.

— Kate Bonansinga

From top, Tania Candiani: Proteccion Familiar: Cascos/Family Protection: Helmets, 2009; author and Rubin Center curator Kate Bonansinga; Alejandro Almanza Pereda: Andamio, 2007

PASATIEMPOMAGAZINE.COM

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Holy Môle: From top, Vincent Perez is Isabelle Adjani’s new beau; Daniel Auteuil and Adjani getting hitched; Adjani and Dominique Blanc in search of a meaty hunk

Royal blood Jonathan Richards I For the New Mexican Queen Margot, epic historical adventure, rated R, in French with subtitles, The Screen, 3 chiles The centerpiece of this sprawling French historical romance is the St. Bartholomew’s Day Massacre, which erupted on the night of Aug. 23, 1572, one of the red-letter dates in the history of human slaughter.

Well, the real centerpiece of this movie is Isabelle Adjani, at the peak of her stunning beauty here in the title role of Queen Margot, sister of the king of France and, as the picture opens, in the process of becoming the reluctant bride of Henri of Navarre (Daniel Auteuil).

The viper in the bosom of late-16th-century France is religion. It has been just over half a century since Martin Luther nailed his 95 theses to a church door in Wittenberg, and Roman Catholics and Protestant Huguenots are not getting along. Margot’s family is Catholic, Henri’s is Protestant, and the royal marriage is supposed to help heal the breach and bring about an end to the Wars of Religion that have been tearing the country to shreds.

The architect of this holy alliance is Catherine de Médicis (Virna Lisi, brilliant and terrifying), mother of Margot and her three brothers. The eldest of these is Charles IX (Jean-Hugues Anglade), the querulous and unstable king; next in line is the Duc d’Anjou (Pascal Greggory), whom mother always liked best; and last and least, the young Duc d’Alençon (Julien Rassam). They are a loving family. Some would say loving to a fault.

But incest is only one of the faults of this royal family. Their larger repertoire includes treachery, betrayal, and murder as a personal and political weapon. And though Catherine would like to settle the nation’s troublesome religious strife, she has a few scores to settle first. The killings are supposed to be limited, a quick surgical strike to remove a few key opponents, but things get out of hand, and next thing you know there is 52

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wholesale slaughter in the streets of Paris, with the wedding meats barely cold. Estimates of the dead in that one night have run as high as 30,000.

Director Patrice Chéreau handles the massacre with grandiose largesse, working up-close and personal as throats are slashed, torsos skewered, and heads rolled. To say it’s believable might overstate the case, but it works cinematically. For the film’s original U.S. release in 1994, some of the footage was removed, but before his death last October, Chéreau was able to supervise its restoration for his director’s cut. Now the massacre unspools as it was meant to, in all its guts and glory.

Meanwhile, the royal marriage has not gotten off on a good footing.

Exiting the cathedral, where the ceremony has taken place with majestic pomp and circumstance, the bridal couple begins bickering about their mothers. (“Yours killed mine,” is Henri’s untrumpable sally.) Margot tells her groom not to come to her room for the traditional wedding-night festivities. But this does not mean she isn’t randy, and that evening, cloaked, hooded, and masked, the bride and her lady-in-waiting Henriette (Dominique Blanc) prowl the streets and alleys of the capital looking for satisfaction. “I need a man,” says the young queen.

And she finds one. He is the Comte Joseph Boniface de La Môle (Vincent Perez), though you’d never suspect his aristo bona fides as she comes across him, having his purse snatched, dressed in tatters, and sleeping in the street. But though he may not look like a noble, he performs like one, up against the wall of an alley, and Margot falls hard for him. La Môle is a Huguenot, further complicating her life, and she begins to find herself questioning her family’s genocidal inclinations.

In what seems like no time at all (if one can couch anything in those terms when talking about a movie that runs well north of two and a half hours), La Môle is back on his feet and playing a leading role in the Huguenot resistance, conspiring and intriguing with religious zeal against Margot’s family even as he consoles the young queen with a passion that is as spiritually pure as it is carnally torrid. He even makes her promise that, should he lose his head (in the literal sense), she will save it and keep it with her always. You don’t find many young couples these days willing to make that kind of commitment Paradoxically, the loss of her heart to her Protestant lover softens Margot’s attitude toward her husband, who is really a pretty decent sort, if a bit of a bumpkin by the standards of the French court. Eventually they form a sort of alliance and even manage to consummate their union.

Chéreau was a noted director of opera, and there is an operatic flair to his telling of this story, which he and writer Danièle Thompson loosely adapted from the novel La Reine Margot by Alexandre Dumas père. The players are often hard to tell apart without a program, but as the movie goes on, they gradually sort themselves out. The acting, which is marvelous across the board, is of a florid hue. Anglade gibbers and sulks as King Charles, Greggory struts and sneers as the cynical Anjou, and Perez, without much leeway to do anything but look soulful and madly handsome, does both to the hilt.

Auteuil plays a wily and ingratiating game of watch and wait as Henri of Navarre and manages to get himself into Charles’ good graces when he takes down a wild boar and saves the hunting-mad king. Henri would later move up in class to become Henri IV of France, first Bourbon on the French throne and grandfather of Louis XIV, the Sun King.

Standing astride all this intricate maneuvering like a colossus is the onetime Italian blonde bombshell Virna Lisi (best actress for this at Cannes), virtually unrecognizable with her hair pulled back and her face distorted with malicious scheming. Once pitched as the next Marilyn Monroe (How to Murder Your Wife), Lisi here is more like a cross between Bette Davis in The Virgin Queen and Joan Crawford in What Ever Happened to Baby Jane?

But it is Adjani, eyes flashing, bodice heaving, and heart slowly transforming, who rules this epic. It is a gorgeous period piece, and she supplies a generous portion of its beauty as she forges a character that is equal parts flesh and steel.

Queen Margot is a lavish spectacle, a byzantine story, and a timely reminder, should we need any, that as Christians, Jews, Arabs, Sunnis, and Shiites clamor to kill each other in the names of their various gods, the world has seen it all before. ◀ PASATIEMPOMAGAZINE.COM

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MOVING IMAGES film reviews Pain and pleasure Jonathan Richards I For The New Mexican Venus in Fur, drama, not rated, in French with subtitles, Center for Contemporary Arts, 3.5 chiles A few years ago, Roman Polanski took a French play, Yasmina Reza’s God of Carnage (originally Le Dieu du Carnage), and made a disappointing hash of it as an English-language film. Now he’s taken an American play, David Ives’ Venus in Fur, translated it into French, and made some movie magic.

Ives’ play, which won a Best Actress Tony for Nina Arianda in its Broadway run, takes place in a New York rehearsal hall. Polanski moves the action to a Paris theater, where a musical version of Stagecoach has just closed and auditions are being held for a stage adaptation of Venus in Furs, the 19th-century novella by Leopold von Sacher-Masoch that gave his name to the term masochism. You’ll have no trouble understanding why.

As the film opens the camera glides down a Paris avenue, swerves right, and breezes in through the doors of a theater where an “Auditions Today” notice is posted. Playwright-director Thomas Novachek (Mathieu Amalric) is on the phone, complaining about the dearth of talent on display from the actresses he’s seen that day for the role of Vanda in his Venus adaptation. He’s closing up shop when an actress arrives, breathless, soaked from the rain, apologizing for her lateness, cursing the day, hobbling on a broken shoe, and begging for a chance to audition. Her name, she tells Thomas, is Vanda — Vanda Jourdain.

Emmanuelle Seigner, who is married to Polanski, plays Vanda, and it has escaped no one’s notice that Amalric bears a striking resemblance to the director in his younger days. It’s hard to say what that’s worth, but it does add a frisson of familiarity that reverberates in the intimate, almost claustrophobic setting. Seigner

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Quick study: Emmanuelle Seigner and Mathieu Amalric

is brilliant and quickly dispels any danger of being trapped in the shadow of Arianda’s Tony-winning performance. And while the movie belongs to Seigner, Amalric (who played opposite Seigner as the paralyzed shut-in in Julian Schnabel’s The Diving Bell and the Butterfly) holds his own.

Thomas is tired and frustrated, and this late arrival is not what he’s looking for. The character of Vanda is an elegant lady out of a more sophisticated era. The actresses he’s seen that day have been gum-chewing Gallic valley girls, and at first and second glance, Vanda does not appear to be a step up. She’s dressed like a tart, in a leather micro-mini and bustier, with too much makeup, a tattoo on her arm, and a dog collar around her throat. Her manner is slutty and common.

But she’s persistent, and before he knows what’s hit him, she’s wheedled him into letting her read, and she has slipped into something more comfortable that she’s produced from her bag — a Victorian gown to suit the character. “Vintage,” she says.

“Forty euros!”

It soon becomes clear that there’s more to this woman than meets the eye. Before they start, she goes to the lightboard and adjusts the lighting, some-

thing Thomas has no idea how to do. (“I wouldn’t know what button to push.”) When he asks if she has the sides (a theater term for a short scene from a play), to his consternation she pulls the full script from her bag. And it soon becomes apparent that she knows it by heart.

But it is when they begin the scene that his jaw really drops. She slips into the character uncannily, and by the time they reach the end of the three-page section, he’s hooked.

The movie is a pas de deux for these characters, the writer-director and the actress, and as it goes along they move constantly between themselves and the characters they are playing. The shape-shifting and identity blurring span a dizzying range, with Vanda sometimes assuming control as the director, Thomas willingly embracing the subservient qualities of the masochistic male character in the play, the two exchanging gender roles, and Vanda calling the playwright out on his motives and personal connection with the material.

Thomas responds with a rant, denouncing the way everything has to be seen as a social issue, a diatribe that recalls Polanski’s own troubles with society and the law. This is a story about role-playing, about gender politics and sexual perversity, about the erotic psychology of control and submissiveness and the pleasure of pain, and its quicksilver changes keep the audience on its toes.

Polanski has elected to keep the movie in the confined space of the theater, rejecting the cinematic convention of “opening it up.” Ives’ stock in trade is his nimbleness with words, and those words, the playwright has admitted, have been improved upon here and there in Polanski’s translation.

As events build to a climax, you can see what’s coming, and Venus in Fur loses a little of its dazzle as it moves toward the finish line. But Seigner and Amalric keep so many balls in the air with their inspired performances (as does Polanski with his agile direction of Ives’ witty material), that by the time you realize it might have slowed down a little, you’re already chuckling on your way back to your car. ◀

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— compiled by Robert Ker

Prince Hal (Jasper Britton) and the comic Sir John Falstaff (Antony Sher). Not rated. 165 minutes, plus one interval. Jean Cocteau Cinema, Santa Fe. (Not reviewed) SEX TAPE Cameron Diaz and Jason Segal play a married couple who decide to spice up their sex lives by filming themselves. Alas, he accidentally uploads the video to the internet, and the two try in vain to prevent the world — and, most important, their loved ones — from seeing it. Rated R. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed)

On the fly: Planes: Fire and Rescue at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week PERSECUTED The latest heavy-handed, right-wing movie is both pro-Christian and antigovernment, so it’s like a two-for-one special. James Remar plays John Luther, a preacher who stands in the way of sweeping “religion reform” in the United States, so the government frames him for murder and forces him to fight to clear his name. Rated PG-13. 91 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) PLANES: FIRE AND RESCUE This summer’s annual Pixar film is not quite a Pixar film but rather a Disney sequel to its own Pixar spinoff. The world of Cars gave birth to 2013’s Planes, and this follow-up finds Dusty Crophopper (voiced by Dane Cook) fighting fires, learning about heroism, and no doubt off-screen appearing on a lunchbox or notebook near you.

Rated PG. 83 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) THE PURGE: ANARCHY Last year’s cheapie horror flick The Purge received an onion in these very pages, and audiences agreed with terrible word of mouth.

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But it made a mint on its opening weekend, and so here is the sequel. Once more, the premise centers on an America where crime is eradicated for 364 days a year, thanks to one day in which laws are tossed out and anything goes. (Guess which day the film centers on.) Rated R. 103 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) QUEEN MARGOT The centerpiece of this sprawling French historical romance is the St. Bartholomew’s Day Massacre, which erupted on the night of August 23, 1572, one of the red-letter dates in the history of human slaughter.

Director Patrice Chéreau handles the massacre with operatic largesse, working up-close and personal as throats are slashed, torsos skewered, and heads rolled.

But it is star Isabelle Adjani, eyes flashing, bodice heaving, and heart slowly transforming, who rules this epic. It is a gorgeous period piece, and she supplies a generous portion of its beauty as she forges a character that is equal parts flesh and steel. Rated R. 159 minutes. In French with subtitles. The Screen, Santa Fe. (Jonathan Richards) See Scren Gems, Page 52.

ROYAL SHAKESPEARE COMPANY: HENRY IV PART 2 From Stratford-upon-Avon comes the Royal Shakespeare Company’s production of the history play focusing on the friendship between

VENUS IN FUR In his adaptation of David Ives’ hit play, Roman Polanski moves the action to Paris and puts it in the hands of two wonderful French actors, Emmanuelle Seigner (Polnaski’s wife) and Matthieu Amalric (a Polanski look-alike). The story is about an actress auditioning for the writer-director of a play based on Venus in Furs, Leopold von Sacher-Masoch’s notorious 1870 erotic novella that gave its author’s name to the word masochism. This is a story about role-playing, gender politics, sexual perversity, and the pleasure of pain, and its quicksilver changes keep the audience on its toes. Not rated. 96 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. (Jonathan Richards) See review, Page 54.

now in theaters AMERICA Right-wing pundit and filmmaker Dinesh D’Souza (2016: Obama’s America) returns with a documentary that aims to prove that liberals are America-loathing traitors and to show us what the world would look like if the U.S. didn’t exist.

Historical reenactments of various hypothetical situations are included. Rated PG-13. 95 minutes.

Regal DeVargas, Santa Fe. (Not reviewed) BEGIN AGAIN John Carney, director of 2006’s Once, returns with another music-themed romantic comedy. Mark Ruffalo plays a former record-label executive who comes across a beautiful young singer (Keira Knightley) and suggests they make sweet music — and, inevitably, magic — together. Singers and rappers such as Adam Levine, Mos Def, and Cee Lo Green help fill out the cast. Rated R. 104 minutes.

Regal DeVargas, Santa Fe. (Not reviewed) CHEF This movie is the latest offering from writer-director Jon Favreau (Elf).

Favreau plays Carl Casper, an L.A. chef

with a successful restaurant and a failed marriage.

Carl gets into a war of words with a critic (Oliver Platt); loses his job; and with the help of his ex-wife (Sofia Vergara), her ex (Robert Downey Jr.), and an amiable line cook (John Leguizamo) heads to Miami with his son (Emjay Anthony), hoping to start over.

Chef is part “food porn,” part tale of self-discovery, part father-son bonding story, and part road-trip movie — with nary a conflict or villain in sight. It will remind you to appreciate the simple things in life, and you may never make a grilled cheese sandwich the same way again. Rated R. 114 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) DAWN OF THE PLANET OF THE APES The sequel to 2011’s terrific Rise of the Planet of the Apes picks the story up after a virus has wiped out most of humankind.

The chimpanzee Caesar (played once more by Andy Serkis) leads the rapidly evolving simians in their redwood-forest community, until a human settlement (led by a man played by Gary Oldman) encroaches on them. Through one gripping scene after another — and some unconvincing leaps in certain characters’ motivations — small acts of aggression escalate into warfare. The special effects and creature performances are awe-inspiring, and the use of silence, sign language, and an often-subtle score lets the audience absorb the story peacefully. Dawn is not as memorable as Rise, but this is the best and most thoughtful blockbuster franchise going right now. Rated PG-13. 130 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) DELIVER US FROM EVIL Eric Bana plays a New York City police officer who investigates a series of demonic possessions around town. Since the ghostbusters are never around when you need them, he enlists the help of a priest (Édgar Ramírez) to get his exorcise regimen on. Rated R. 118 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) EARTH TO ECHO This family-oriented sci-fi film evokes a low-budget, early-career Steven Spielberg, right down to the gangs of bicycle-riding youngsters and wonder-filled special effects in suburbia. The plot may also sound familiar: the kids involved find an E.T. named Echo (a little robot-looking thing) and help it phone home. Rated PG. 91 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) EDGE OF TOMORROW It’s Groundhog Day meets a sci-fi D-day in this flick, in which a soldier (Tom Cruise) repeatedly relives the same day — on which Earth loses a major

battle against hordes of invading aliens — until he develops the skills necessary to change the outcome.

The action is strong, but the effects, particularly involving the aliens, seem overcooked. Cruise handles the gravity and levity, and a tough-as-nails Emily Blunt proves her action-movie mettle. It’s hard to frown on an original sci-fi concept during a summer full of superheroes and adaptations, but with flaws in the first and third acts, Edge of Tomorrow doesn’t quite succeed. Rated PG-13. 113 minutes.

Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) THE FAULT IN OUR STARS Teenage romance films often involve a girl wearing a prom dress and a boy wearing a sweet pair of shades. This one is much different: the girl (Shailene Woodley) wears an oxygen tank and the boy (Ansel Elgort) a prosthetic leg; she is dying, and they meet in a cancer-support group. This film is based on a beloved book that readers insist isn’t as depressing as it sounds.

Rated PG-13. 125 minutes. Regal DeVargas, Santa Fe. (Not reviewed) FILTH James McAvoy gives a searing performance as Bruce, an abusive, misanthropic Scottish police sergeant investigating a death.

He is addicted to drugs, alcohol, and rough sex and is haunted by the memory of a child whose life he couldn’t save. Bruce takes his anger out on the world around him. Not 10 minutes in, and he is molesting a 16-year-old girl. He plays mean-spirited practical jokes on colleagues and threatens and cajoles witnesses. Moments of jarring comedy and an ill-timed song-and-dance number make you question exactly what Filth is aiming to achieve. This is a dark film with cynicism at its heart. Rated R. 97 minutes. Jean Cocteau Cinema, Santa Fe. (Michael Abatemarco) GORE VIDAL: THE UNITED STATES OF AMNESIA There’s a bit of hagiography at work in Nicholas Wrathall’s documentary about Gore Vidal, but its subject stands up to the treatment. Born to privilege and one of the towering literary figures and social critics of the 20th century, Vidal comes across as

spicy

medium

bland

heartburn

mild

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sometimes bitter, often contemptuous, brilliantly witty, and generally cynical about America’s power structure — yet with a burning, unquenchable idealism when it comes to social justice. The film gives us highlights of the life of this remarkable, controversial, supremely articulate, and never boring American literary lion, and Wrathall leaves us wanting more.

Not rated. 83 minutes. Center for Contemporary Arts, Santa Fe. (Jonathan Richards) THE GRAND BUDAPEST HOTEL It is truly a joy to witness the work of Wes Anderson, who devotes such attention to his creative vision that he crafts his own singular world. Here, he tells a tale of an Eastern European hotel manager (Ralph Fiennes) who is willed a priceless painting by a former lover (Tilda Swinton). This angers a relative (Adrien Brody), who feels he should be the true heir. Anderson adds suspense worthy of Hitchcock or Carol Reed to his impeccably designed “dollhouse” aesthetic. Willem Dafoe, Jeff Goldblum, Edward Norton, Jude Law, and Harvey Keitel co-star. Rated R. 100 minutes. Regal DeVargas, Santa Fe. (Robert Ker) HOW TO TRAIN YOUR DRAGON 2 In this sequel to the 2010 animated adventure, Hiccup (voiced by Jay Baruchel) and Toothless — his wonderful, expressive, doglike dragon — return to explore the vast horizons of their Viking kingdom. They come into trouble in the form of would-be world-conqueror Drago (Djimon Hounsou), which leads to enough action to bloat the running time. The animation is spectacular and Cate Blanchett (as Hiccup’s mother) helps flesh out one of the strongest female characters in a nonFrozen animated film in years. Rated PG. 102 minutes.

Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) JERSEY BOYS Music is in the heart of the beholder. If you are a Four Seasons fan, you’ll find plenty to like in this greatesthits album packaged, with a disappointingly routine hand by director Clint Eastwood, into a biopic by way of a mob movie wrapped up in a rags-to-riches tale. In the beginning, John Lloyd Young is a stretch as 16-year-old innocent Frankie Valli, but as the character ages, he catches up. He does a good job reprising his Tony-winning performance from the Broadway hit, and he does sound uncannily like Valli. Christopher Walken adds his usual leavening presence to an otherwise fairly anonymous but energetic cast. Rated R. 134 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) continued on Page 58

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THIRD PERSON Writer and director Paul Haggis, who won the Oscar for his screenplay for 2005’s Crash, returns with another film that balances numerous actors and storylines. This time, the theme is love and the interlocking tales take place in New York City, Rome, and Paris. The cast includes Maria Bello, Mila Kunis, Kim Basinger, Adrien Brody, James Franco, and Liam Neeson. Rated R. 137 minutes.

Regal DeVargas, Santa Fe. (Not reviewed)

The show must go on: Sex Tape at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

LIFE ITSELF Helmed by Hoop Dreams director Steve James, Life Itself is as moving and revealing a documentary as you could expect to see about film critic Roger Ebert. Drawing heavily from Ebert’s autobiography, James paints a complete portrait of the man, detailing his early years in journalism, his contentious relationship with former rival then partner Gene Siskel, and his influence on cinema.

Ebert emerges as something of a man of the people, even if he was sometimes difficult to get along with.

The film goes back and forth from the distant past to Ebert’s final years, when a long battle with cancer left him without the ability speak but, fortunately for us, not without the ability to write. Bring tissues. Rated R. 115 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) MALEFICENT In Disney’s latest take on “Sleeping Beauty,” Angelina Jolie dresses up as the villainous Maleficent from the 1959 animated film to show us what makes the evil queen tick. It turns out she has been misunderstood all these years. Rated PG. 97 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Not reviewed) OBVIOUS CHILD Aspiring 20-something comedienne Donna (Jenny Slate) works at the Unoppressive Non-Imperialist bookstore and performs raunchy confessional-style stand-up at a local club. After her boyfriend dumps her and she finds out she’s going 58

PASATIEMPO I July 18-24, 2014

to lose her job, she drowns her sorrows in booze and has a drunken one-night stand. A few weeks later, she realizes she’s pregnant and decides to get an abortion.

While a romantic comedy whose plot hinges on that political hot-button issue certainly sounds divisive, director Gillian Robespierre presents the contentious issue as something ultimately human — a common, unfortunate fact of life for many women — and she finds humor in it. Obvious Child isn’t about abortion — it’s about Donna. Rated R. 84 minutes. The Screen, Santa Fe. (Laurel Gladden) SNOWPIERCER Chris Evans (Captain America in those Marvel films) plays a dude in a future world, where global warming has wiped out most of mankind and the few remaining survivors choo-choo Earth aboard a train. A class system evolves with the rich people (led by Tilda Swinton) up front and the poor people out back, until the downtrodden start talking about a revolution. Joon-ho Bong (The Host) directs. Rated R. 126 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) TAMMY Melissa McCarthy has established herself as the current queen of comedy with smash hits like Bridesmaids and The Heat. Her latest is this dark comedy about a woman who loses her job, learns of her husband’s infidelity, and takes to crime with her rough-and-tumble grandma. Susan Sarandon co-stars.

Rated R. 96 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

TRANSFORMERS: AGE OF EXTINCTION The latest installment in Michael Bay’s highly popular yet critically reviled series stars a welcome Mark Wahlberg as a Texas dad who gets wrapped up in a war between giant, transforming robots. These films are based on toys, and Bay plays with them like an 8-year-old might, applying a nonsensical plot to get from one over-thetop action sequence to the next. The movie is loud, dumb, exploitative of both female and male bodies, often unfunny, and distractingly jingoistic, but it’s also more stylish than the typical superhero film and more colorful than the usual sci-fi movie — which counts for a lot. Rated PG-13. 157 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) 22 JUMP STREET You know it’s summer at the cinema when you get a sequel to an adaptation of a TV show. But this one has a lot going for it: 2012’s 21 Jump Street was an underrated comedy, and filmmakers Phil Lord and Christopher Miller are fresh off the success of The Lego Movie. Jonah Hill and Channing Tatum return as the undercover-cop odd couple, who have moved on from pretending to be high school students to trying to blend in with the college crowd. Rated R. 112 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed)

other screenings Center for Contemporary Arts, 505-982-1338 The Auteurs series presents Diary of a Country Priest (1951). The Sustainable Sunday Film Series presents Split Estate with director Debra Anderson in person.

Jean Cocteau Cinema, 505-466-5528 The Big Lebowski (1998), Bizarro, Cleopatra (1963), A League of Their Own (1992), Witching and Bitching.

Regal Stadium 14, 505-424-6296 The Breakfast Club (1985), Hercules, Lucy.

The Screen, 505-473-6494 The Nance. ◀

20th ANNIVERSARY 4K RESTORATION including Footage Never Before Seen

WHAT’S SHOWING Call theaters or check websites to confirm screening times.

CCA CINEMATHEQUE AND SCREENING ROOM

1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Diary of a Country Priest (NR) Sat. and Sun. 11 a.m.

Mon. 5:30 p.m.

Gore Vidal: The United States of Amnesia (NR) Fri. and Sat. 12:30 p.m.

Life Itself (R) Fri. to Sun. 2:30 p.m., 5 p.m., 7:30 p.m.

Mon. 1:30 p.m., 4 p.m., 6:30 p.m. Tue. to Thurs.

2:30 p.m., 5 p.m., 7:30 p.m.

Snowpiercer (R) Fri. to Sun. 6 p.m., 8:30 p.m.

Tue. to Thurs. 6 p.m., 8:30 p.m.

Split Estate (NR) Sun. 12 p.m.

Venus in Fur (NR) Fri. to Sun. 1:30 p.m., 3:45 p.m.

Mon. 12:30 p.m., 2:45 p.m. Tue. to Thurs. 1:30 p.m., 3:45 p.m.

JEAN COCTEAU CINEMA

418 Montezuma Avenue, 505-466-5528 The Big Lebowski (R) Fri. and Sat. 11 p.m.

Bizarro (NR) Fri. 6:20 p.m. Sat. 2 p.m., 8:30 p.m.

Cleopatra (NR) Fri. 1:30 p.m. Sun. 6:30 p.m.

Wed. and Thurs. 1:30 p.m.

Filth (R) Wed. and Thurs. 6 p.m.

A League of Their Own (PG) Sun. 12 p.m.

Royal Shakespeare Company: Henry IV Part 2

(NR) Sat. 4 p.m. Sun. 3 p.m. Tue. 7 p.m.

Witching and Bitching (NR) Fri. 8:40 p.m.

Wed. and Thurs. 8 p.m.

REGAL DEVARGAS

562 N. Guadalupe St., 505-988–2775, www.fandango.com America: Imagine the World Without Her (PG-13) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:05 p.m. Sun. to Thurs. 1:40 p.m., 4:40 p.m., 7:40 p.m.

Begin Again (R) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m.

Chef (R) Fri. and Sat. 1:10 p.m., 4:15 p.m., 7:10 p.m., 9:55 p.m. Sun. to Thurs. 1:10 p.m., 4:15 p.m., 7:10 p.m.

The Fault in Our Stars (PG-13) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:50 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m.

The Grand Budapest Hotel (R) Fri. and Sat. 1:20 p.m., 4:20 p.m., 7:20 p.m., 9:45 p.m. Sun. to Thurs. 1:20 p.m., 4:20 p.m., 7:20 p.m.

Third Person (R) Fri. and Sat. 12:50 p.m., 3:50 p.m., 6:50 p.m., 9:50 p.m. Sun. to Thurs. 12:50 p.m., 3:50 p.m., 6:50 p.m.

REGAL STADIUM 14

3474 Zafarano Drive, 505-424-6296, www.fandango.com 22 Jump Street (R) Fri. to Sun. 11:45 a.m., 2:20 p.m., 4:50 p.m., 7:45 p.m., 10:20 p.m.

The Breakfast Club (R) Sun. 2 p.m. Wed. 2 p.m., 7 p.m.

Dawn of the Planet of the Apes (PG-13) Fri. to Sun. 10 a.m., 1:10 p.m., 4:20 p.m., 7:35 p.m., 10:40 p.m.

Dawn of the Planet of the Apes in 3D (PG-13) Fri. to Sun. 12:40 p.m., 3:50 p.m., 7:05 p.m., 10:10 p.m.

Deliver Us From Evil (R) Fri. to Sun. 10:30 a.m., 1:45 p.m., 4:45 p.m., 7:40 p.m., 10:35 p.m.

Earth to Echo (PG) Fri. to Sun. 11:35 a.m., 2:05 p.m., 4:40 p.m., 7:15 p.m., 9:45 p.m.

Edge of Tomorrow (PG-13) Fri. to Sun. 10:30 p.m.

How to Train Your Dragon 2 (PG) Fri. to Sun. 11 a.m., 1:30 p.m., 4 p.m., 7:15 p.m., 9:35 p.m.

Jersey Boys (R) Fri. and Sat. 10 a.m., 1:15 p.m., 4:25 p.m., 7:25 p.m. Sun. 10 a.m., 4:25 p.m., 7:25 p.m.

Maleficent (PG) Fri. to Sun. 11:50 a.m., 2:35 p.m.,

5:05 p.m., 7:35 p.m., 10:10 p.m.

Persecuted (PG-13) Fri. to Sun. 10:20 a.m.,

1:15 p.m., 4:15 p.m., 7 p.m., 9:40 p.m.

Planes: Fire & Rescue (PG) Fri. to Sun. 11 a.m.,

12:35 p.m., 2:55 p.m., 5:15 p.m., 7:10 p.m., 9:30 p.m.

Planes: Fire & Rescue 3D (PG)

Fri. to Sun. 10:15 a.m.

The Purge:Anarchy (R) Fri. to Sun. 10:30 a.m.,

1:05 p.m., 4 p.m., 7 p.m., 9:55 p.m.

SexTape (R) Fri. to Sun. 11:15 a.m., 1:50 p.m.,

4:20 p.m., 7:30 p.m., 10:05 p.m.

Tammy (R) Fri. to Sun. 11:15 a.m., 1:40 p.m., 4:10 p.m., 7:10 p.m., 9:45 p.m.

Transformers:Age of Extinction (PG-13) Fri. to Sun. 3 p.m., 6:40 p.m.

Transformers:Age of Extinction 3D (PG-13) Fri. to Sun. 11:30 a.m., 10:10 p.m.

THE SCREEN

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com The Nance (NR) Sat. and Sun. 11 a.m.

Obvious Child (R) Fri. and Sat. 5:15 p.m., 7:10 p.m., 9 p.m. Sun. 2:10 p.m., 4:10 p.m. Mon. to Thurs.

12 p.m., 5:15 p.m., 7:10 p.m.

Queen Margot (R) Fri. and Sat. 2 p.m.

Sun. 6:20 p.m. Mon. to Thurs. 2 p.m.

MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.storytellertheatres.com 22 Jump Street (R) Fri. 4:40 p.m., 7:20 p.m., 9:45 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:20 p.m., 9:45 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:20 p.m.

Mon. to Thurs. 4:40 p.m., 7:20 p.m.

Dawn of the Planet of the Apes (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:45 p.m., 4:25 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:45 p.m., 4:25 p.m., 7:10 p.m. Mon. to Thurs. 4:25 p.m., 7:10 p.m.

Deliver Us From Evil (R) Fri. 4:25 p.m., 6:55 p.m., 9:25 p.m. Sat. 1:55 p.m., 4:25 p.m., 6:55 p.m., 9:25 p.m. Sun. 1:55 p.m., 4:25 p.m., 6:55 p.m.

Mon. to Thurs. 4:25 p.m., 6:55 p.m.

Earth to Echo (PG) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m.

Mon. to Thurs. 4:35 p.m., 7:05 p.m.

How to Train Your Dragon 2 (PG) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m.

Planes: Fire & Rescue (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.

The Purge:Anarchy (R) Fri. 4:45 p.m., 7:15 p.m., 9:45 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:45 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:15 p.m.

Mon. to Thurs. 4:45 p.m., 7:15 p.m.

SexTape (R) Fri. 4:50 p.m., 7:25 p.m., 9:50 p.m.

Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs.

4:50 p.m., 7:25 p.m.

Tammy (R) Fri. 4:55 p.m., 7:30 p.m., 9:40 p.m.

Sat. 2:25 p.m., 4:55 p.m., 7:30 p.m., 9:40 p.m.

Sun. 2:25 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs.

4:55 p.m., 7:30 p.m.

Transformers:Age of Extinction (PG-13) Fri. 6:45 p.m. Sat. and Sun. 1:50 p.m., 6:45 p.m.

Mon. to Thurs. 6:45 p.m.

Friday at 2:00 and Saturday at 2:00 • Sunday at 6:20 • Monday through Thursday at 2:00

Sponsor ed by the Santa Fe Indepen dent Film Fes tival

Broadway Classics

“A wildly funny and appealing female-centric comedy that launches very promising talent on both sides of the camera.” ~Todd McCarthy, The Hollywood Reporter

Friday and Saturday at 5:15. 7:10 and 9:00 Sunday to 2:10 and 4:10 Mon through Thurs at 12:10, 5:15 and 7:10 Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®

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Bargain Matinees Monday through Friday (First Show ONLY) All Seats $8.00 PASATIEMPOMAGAZINE.COM

59

RESTAURANT REVIEW Laurel Gladden I For The New Mexican

Easy as pie

Upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000, www.uppercrustpizza.com 11 a.m.-10 p.m. daily Takeout available Vegetarian options Handicapped accessible Patio dining in season Noise level: quiet to festive Beer & wine Credit cards, no checks

]

The Short Order If you happen to take New Yorkers or Chicagoans to Upper Crust Pizza — the funky cabinlike joint on Old Santa Fe Trail — ask them to set aside all predilections for regional styles, because this pizza is nothing like what they’d eat in their home states. It’s its own animal, really — neither thin and flat nor thick and deep. The crust is mild, doughy, puffy, and sturdy, with a little chew and mild crunch.

Toppings and sauces are applied liberally.

Upper Crust is a groovy place, with a casual hippie-crunchy vibe and generally friendly, though very informal, service.

In addition to pizza, the menu includes a handful of hoagie-type sandwiches, a few calzones, and a variety of salads.

Recommended: vegetarian pizza, Sunny Chicken Pesto pizza, Italian calzone, and Greek and spinach salads.

Ratings range from 1 to 5 chiles, including half chiles.

This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.

5 = flawless 4 1/2 = extraordinary 4 = excellent 3 1/2 = very good 3 = good 2 1/2 = average 2 = fair 1 1/2 = questionable 1 = poor

60

PASATIEMPO I July 18-24, 2014

You know the warning not to bring a knife to a gunfight?

There should be a food-related version: don’t bring New Yorkers or Chicagoans out for pizza — because odds are, they will spend the entire meal debating the food’s authenticity, comparing it with the amazing pies they’ve eaten in their hometown, or just complaining. New Yorkers are so particular about the proper characteristics of pizza and how it should be consumed that earlier this year new mayor Bill de Blasio was mocked endlessly for eating pizza with a fork.

If you happen to bring New Yorkers or Chicagoans to Upper Crust Pizza — the funky cabinlike joint on downtown’s well-traveled Old Santa Fe Trail — ask them to set aside all predilections for regional styles, because this pizza is nothing like any pie they’d eat in their home states. It’s kind of its own animal, really — neither thin and flat nor thick and deep. The crust is mild, doughy, puffy, and sturdy, with a little chew and mild crunch (definitely the sort of thing that will get New Yorkers ranting). Toppings and sauces are applied liberally.

Upper Crust is a groovy little place, with a casual hippiecrunchy vibe and well-worn dining rooms that look like something in a Hobbit house. You can watch the world (or at least the tourists) go by from the front patio, with its rickety wood railings and on some nights a musician tucked into one corner. Or you can enjoy the privacy of the small secluded courtyard in the back. Employees are generally friendly, and they seem to benefit from a relaxed, laid-back work environment — Upper Crust isn’t going to win any awards for formality. Order at the register, grab your own napkins and utensils from the counter nearby, pick a table, and wait until you hear someone shouting your name while wandering around the restaurant with your food.

If you find yourself at Upper Crust even though pizza isn’t your thing, don’t fret. The menu includes a handful of hoagie-type sandwiches, a few calzones, and a variety of salads. Our Italian calzone, ideally sized for one hungry diner, was a puffy square pouch rather than the more traditional half-moon shape. It was slightly charred on top and stuffed with a tangy blend of cheeses; salty Canadian bacon (pink as a cat’s tongue); and green chile for a little spicy kick. Served with a side salad and, peculiarly, a pile of potato chips, it’s a popular lunchtime choice.

Served in those funny faux-wood bowls, the salads are nothing to write home about. But each one we tried included fresh, crisp greens, and the kitchen has an even hand with the dressing. The Greek has all the required elements — milky-tangy feta, salty black olives, grape tomatoes, and cucumber. The Caesar gets a little extra veggie content with the inclusion of crunchy cucumber wedges. With its blue cheese, tomato, walnuts, cucumber, and red onion, the spinach salad is fairly predictable, but at least the nuts aren’t candied, as seems to be the trend these days.

You’re probably here for the pizza though, right? Especially for vegetarians, the veggie is one to seek out. The generous

layer of cheese (maybe a bit too much) is studded and topped with a rainbow of vegetables — fresh tomato, mushrooms, bell pepper, green chile, black olives, and purple onion. In a flourish in keeping with Upper Crust’s hippie vibe, a dusting of sesame seeds offers a hint of toasty, aromatic nuttiness.

With its pesto, chicken breast, and sun-dried tomatoes, the Sunny Chicken Pesto pizza sounds like the sort of California pie that Wolfgang Puck introduced in the 1980s. It’s hearty and full-flavored and a nice change from heavier, fattier meats and the de rigueur tomato sauce. Carnivores can rest easy — the Meat Treat provides you with three porky toppings (pepperoni, Canadian bacon, and spicy Italian sausage) and just one veggie. The most satisfied diner at our table may have been a friend’s 4-year-old daughter, who consumed four whole pieces of her favorite custom-built pie — Canadian bacon and pineapple, that classic salty-sweet combo.

The pizza-eating world is divided over the use of “juicy” ingredients such as fresh tomatoes. Soupiness or sogginess (especially in the center) is fairly typical of Neapolitan-style pizzas, and anyone who dislikes this quality should probably avoid Upper Crust’s margarita, with its fresh tomato crescents and flood of mozzarella. The flavors are classic and complementary, but this is the sort of pizza you might have to eat with a knife and fork. Just don’t let a New Yorker see you doing it. ◀

Dinner for six at Upper Crust Pizza: Greek salad .......................................................$ 8.75 Caesar salad ......................................................$ 8.75 Small veggie pizza ............................................$13.25 Small Meat Treat pizza .....................................$13.25 Small Sunny Chicken Pesto pizza ....................$15.00 Small pizza with Canadian bacon and pineapple ..............................................$12.00 Pitcher, Sam Adams lager .................................$13.00 TOTAL ..............................................................$84.00 (before tax and tip) Dinner for two, another visit: Small margarita pizza .......................................$15.00 Italian calzone ..................................................$ 8.75 Spinach salad ....................................................$ 8.75 Can, Lagunitas IPA ...........................................$ 4.75 Raspberry lemonade .........................................$ 2.25 TOTAL ..............................................................$39.50 (before tax and tip)

THE CINEMATHEQUE

Proud Sponsors of the CCA Cinematheque

July 18 - July 24

1050 Old Pecos Trail • 505.982.1338 • ccasantafe.org

Santa Fe’s only not-for-profit, community-supported independent theater, showing the best in cinema since 1983

singulAr & breAthtAking.”

“

‘‘

,

DEEPLY ENTHRALLING.

“

LIP-SMACKING ENTERTAINMENT.”

Documentary master Steve James has put the pieces of Ebert’s life together with extraordinary fascination and vision.”

-THE HOLLYWOOD REPORTER

– Owen Gleiberman, ENTERTAINMENT WEEKLY

‘A

DEVILISH DELIGHT.

A REMARKABLY INTIMATE PORTRAIT OF A LIFE WELL LIVED.” “

- Bruce Ingram, CHICAGO SUN-TIMES

“RICHLY SATISFYING. ENGROSSING, UNFLINCHING, MOVING AND COMPREHENSIVE.

POLANSKI DANCES AROUND IVES’S PLAY AS IF IT WERE A PAGAN BONFIRE.”

An astute and sensitive account of a fully realized man and a life overflowing with abundance and achievement.”

– Todd McCarthy, HOLLYWOOD REPORTER

HHHH

“

–PHOENIX NEW TIMES

“A

‘‘GLORIOUS.

”

– Joshua Rothkopf, TIME OUT NEW YORK

” superb mAsterpiece.

-MtV

“Astonishing, epic, incendiArY.” smArt and -Badass diGest

I COULD DO NOTHING BUT SUBMIT.”

–TIME OUT NEW YORK EMMANUELLE

THE ONLY THING ROGER LOVED MORE THAN MOVIES

-twitch

“enormouslY

Ambitious

and visuAllY stunning.”

MATHIEU

SEIGNER AMALRIC

“A GREAT ” DOCUMENTARY .

– Ty Burr, BOSTON GLOBE

-Variety

“one of

the best sci-fi movies

“DEEPLY STIRRING .”

– Aaron Hillis, THE VILLAGE VOICE

in years.”

-KotaKu

BASED ON THE TONY AWARD WINNING PLAY ®

CHRIS

E VA N S

A FILM BY

ROMAN POLANSKI

CRITICS PICK!

“ IMMENSELY ENJOYABLE...

INVIGORATING’.

- ERNEST HARDY, THE VILLAGE VOICE

GORE VIDAL THE UNITED STATES

OF AMNESIA Friday July 18

12:30p - Gore Vidal: US of Amnesia* 1:30p - Venus in Fur 2:30p - Roger Ebert: Life Itself* 3:45p - Venus in Fur 5:00p - Roger Ebert: Life Itself* 6:00p - Snowpiercer 7:30p - Roger Ebert: Life Itself* 8:30p - Snowpiercer

SONG

FINAL SHOWS THIS WEEKEND!!!

Saturday July 19

11:00a - Auteurs: Diary of a Country Priest 12:30p - Gore Vidal: US of Amnesia* 1:30p - Venus in Fur 2:30p - Roger Ebert: Life Itself* 3:45p - Venus in Fur 5:00p - Roger Ebert: Life Itself* 6:00p - Snowpiercer 7:30p - Roger Ebert: Life Itself* 8:30p - Snowpiercer

TILDA

KANG HO O C TAV I A

SPENCER

SWINTON JOHN

WITH

HURT

/snowpiercerofficial

JAMIE

BELL

ED

AND

HARRIS

www.thesacredengine.com

FROM THE DIRECTOR OF HOOP DREAMS & THE INTERRUPTERS AND EXECUTIVE PRODUCERS MARTIN SCORSESE & STEVEN ZAILLIAN

Robert Bresson’s

SPLIT ESTATE

DIARY OF A COUNTRY PRIEST Rare 35MM Print!!!

Withdirector DebAndersoninperson!

11:00a Sat-Sun, July 19-20 5:30p Mon, July 21 Sunday July 20

FESTIVAL DE CANNES

Citizen’sClimate Lobby presents

St. John’s College presents THE AUTEURS:

11:00a - Auteurs: Diary of a Country Priest 12:00p - Split Estate with Deb Anderson 1:30p - Venus in Fur 2:30p - Roger Ebert: Life Itself* 3:45p - Venus in Fur 5:00p - Roger Ebert: Life Itself* 6:00p - Snowpiercer 7:30p - Roger Ebert: Life Itself* 8:30p - Snowpiercer

OFFICIAL SELECTION

CANNES CLASSICS

Monday July 21 12:30p - Venus in Fur 1:30p - Roger Ebert: Life Itself* 2:45p - Venus in Fur 4:00p - Roger Ebert: Life Itself* 5:30p - Auteurs: Diary of a Country Priest 6:30p - Roger Ebert: Life Itself*

12:00pSun July20•$5 partofCCA’sSustainableSunday FilmSeries Tues-Thurs July 22-24 1:30p - Venus in Fur 2:30p - Roger Ebert: Life Itself* 3:45p - Venus in Fur 5:00p - Roger Ebert: Life Itself* 6:00p - Snowpiercer 7:30p - Roger Ebert: Life Itself* 8:30p - Snowpiercer

COMING SOON to CCA:

• AUTEURS: Wild Strawberries • Yves St. Laurent • Closed Curtain • A Hard Day’s Night • Boyhood & more...

PASATIEMPOMAGAZINE.COM

61

C A L E N D A R

L I S T I N G

G U I D E L I N E S

• To list an event in Pasa Week, send an email or press release to pasa@sfnewmexican.com or pambeach@sfnewmexican.com.

• Send material no less than two weeks prior to the desired publication date.

• For each event, provide the following information: time, day, date, venue, venue address, ticket prices, web address, phone number, brief description of event (15 to 20 words).

• All submissions are welcome. However, events are included in Pasa Week as space allows. There is no charge for listings.

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• For further information contact Pamela Beach, pambeach@sfnewmexican.com, 202 E. Marcy St., Santa Fe, NM 87501, phone: 505-986-3019, fax: 505-820-0803.

ARTS AND ENTERTAINMENT CALENDAR

July 18-24, 2014

CALENDAR COMPILED BY PAMELA BEACH

FRIDAY 7/18 Gallery & Museum Openings Addison Rowe Gallery

229 E. Marcy St., 505-982-1533 Raymond Jonson: Into Abstraction, retrospective works by the late painter, 1940s-1970s, reception 5-7:30 p.m.

Blue Rain Gallery

130-C Lincoln Ave., 505-954-9902 Cante Jondo, paintings by Jim Vogel, reception 5-7 p.m., through July.

Convergence Gallery

219 W. San Francisco St., 505-986-1245 Waters Over Earth, paintings by Christy Henspetter, reception 5-7 p.m., through Aug. 8.

El Museo Cultural de Santa Fe

555 Camino de la Familia ¡Asere, Qué Bolá!, paper-mâché installations

by Yani Monzón and Dustin Sammann, reception 7 p.m.

Ellsworth Gallery

215 E. Palace Ave., 505-989-7900 Sight Lines, paintings by Arin Dineen and Jeff Juhlin, reception 5-7 p.m., through Aug. 24.

Greenberg Fine Art

205 Canyon Rd., 505-955-1500 Rapture of Color, paintings by Joseph Breza, reception 5-7 p.m., through July 30.

La Tienda Exhibit Space

7 Caliente Rd., Eldorado, theexibitspace.com Elements, mixed-media fiber group show of works

by Northern New Mexico Quilt Guild members, closing reception 4-7 p.m.

Meyer East Gallery

225 Canyon Rd., 505-983-1657 Robert LaDuke: New Works, reception 5-7 p.m., through July.

Nüart Gallery

670 Canyon Rd., 505-988-3888 Reformations, paintings by Mark Spencer, reception 5-7 p.m., through Aug. 3.

Peters Projects

1011 Paseo de Peralta, 505-954-5700 Temporal Domain, group show of works by Santa Fe artists, reception 5-7 p.m.

Santa Fe Baking Company

504 W. Cordova Rd. Paintings by Amina Re, reception 5-7 p.m.

Selby Fleetwood Gallery

600 Canyon Rd., 505-992-8877 Mixed-media paintings by Christina Chalmers; paintings by Olga Antonova, reception 5-7:30 p.m., through July.

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PASATIEMPO I July 18-24, 2014

Meyer East Gallery shows paintings by Robert LaDuke, 225 Canyon Rd.

Verve Gallery of Photography

219 E. Marcy St., 505-982-5009 William Albert Allard: Five Decades; Kevin Bubriski: Nepal 1975-2011; Greg MacGregor: Women in the West; reception 5-7 p.m., through Sept. 6.

Opera Carmen

Santa Fe Opera, 301 Opera Dr., 505-986-5900 In this Stephen Lawless production, Bizet's tragedy unrolls in the U.S.-Mexican borderlands a half century ago, with black-and-white film

integrating with live stage action to enhance the period feel. Daniela Mack is Carmen (until Ana María Martínez assumes the role beginning July 28), Joyce El-Khoury sings Micaëla, Roberto De Biasio portrays Don José. 8:30 p.m., tickets begin at $32, standing room $15.

Classical Music TGIF viola and piano recital

First Presbyterian Church of Santa Fe, 208 Grant Ave., 505-982-8544, Ext. 16.

Shanti Randall and Peggy Abbott play music of Franck, 5:30-6 p.m., donations welcome.

In Concert In the Mood: Artists and musicians in collaboration

Vivo Contemporary, 725 Canyon Rd., 505-982-1320 Meet-and-greet with live music; 5-7 p.m. Fridays through Aug. 29, tonight’s performer: Paul Shapiro, harmonica and steel guitar, no charge.

John Serkin

Georgia O'Keeffe Museum courtyard, 217 Johnson St., 505-946-1000 The slack-key guitarist plays traditional Hawaiian and original tunes in a program titled The Sweet Sound of Aloha, 5-7 p.m., by museum admission.

Theater/Dance As You Like It

Nightlife

(See addresses to the right)

Café Café

Trio Los Primos, 6 p.m., no cover.

Cowgirl BBQ

Chris Dracup Band, soulful blues, 8:30 p.m., no cover.

¡Chispa! at El Mesón

Monte del Sol Charter School, 4157 Walking Rain Rd. Three Faces of Jazz, featuring guest saxophonist Santa Fe Shakespeare Society presents the comedy, Bruce Holmes, 7:30-10:30 p.m., no cover. outdoors at 6 p.m. Fridays-Sundays, through Aug. 3, $5-$20 sliding scale, 505-490-6271, sfshakespeare.org. Duel Brewing Pray For Brain, indofunk/sufisurf fusion, Bizzaro the Optical Illusionist 8-11 p.m., no cover.

Jean Cocteau Cinema, 418 Montezuma Ave. El Farol Neovaudillian performance, 6:20 p.m., $20, Controlled Burn, classic rock and country covers, discounts available, jeancocteaucinema.com, 9 p.m., call for cover.

505-466-5528.

Good People

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 Ironweed Productions presents David LindsayAbaire’s drama, 7:30 p.m., $20, discounts available, runs Thursdays-Sundays, through July 27.

(See review, Page 22)

Into the Woods

Junction

Nick Peña, 10 p.m.-close, no cover.

La Fiesta Lounge at La Fonda

C.S. Rockshow: Don Curry, Pete Springer, and Andy Primm, 8 p.m.-close, no cover.

La Posada de Santa Fe Resort and Spa Nacha Mendez Quartet, 6:30 p.m., no cover.

Armory for the Arts, 1050 Old Pecos Trail Santa Fe Performing Arts Teen Ensemble presents the musical, 7 p.m., $8, 505-984-1370, Fridays-Sundays through July 27.

Mine Shaft Tavern

Juan Siddi Flamenco Santa Fe

Night Knights, 10 p.m., no cover.

The Lensic Dance ensemble, 8 p.m., ticketssantafe.org, 505-988-1234, encores July 27, Aug. 3 and 9, visit aspensantafeballet.com for more information.

Shrek! The Musical

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Pandemonium Productions' student-production (ages 7-17), 7 p.m., $12, ages 11 and under $8, 505-982-3327, Fridays-Sundays through July 27.

Books/Talks Gallery talk

Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta An introductory talk by curators of SITE Santa Fe 2014: Unsettled Landscapes, 4 p.m., $15, discounts available, 505-989-1199. (See story, Page 42)

Lois Rudnick

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The author reads from and discusses Intimate Memories: The Autobiography of Mabel Dodge Luhan, 6 p.m.

Events How to Select and Use a Telescope

Santa Fe Community College Planetarium, 1401 Richards Ave., 505-428-1744 Illustrative presentation, 8-9 p.m., $5 at the door, discounts available.

Pull of the Moon: fulldome digital presentation

Museum Hill, 710 Camino Lejo Immersive fulldome digital landscape based on the temporary site-specific installation on the Navajo Nation by Ai Wei Wei and Bert Benally, 5-9 p.m., contact the Institute of American Indian Art for more information, no charge, 505-983-1777, continues Saturday.

Santa Fe Opera Backstage Tours

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered Mondays-Saturdays through Aug. 22, 9 a.m., $10; seniors $8; no charge for ages 22 and under.

Paw & Erik, on the deck, 5 p.m.; Todd Tijerina's blues band, 8 p.m., call for cover.

Palace Restaurant & Saloon Pranzo Italian Grill

Pianist David Geist, cabaret, 6-9 p.m., call for cover.

Second Street Brewery

Jazz ensemble Kodama Trio, 6-9 p.m., no cover.

Second Street Brewery at the Railyard

Hot Honey, Appalachian-tinged country, 7-10 p.m., no cover.

Swiss Bakery Pastries and Bistro

Troubadour Gerry Carthy, on the patio, 7-10 p.m., no cover.

Tiny’s

Brazilian-jazz guitarist Marc Yaxley, 5:30-8:30 p.m.; classic-rock band The Jakes, 8:30 p.m.; no cover.

Vanessie

Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.

SATURDAY 7/19 Gallery & Museum Openings Atelier 55

55 Ellis Ranch Rd., 505-501-9968 The Shiver of Clay, figurative sculpture by Laila Ionescu, reception 1-7 p.m., through Aug. 2.

SITE Santa Fe

1606 Paseo de Peralta, 505-989-1199 SITElines 2014: Unsettled Landscapes, biennial exhibit of works by contemporary international artists, 2 p.m. opening, through Jan. 11, no charge.

(See story, Page 42)

Opera Family night: The Impresario & Le Rossignol

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Mozart's comic opera and Stravinsky's one-act opera share a double bill; 8:30 p.m., adults $25, children $12. (See story, Page 30)

Classical Music Santa Fe Desert Chorale

Cathedral Basilica of St. Francis of Assisi, 107 Cathedral Place The New World: Music of the Americas, music of Barber

and Joseph Jennings, 8 p.m., $12-$65, desertchorale. org, 505-988-2282, season schedule available online.

Free preconcert lecture by Philip H. Knight, 6:30 p.m.

Santa Fe Shakespeare Society presents the comedy, outdoors at 6 p.m. Fridays-Sundays, through Aug. 3, $5-$20 sliding scale, 505-490-6271, sfshakespeare.org.

In Concert

Bizzaro the Optical Illusionist

Nuevo Romancero, Nuevo Mexicano

San Miguel Chapel, 401 Old Santa Fe Trail Performances by Pablo Helguera, Joaquín Gallegos, Sitara Schauer, and Alysha Shaw, 3 p.m., $10-$15, contact SITE Santa Fe for details, 505-989-1199.

Theater/Dance As You Like It

Monte del Sol Charter School, 4157 Walking Rain Rd.

Check with venues

Jean Cocteau Cinema, 418 Montezuma Ave. Neo-vaudillian performance, 2 and 8:30 p.m., $20, discounts available, jeancocteaucinema.com, 505-466-5528.

Good People

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 Ironweed Productions presents David LindsayAbaire’s drama, 7:30 p.m., $20, discounts available, runs Thursdays-Sundays, through July 27.

(See review, Page 22)

for updates and sp

ecial ev

ents 317 Aztec Lodge Lounge 317 Aztec St., 505-8 20-0150 at The Lodge at Sa Agoyo Lounge nta Fe 750 N. St. Francis Dr at the Inn on the Ala ., 505-992-5800 meda Low ’n’ Slow Lowride 303 E. Alameda St., 505-984-2121 r Bar at Hotel Chimayó de Anasazi Restauran Santa Fe t & Bar 125 Washington Av 113 Washington Av e., 505-988-4900 e., 505-988-3030 The Matador Betterday Coffee 116 W. San Francisc 905 W. Alameda St., o St. 505-555-1234 Mi ne Shaft Tavern Bishop’s Lodge Ranc h Resort & Spa 2846 NM 14, Madrid, 1297 Bishops Lodge 505-473-0743 Rd., 505-983-6377 Mu seum Hill Café Burro Alley Café 710 Camino Lejo, Mi 207 W. San Francisc lner Plaza, o St., 505-982-0601 505-9 84-8900 Café Café Music Room at Garre 500 Sandoval St., 50 tt’s Desert Inn 5-466-1391 311 Old Santa Fe Tra ¡Chispa! at El Mesó il, 505-982-1851 n Omira Bar & Grill 213 Washington Av e., 505-983-6756 1005 St. Francis Dr., Cowgirl BBQ 505-780-5483 Palace Restaurant 319 S. Guadalupe St. & Saloon , 505-982-2565 142 W. Palace Ave., 50 The Den at Coyote 5-428-0690 Café Pranzo Italian Grill 132 W. Water St., 50 5-983-1615 540 Montezuma Av Duel Brewing e., 505-984-2645 Santa Fe Community 1228 Parkway Dr., 50 5-474-5301 Convention Center El Cañon at the Hilto n 201 W. Marcy St., 50 100 Sandoval St., 50 5-955-6705 5-988-2811 Santa Fe Sol Stage Eldorado Hotel & Sp & Grill a 37 Fire Place, solofsan 309 W. San Francisc tafe.com o St., 505-988-4455 Second Street Brewery El Farol 1814 Second St., 50 5-982-3030 808 Canyon Rd., 505-9 83-9912 Second Street Brew El Paseo Bar & Grill ery at the Railyard 1607 Paseo de Peral 208 Galisteo St., 505-9 ta, 505-989-3278 92-2848 Shadeh Buffalo Th under Evangelo’s Resort & Casino 200 W. San Francisc o St., 505-982-9014 Pojoaque Pueblo, U.S. 84/285, High Mayhem Emerg 505-455-5555 ing Arts 2811 Siler Lane, 505-4 38-2047 Sweetwater Harve st Kitchen Hotel Santa Fe 1512-B Pacheco St., 505-795-7383 1501 Paseo de Peral ta, 505-982-1200 Swiss Bakery Pastr ies and Bistro Iconik Coffee Roas 401 S. Guadalupe St. ters , 505-988-5500 1600 Lena St., 505-4 28-0996 Taberna La Boca Jean Cocteau Cinem 125 Lincoln Ave., 50 a 5-988-7102 418 Montezuma Av e., 505-466-5528 Tiny’s Junction 1005 St. Francis Drive , Suite 117, 505530 S. Guadalupe St. 983-9817 , 505-988-7222 La Boca The Underground at Evangelo’s 72 W. Marcy St., 505-9 200 W. San Francisc 82-3433 o St. La Casa Sena Canti Upper Crust Pizza na 25 E. Palace Ave., 50 329 Old Santa Fe Tra 5-988-9232 il, 505-982-0000 La Fiesta Lounge at Vanessie La Fonda 100 E. San Francisco St., 505-982-5511 434 W. San Francisco St., 50 5-982-9966 La Posada de Santa Warehouse 21 Fe 330 E. Palace Ave., 50 Resort and Spa 1614 Paseo de Peralta, 50 5-986-0000 5-989-4423 Lensic Performing Zia Dinner Arts Center 211 W. San Francisc o St., 505-988-1234 326 S. Guadalupe St., 505-9 88-7008

C L U B S, R O O M S, V E N U ES

Santa Fe Bandstand

The Plaza Hip-ranchera rock band Sol Fire, 6-7 p.m.; Chicano-rock band Lumbre del Sol, 7:15-8:45 p.m.; visit santafebandstand.org for the summer series schedule, no charge.

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63

The Ritual Table

New Mexico Museum of Art, 107 W. Palace Ave., 505-476-5068 Create a large table mat inspired by artist Judy Chicago's storytelling Seder plates in the museum's exhibit Local Color, 1-3:30 p.m., call for details.

¡Viva Mexico!

El Rancho de las Golondrinas, 334 Los Pinos Rd., 505-471-2261 Seventh annual celebration of Mexico's culture; featuring aerial troupe Voladores de Papantla; weaving and dyeing demonstrations; cleansing ceremonies performed by curanderas; traditionalfood stands; mariachi music, and hands-on activities for children, 10 a.m.-5 p.m. today and Sunday, $8, discounts available.

Nightlife

(See Page 63 for addresses)

Café Café

Guitarist Ramon Bermudez, 6:30 p.m., no cover.

¡Chispa! at El Mesón

Flamenco show with Flamenco Conpaz, 7-9:30 p.m., call for cover.

Cowgirl BBQ

Santa Fe Chiles Dixie Jazz Band, 2-5 p.m.; juke-joint, biker-bar, honky-tonk band Broomdust Caravan, 8:30 p.m.-close; no cover.

Del Charro

Mariachi Teotihuacan, with Stephen Montoya, Jaime Martinez, and Daniel Martinez, 2-9 p.m., no cover.

Duel Brewing

Bill Palmer's TV Killers, rock 'n' roll, 8 p.m., no cover.

El Farol

Reggae/hip-hop band The Boom Roots Collective, 9 p.m., call for cover.

La Fiesta Lounge at La Fonda

Mexico's aerial troupe performs as part of the ¡Viva Mexico! celebration Saturday and Sunday, at El Rancho de las Golondrinas, 334 Los Pinos Rd.

Henry IV: Part II

Jean Cocteau Cinema, 418 Montezuma Ave. A screening of Royal Shakespeare Company's production, 4 p.m., $25, 505-466-5528, jeancocteaucinema.com.

Into the Woods

Armory for the Arts, 1050 Old Pecos Trail Santa Fe Performing Arts Teen Ensemble presents the musical, 7 p.m., $8, 505-984-1370, Fridays-Sundays through July 27.

The Phantom Tollbooth

Armory for the Arts, 1050 Old Pecos Trail Santa Fe Performing Arts' City Different Players (ages 7-12) presents its adaptation of Norton Juster's novel, 2 p.m., $8, 505-984-1370, sfperformingarts.org, runs Saturdays and Sundays through July 27.

Shrek! The Musical

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Pandemonium Productions' student-production (ages 7-17), 7 p.m., $12, ages 11 and under $8, 505-982-3327, Fridays-Sundays through July 27.

Stop That Train Before Penny, or Buster Feels the Spirit

Teatro Paraguas Studio, 3205 Calle Marie, 505-424-1601 Southwest Rural Theatre Project presents the second melodrama in the series written and directed by Leslie Joy Coleman, 7:30 p.m., $12, discounts available.

64

PASATIEMPO I July 18-24, 2014

Books/Talks IAIA Writers Festival

83 Avan Nu Po Rd. Institute of American Indian Arts offers free readings by Native and non-Native writers; 6 p.m. daily through Friday, July 25, IAIA Auditorium, writers include Santee Fazier, Sherman Alexie, Sherwin Bitsui, and Natalie Díaz; visit iaia.edu for schedule and writers' biographies.

Events Northern New Mexico Fine Arts & Crafts Guild show

Cathedral Park, E. Palace avenue and Cathedral place Booths open 10 a.m.-5 p.m. today and Sunday.

Palace Press printing workshop

New Mexico History Museum/Palace of the Governors, 113 Lincoln Ave., 505-476-5200 Bring the family to make a print of a historic image of Our Lady of Gualdalupe on a replica of a medieval press, led by POG printers Tom Leech and James Bourland, 1-3 p.m., by museum admission.

Pull of the Moon: fulldome digital presentation

Museum Hill, 710 Camino Lejo Immersive fulldome digital landscape based on the temporary site-specific installation on the Navajo Nation by Ai Wei Wei and Bert Benally, 10 a.m.-5 p.m., contact the Institute of American Indian Art for more information, no charge, 505-983-1777.

C.S. Rockshow: Don Curry, Pete Springer, and Andy Primm, 8 p.m.-close, no cover.

Palace Restaurant and Saloon

Blues guitarist Alex Maryol, on the patio, 2 p.m., no cover; DJ Magic, 10 p.m., call for cover.

Pranzo Italian Grill

Pianist Ron Newman, 6-9 p.m., call for cover.

Second Street Brewery

Stanlie Kee and Step In, funk and soul, 6-9 p.m., no cover.

Shadeh

DJ Oona, retro rewind, 9 p.m.-4 a.m., no cover.

Swiss Bakery Pastries and Bistro

Andy Kingston Trio, jazz, 7:30 p.m.-close, no cover.

Vanessie

Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.

SUNDAY 7/20 Classical Music 42nd Annual Santa Fe Chamber Music Festival

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Music of Schubert, Brahms, and Julian Anderson, 6 p.m., performers include violinist William Preucil, cellist Mark Kosower, and violist Hsin-Yun Huang; $10-$75, 505-982-1890, santafechambermusic.com.

(See story, Page 18)

Huang Ruo: Future in Reverse (Fire) Stieren Orchestra Hall, Santa Fe Opera, 301 Opera Dr., 505-986-5900 The composer/conductor's ensemble and the Del Sol String Quartet, with soprano

Devon Guthrie, perform in conjunction with the SFO premiere of Ruo's opera Dr. Sun Yat-sen, 4 p.m., $15 at the door.

Santa Fe Desert Chorale

Loretto Chapel, 207 Old Santa Fe Trail Spanish Mystics, featuring guitarist and lutenist Richard Savino and percussionist Angela Gabriel, 8 p.m., $20-$60, desertchorale.org, 505-988-2282, season schedule available online, Thursday encore.

Free preconcert lecture by Philip H. Knight, 6:30 p.m.

In Concert Karen Marrolli

Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, 505-983-5022 The local singer/songwriter celebrates the release of her album, Evolution, 4 p.m., donations accepted.

Ninth Annual New Mexico Jazz Festival

The Lensic Bumblebee's Jazz All-Stars: Bucky Pizzarelli, Dick Hyman, Randy Sandke, Jimmy Greene, Jay Leonhart, and Lewis Nash, 7:30 p.m., $20-$50, 505-988-1234, ticketssantafe.org.

(See story, Page 36)

Theater/Dance 19th Annual Mono Mundo World Dance Festival

The Plaza Belisama Irish Dance/Moving People Dance Theatre, Mosaic Dance Company, Desert Darlings, and Serendipity Bellydance, 1-3:30 p.m., no charge, presented by New Mexico Dance Coalition.

As You Like It

Monte del Sol Charter School, 4157 Walking Rain Rd. Santa Fe Shakespeare Society presents the comedy, outdoors at 6 p.m. Fridays-Sundays, through Aug. 3, $5-$20 sliding scale, 505-490-6271, sfshakespeare.org.

Flamenco’s Next Generation

Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco group from the María Benítez Institute for Spanish Arts, 2 p.m. Sundays, through Aug. 24, institutespanisharts.org.

Good People

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 Ironweed Productions presents David LindsayAbaire’s drama, 4 p.m., $20, discounts available, runs Thursdays-Sundays through July 27.

(See review, Page 22)

Henry IV: Part II

Jean Cocteau Cinema, 418 Montezuma Ave. A screening of Royal Shakespeare Company's production, 3 p.m., $25, 505-466-5528, jeancocteaucinema.com,.

Into the Woods

Armory for the Arts, 1050 Old Pecos Trail Santa Fe Performing Arts Teen Ensemble presents the musical, 7 p.m., $8, 505-984-1370, Fridays-Sundays through July 27.

The Phantom Tollbooth

Armory for the Arts, 1050 Old Pecos Trail Santa Fe Performing Arts City Different Players (ages 7-12) presents its adaptation of Norton Juster's novel, 2 p.m., $8, 505-984-1370, sfperformingarts.org, runs Saturdays and Sundays through July 27.

Shrek! The Musical

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Pandemonium Productions' student-production (ages 7-17), 2 p.m., $12, ages 11 and under $8, 505-982-3327, Fridays-Sundays through July 27.

Books/Talks

MONDAY 7/21

Journey Santa Fe presents

Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

A discussion among Santa Fe High School Academy for Sustainable Education faculty on experientially based education curricula for this new school, 11 a.m., journeysantafe.com.

Turquoise From Prehistory to the Present

Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 505-476-1269 Zuni, the third of a five-part lecture series; 2-4 p.m., by museum admission.

Classical Music 42nd Annual Santa Fe Chamber Music Festival

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. 10 a.m. youth concert by the Percussion Ensemble, no charge; 6 p.m. concert: music of Schubert, Brahms, and Julian Anderson, performers include violinist Jennifer Frautschi, cellist Wilhelmina Sith, and pianist Alessio Bax; $10-$75, 505-982-1890, santafechambermusic.com. (See story, Page 18)

In Concert

Events Make a Camera Obscura

New Mexico History Museum, 113 Lincoln Ave., 505-476-5200 A family workshop led by photographer Jackie Mathey, 2-4 p.m., in conjunction with the exhibit The Poetics of Light, no charge, call 505-476-5087 for reservations.

Northern New Mexico Fine Arts & Crafts Guild show Cathedral Park, E. Palace avenue and Cathedral place Booths open 10 a.m.-5 p.m.

Santa Fe Bandstand

The Plaza Fiddlin' Doc Gonzalez, noon-1 p.m.; traditional Hispanic dance troupe Los Coloniales de Santa Fe, 6:30 p.m.; New Mexico folk ensemble Cipriano Vigil y la Familia, 7:30-8:45 p.m.; no charge, visit santafebandstand.org for the summer series schedule.

Books/Talks Santa Fe Photographic Workshops

¡Viva Mexico!

El Rancho de las Golondrinas, 334 Los Pinos Rd., 505-471-2261 Seventh annual celebration of Mexico's culture; featuring aerial troupe Voladores de Papantla; weaving and dyeing demonstrations; cleansing ceremonies performed by curanderas; traditionalfood stands; mariachi music, and hands-on activities for children, 10 a.m.-5 p.m., $8, discounts available.

Nightlife

Santa Fe Prep auditorium, 1101 Camino de la Cruz Blanca, 505-983-1400, Ext. 111 Instructor presentations; including Michael Karsh, Douglas Beasley, John Weiss, and Susan Burnstine, 8-9:30 p.m., no charge.

Southwest Seminars lecture

Hotel Santa Fe, 1501 Paseo de Peralta The Two Families of Don Diego de Vargas,

by New Mexico State Historian Rick Hendricks, 6 p.m., $12 at the door, 505-466-2775, southwestseminars.org.

Events Santa Fe Opera Backstage Tours

(See Page 63 for addresses)

Cowgirl BBQ

All-star Americana band The Santa Fe Revue, noon-3 p.m.; The Honey Gitters, rock/Americana, 8 p.m.; no cover.

Duel Brewing

Stanlie Kee and Step In, funk and soul, 5 p.m., no cover.

El Farol

Chanteuse Nacha Mendez, 7:30 p.m., call for cover.

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered Mondays-Saturdays through Aug. 22, 9 a.m., $10; seniors $8; no charge for ages 22 and under.

Nightlife

(See Page 63 for addresses)

Cowgirl BBQ

Karaoke with Michele Leidig, 8 p.m., no cover.

El Farol

Tiho Dimitrov Band, 8:30 p.m., call for cover.

7/22

¡Viva la Cultura!

July 22-26

La Fiesta Lounge at La Fonda

Bill Hearne Trio, 7:30-11 p.m., no cover.

Upper Crust Pizza

Troubadour Gerry Carthy, 6-9 p.m., no cover.

Vanessie

Pianist Doug Montgomery, 6:30 p.m., call for cover.

TUESDAY 7/22 Evangelo’s

Tone and Company jam band, 8:30 p.m., call for cover.

Mine Shaft Tavern

One-man band Crosby Tyler, on the deck, 3-7 p.m.; KMA Band, classic rock, 8 p.m., call for cover.

Second Street Brewery at the Railyard

Traditional jug band Water Melon Mountain, 1 p.m.; bluesman Alex Maryol, 2-5 p.m.; no cover.

Vanessie

Pianist Doug Montgomery, 6:30 p.m., call for cover.

Chiaroscuro shows paintings by Tjaruwa Woods, 702 ½ Canyon Rd.

In Concert Santa Fe Bandstand: Ninth Annual New Mexico Jazz Festival

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered MondaysSaturdays through Aug. 22, 9 a.m., $10; seniors $8; no charge for ages 22 and under.

Theater/Dance

¡Viva la Cultura! Hispanic Cultural Festival

Henry IV: Part II

Jean Cocteau Cinema, 418 Montezuma Ave.

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Jon Nakamatsu: piano recital, music of Schumann, noon, $10-$25, 505-982-1890, santafechambermusic.com. (See story, Page 18)

production, 7 p.m., $25, 505-466-5528, jeancocteaucinema.com.

42nd Annual Santa Fe Chamber Music Festival A screening of Royal Shakespeare Company's

First Presbyterian Church of Santa Fe, 208 Grant Ave. A Romantic Evening With Brahms, with pianist Debra Ayers, 8 p.m., $20-$55, desertchorale.org, 505-988-2282, season schedule available online.

Free preconcert lecture by Philip H. Knight, 6:30 p.m.

413 Grant Ave., 505-982-4931 Champagne brunch paired with a screening of French director Phillippe Lioret's 2009 film Welcome, 11:30 a.m., $20, 505-982-4931, sfcir.org.

The Plaza Percussionist Cal Haines' Ray Charles Project, with Glenn Kostur on saxophone, Bert Dalton and Jim Ahrend on keyboards, and Colin Deuble on upright and electric bass, 6-7 p.m.; singer/ songwriter and one-man band Raul Midón, 7:15-8:45 p.m.; no charge, santafebandstand.org.

(See story, Page 36)

Classical Music

Santa Fe Desert Chorale

Santa Fe Council on International Relations

Events Behind Adobe Walls Home and Garden Tour

Buses depart from Hotel Santa Fe, 1501 Paseo de Peralta 75th annual tour of private residences and gardens, sponsored by the Santa Fe Garden Club, 12:15-4:45 p.m., second tour July 29, $75 per tour, $22 optional lunch, contact Westwind Travel, 505-984-0022, thesantafegardenclub.org.

Santa Fe Opera Backstage Tours

Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill ¡Viva la Familia!, family day at the museum; storytelling, music, flamenco dancers, and activities for children; also, workshops led by young Spanish Market artists, a fashion show of period costumes presented by La Sociedad Folklórica, and food carts; $5, families $15, hosted by the Spanish Colonial Arts Society, call 505-982-2226, Ext. 109, for advance tickets, continues daily through July 26.

Nightlife

(See Page 63 for addresses)

¡Chispa! at El Mesón

Argentine Tango Milonga, 7:30-11 p.m., call for cover.

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¡Viva la Cultura! Hispanic Cultural Festival

Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill ¡Viva la Historia!, a panel discussion followed by a lecture on Hispanic art and Spanish Market, 2-4 p.m.; speakers include Bill Field, Marie Romero Cash, and James Córdova; $20, hosted by the Spanish Colonial Arts Society, call 505-982-2226, Ext. 109, for advance tickets, continues daily through July 26.

Nightlife

(See Page 63 for addresses)

¡Chispa! at El Mesón

Blues guitarist Jim Almand, 7 p.m., no cover.

El Farol

Guitarist/singer John Kurzweg, 8:30 p.m., no cover.

La Fiesta Lounge at La Fonda

Country band Sierra, 7:30 p.m., no cover.

Palace Restaurant & Saloon

Bluesman Alex Maryol, 8:30 p.m., no cover.

Duel Brewing

Jacob Furr, indie rock, 7-10 p.m., no cover.

El Farol

Canyon Road Blues Jam, 8:30 p.m., call for cover.

La Fiesta Lounge at La Fonda

Bill Hearne Trio, 7:30-11 p.m., no cover.

Mine Shaft Tavern

Timbo jam session, 7 p.m., call for cover.

Tiny’s

Singer/songwriters open-mic, 7-10 p.m., no cover.

Vanessie

Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.

WEDNESDAY 7/23 Opera The Impresario & Le Rossignol

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Mozart's comic opera and Stravinsky's one-act opera share a double bill; 8:30 p.m., tickets begin at $32, standing room $15. (See story, Page 30)

In Concert Music on the Hill 2014

St. John’s College, 1160 Camino de Cruz Blanca, 505-984-6000 The annual free outdoor music series wraps up with a performance by the Nuevo-Latino six-piece band Manzanares, 6-8 p.m.

Santa Fe Bandstand

The Plaza African drum ensemble Agalu, led by Akeem Ayanniyi, noon-1 p.m.; bluegrass string-band Paw Coal & The Clinkers, 6-7 p.m.; country/folk duo The Bruce & Kelly Show, 7:15-8:45 p.m., no charge, series schedule available at santafebandstand.org.

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PASATIEMPO I July 18-24, 2014

Books/Talks Museum of Contemporary Native Arts, 108 Cathedral Place, 505-983-1777 Bring your lunch and join Ryan Flahive, Institute of American Indian Arts archivist as he discusses actor Vincent Price and his connection to IAIA in the 1960s, noon-1 p.m., no charge.

School for Advanced Research colloquium

660 Garcia St., 505-954-7200 Sovereignty, Citizenship, and the U.S.-Mexico Border Wall; with U.T.-Pan American professors Miguel Díaz-Barriga and Margaret Ellen Dorsey, and Ethel-Jane Westfeldt Bunting, SAR summer scholar, noon-1 p.m., no charge.

Santa Fe Clay Wednesday Night Slide Lecture

545 Camino de la Familia, 505-984-1122 The series continues with ceramist Mark Pharis, 7 p.m., no charge.

Events Crash Course: How to Take an Oral History

Meem Community Room, New Mexico History Museum, 113 Lincoln Ave. Free introductory workshop led by NMHM interim director Jon Hunner and curator Meredith Davidson, 10 a.m.-noon, contact Tomas Jaehn to register, tomas.jaehn@state.nm.us.

Santa Fe Opera Backstage Tours

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered Mondays-Saturdays through Aug. 22, 9 a.m., $10; seniors $8; no charge for ages 22 and under.

Southwest Pottery demonstration

Museum of Indian Arts & Culture, 10 Camino Lejo, Museum Hill, 505-476-1269 Cochiti Pueblo potter Pam Quintana discusses and illustrates her technique working with micaceous clay, 1-4 p.m., by museum admission.

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The author discusses and signs copies of The Last Illusion, 6 p.m. (See Subtexts, Page 16)

Meet at local Los Alamos trailheads for meandering hikes where kids set the pace, 9 a.m., join the Pajarito Environmental Education Center Family Nature Yahoo Group to learn the weekly hike locations in and around Los Alamos, 505-662-0460.

Alt rockster Golden Boy, 7 p.m., no cover.

Brown Bag It With MoCNA

Porochista Khakpour

Del Charro

Duel Brewing

Cowgirl BBQ

Books/Talks

Outdoors

Mariachi Teotihuacan, with Stephen Montoya, Jaime Martinez, and Daniel Martinez, 7-9 p.m., no cover.

Dance band David Borrego & Friends, 8 p.m., no cover.

Good People

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 Ironweed Productions presents David LindsayAbaire’s drama, 7:30 p.m. , $10, runs ThursdaysSundays through July 27. (See review, Page 22)

Cowgirl BBQ

Alto Street, blues and rock, 8 p.m., no cover.

Outpost Art Space shows mixed-media paintings by Jeff Sipe, 210 Yale Blvd. S.E., Albuquerque.

Theater/Dance

Tiny’s

Electric jam, hosted by Nick Wimett, 9 p.m.-midnight, no cover.

THURSDAY 7/24 Gallery & Museum Openings Poldi Studio

Studio 739, 3600 Cerrillos Rd., 505-603-2658 Open Studio July, paintings by Constance Deschamps and Julianna Poldi, reception 5-7 p.m.

Green Hour Hikes

Events Santa Fe Opera Backstage Tours

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered MondaysSaturdays through Aug. 22, 9 a.m., $10; seniors $8; no charge for ages 22 and under.

¡Viva la Cultura! Hispanic Cultural Festival

Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill ¡Sabor y Son!, 12:30-2 p.m. paella lunch; 2-4 p.m. concert with guitarist/contralto AnnaMaria Cardinalli and the Nacha Mendez Quartet, $55. ¡Viva Nuestro Cine!, 7:30-10 p.m. folk songs performed by Cipriano Vigil y la Familia, followed by a series of short films made in New Mexico, $20, hosted by the Spanish Colonial Arts Society, call 505-982-2226, Ext. 109, for advance tickets, continues daily through July 26.

Nightlife

Classical Music

(See Page 63 for addresses)

42nd Annual Santa Fe Chamber Music Festival

¡Chispa! at El Mesón

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Noon concert, music of Mendelssohn and Brett Dean, $10-$25; 6 p.m. concert, music of Ruders, Shostakovich, and Beethoven, $10-$70; performers include flutist Bart Feller, clarinetist Todd Levy, pianist Jon Nakamatsu, and violinist Jennifer Frautschi; 505-982-1890, santafechambermusic.com.

(See story, Page 18)

Santa Fe Desert Chorale

Loretto Chapel, 207 Old Santa Fe Trail Spanish Mystics, featuring guitarist and lutenist Richard Savino and percussionist Angela Gabriel, 8 p.m., $20-$60, 505-988-2282, desertchorale.org; season schedule available online. Free preconcert lecture by Philip H. Knight, 6:30 p.m.

In Concert Patti Littlefield and the Arlen Asher Quintet

Museum Hill Café, 710 Camino Lejo Jazz set, 7 p.m., $25, 505-983-6820, santafemusiccollective.org.

Santa Fe Bandstand

The Plaza Jazz/flamenco-fusion trio Tierra Sonikete, guitarist/ singer Joaquin Gallegos, trumpeter J.Q. Whitcomb, and percussionist John Bartlit, 6:30-7:30 p.m.; jazz pianist Bert Dalton's Brazil Project, with vocalist Patty Stephens, bassist Rob "Milo" Jaramillo, percussionist Frank Leto, and percussionist Bartlit, 7:45-9 p.m.; no charge, santafebandstand.org.

Chris Ishee Duo, jazz, 7 p.m., no cover.

Cowgirl BBQ

Folk-rock singer-songwriter Chris Chickering, 8 p.m., no cover.

Duel Brewing

Rocker Anthony Leon & The Chain, 7 p.m., no cover.

El Farol

Guitarras con Sabor, Gypsy Kings-style rhythms, 8 p.m., no cover.

La Boca

Chanteuse Nacha Mendez, 7-9 p.m., no cover.

La Fiesta Lounge at La Fonda

Country band Sierra, 7:30 p.m., no cover.

La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, 6-9 p.m., no cover.

Palace Restaurant and Saloon

Limelight karaoke, 10 p.m., no cover.

Pranzo Italian Grill

Pianist David Geist, cabaret, 6-9 p.m., call for cover.

The Matador

DJ Inky Inc. spins soul/punk//ska, 8:30 p.m., no cover.

Second Street Brewery

Joe West & Friends, psychedelic country, 6-9 p.m., no cover.

516 Arts

516 Central Ave. S.W., 505-242-1445

Digital Latin America, group show, through Aug. 30.

Inpost Art Space

210 Yale Blvd. S.E., 505-268-0044 Bluesology, mixed-media paintings by Jeff Sipe and digital prints by Greg Tucker; in conjunction with the New Mexico Jazz Festival, through Aug. 29.

AZTEC

Ninth Annual Animas River Blues & Brews Fest

Riverside Park, 500 S. Light Plant Rd. Including Teresa James & the Rhythm Tramps, Todd Tijerina, and Studebaker John & the Hawks, 1-10 p.m. Saturday, July 19, $22, ages 12 and under no charge, animasriverblues.com.

IAIA WRITERS FESTIVAL Institute of American Indian Arts offers free readings at 6 p.m. daily beginning Saturday, July 19, through Friday, July 25. All readings are held at the campus auditorium, 83 Avan Nu Po Rd. Saturday: Kelly Forsythe, Santee Frazier, and Ismet Prcic.

Sunday: Eden Robinson and Sherman Alexie (pictured).

Monday: Sherwin Bisui, Melissa Febos, Manuel Gonzales, and Natalie Díaz.

Tuesday: Ken White, Orlando White, and Debra Earling.

Wednesday: Nick Flynn, Marie-Helene Bertino, and Elissa Washuta.

Thursday: Simon Ortiz, Dean Rader, Joan Kane, and a student showcase at 8:30 p.m.

Friday: Ramon Ausubel, Geoff Harris, and Chip Livingston.

Shadeh

DJ Oona, retro rewind, 9 p.m.-4 a.m., no cover.

Tiny’s

Americana band Broomdust Caravan, 8 p.m.-close, no cover.

CERRILLOS

Encaustic Art Institute

18 General Goodwin Rd., eainm.com The Art of Nature, and All That Is Natural, group show, reception noon-5 p.m. Saturday, July 19, through Sept. 1.

GALISTEO

Art[s]up Salon Studio

741 Camino Los Abuelos Lady Minimalists Teas Society hosts a luncheon, 11 a.m.-2 p.m. Sunday, July 20, $25, email shaun@shaungilmorestudio.com.

LOS ALAMOS Events/Performances Gordons’ Summer Concerts

The weekly (Fridays) free music series continues with a blues/soul night; singer/songwriter and one-man band Raul Midón, Tiho Dimotrov Band opens, 7 p.m.

Friday, July 18, gordonssummerconcerts.com.

ALBUQUERQUE

Events/Performances

Events/Performances Friday, July 18, 8 p.m., VIP reception 6:30 p.m., Henry Butler, Steven Berstein, and The Hot 9, Hiland Theater, $25-$45, 505-988-1234, ticketssantafe.org; Saturday, July, 19, 2-10:30 p.m., Nob Hill, no charge; Wednesday and Thursday, July 23-24, composer and pianist Omar Sosa and his Afro-Cuban quartet, Outpost Performance Space, $30-$35, holdmyticket.com. Through July 27, newmexicojazzfestival.org. (See story, Page 36)

Chatter Sunday

The Kosmos, 1715 Fifth St. N.W. Del Sol String Quartet plays works by Huang Ruo, composer of the opera Dr. Sun Yat-sen, 10:30 a.m.

Sunday, July 20, $15 at the door only, discounts available, chatterabq.org.

42nd Annual Santa Fe Chamber Music Festival

Simms Auditorium, Albuquerque Academy Music of Beethoven, Shostakovich, Ruders, and Brett Dean; performers include violinist Jennifer Frautschi and pianist Benjamin Hochman; 7:30 p.m. Wednesday, July 23, $10-$45, 505-982-1890, santafechambermusic.com.

(See story, Page 18)

Pecos Studio Art Tour

Artists are invited to join the annual tour held Saturday and Sunday, Sept. 27-28; call 505-670-7045 for information, entry deadline is July 31.

Santa Fe Photographic Workshops 25th-Anniversary Photography Contest

Photographers age 18 and over can enter works on the theme of water in one or more categories: landscape, portrait, documentary, abstract; deadline September 17, guidelines and fee information are available online at santafeworkshops.com.

Filmmakers/Performers/Writers 2014 Fiesta Melodrama call for props

Workshop rehearsal space, 3205-B Richards Lane, 505-988-4262.

In need of furniture for set designs and clothing for costumes.

Musical Theatre Works Studio auditions

4001 Office Court Dr., Suite 206, 505-946-2468 Seeking males and females ages 11 to 99 to perform in staged readings of four new musicals at the Santa Fe Musical Theatre Festival in August; 1-4 p.m. Sunday, July 27.

Teatro Paraguas: open auditions

3205 Calle Marie, 505-424-1601 Cold readings 7 p.m. Wednesday, July 30, from scripts for Rick Vargas' Death and the Maiden

PASA KIDS

Georgia O'Keeffe Museum family program

217 Johnson St., 505-946-1039 Dramatic Play and Art; parents are encouraged to participate in this program led by education and movement artist Kathryn Mark, 9:30-11:30 a.m.

Saturday, July 19, no charge, call to register.

Bee Hive Books: story times

328 Montezuma Ave., 505-780-8051 Learn how to make pinwheels and blow bubbles, 11 a.m.-noon, Saturday, July 19; music, stories, and movement for ages 3 and up, 10:30-11:15 a.m. every Wednesday in July; no charge.

Make a Camera Obscura

New Mexico History Museum, 113 Lincoln Ave., 505-476-5200 A family workshop led by photographer Jackie Mathey, 2-4 p.m. Sunday, July 20, no charge, call 505-476-5087 for reservations.

¡Viva la Cultura! Hispanic Cultural Festival

Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill ¡Viva la Familia!, 2-6 p.m. Tuesday, July 22; family day at the museum; storytelling, music, flamenco dancers, and activities for children; also, workshops led by young Spanish Market artists, a fashion show of period costumes presented by La Sociedad Folklórica, and food carts; $5, families $15, hosted by the Spanish Colonial Arts Society, call 505-982-2226, Ext. 109, for advance tickets, continues daily ◀ through July 26.

Nacha Mendez

Vanessie

Ninth Annual New Mexico Jazz Festival

Artists 18 years and older may enter up to three images for the Oct. 4-Nov. 2 exhibit held at the Encaustic Art Institute in Cerrillos; application deadline Monday, Aug. 4; award details and applications available online at juriedartservices.com.

(November production), as well as Neruda and Whitman, ¡a Poesia Viva!, a poetry tribute

by Dan Bohnhorst (October production).

PEÑASCO

Peñasco Theatre, 15046 NM 75, 575-587-2726 Santa Fe's own chanteuse/guitarist, 7 p.m. Saturday, July 19, $10, brownpapertickets.com.

Pianist Bob Finnie, 6:30-9:30 p.m., call for cover.

Fourth Annual National Juried Encaustic Wax Exhibit

TAOS ¡Que Vivan las Fiestas!

Taos Plaza Traditional music and regional foods, running Friday-Sunday, July 18-20, fiestasdetaos.com.

Taos School of Music Festival

The 52nd season continues with the Miró Quartet, Schubert recital, 7:30 p.m. Sunday, July 20; Robert McDonald piano recital with the Miró Quartet, 7:30 p.m. Wednesday, July 23; Taos Community Auditorium, 145 Paseo del Pueblo Norte, $20, discounts available, taosschoolofmusic.com, 575-776-2388.

PEOPLE WHO NEED PEOPLE Artists 2014 Art on Loan Program

The City of Santa Fe Arts Commission is accepting submissions for Santa Fe artists for display in public spaces, for more information visit santafeartscommission.org; July 25 deadline.

Fiestas de Cerrillos

Artists, craftspeople, and nonprofits may sign up to participate in the market held Sept. 20; contact Sandy Young for details, 505-438-2885, sandy@dirtdauberstoneware.com.

Bizzaro: The Illusionist performs Saturday and Sunday at Jean Cocteau Cinema.

PASATIEMPOMAGAZINE.COM

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The Hold Steady

Santa Fe Sol Stage & Grill, 37 Fire Place Rock band, 7:30 p.m. Wednesday, Aug. 6, $25, 505-988-1234, ticketssantafe.org.

Fast Peso String Band

High Desert Guitars, 1807 Second St., Suite 107, 505-983-8933 or 505-988-2733 Appalachain-style tunes, 7 p.m. Saturday, Aug. 9, $15 in advance and at the door, proceeds benefit Southwest Pickers and the Santa Fe Bluegrass & Old Time Music Festival.

MUSIC

Classical Meets Flamenco

Garrett's Desert Inn, 311 Old Santa Fe Trail Classical guitarist David Wescott Yard and vocalist Mito de Soto, 7 p.m. Fridays July 25-Aug. 15, $10 in advance, $15 at the door, 505-204-5443.

Daniela Mack and Alex Shrader

St. John’s United Methodist Church, 1200 Old Pecos Trail Santa Fe Opera mezzo-soprano and tenor, accompanied by pianist Joseph Illick, 4 p.m.

Thursday, July 31, $22.50-$75, 505-988-1234, ticketssantafe.org, visit performancesantafe.org for the 2014-2015 season schedule.

Woody Shaw tribute

Santa Fe Center for Spiritual Living, 505 Camino de los Marquez Featuring J. Q. Whitcomb on trumpet, Ben Finberg on trombone, John Rangel on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7:30 p.m. Friday, Aug. 1, $15 at the door.

Corinne Winters

St. John’s United Methodist Church, 1200 Old Pecos Trail Santa Fe Opera soprano, accompanied by pianist Steven Blier, 4 p.m. Sunday, Aug. 3, $22.50-$75, 505-988-1234, ticketssantafe.org, visit performancesantafe.org for the 2014-2015 season schedule.

Ray Lamontagne

The Downs of Santa Fe, 27475 W. Frontage Rd. Singer/songwriter, 6:30 p.m. Tuesday, Aug. 5, with Belle Brigade, $40 and $62, 505-988-1234, ticketssantafe.org.

Sixth Annual Mariachi and Dance Concert

Buffalo Thunder Resort & Casino Performers include Johnny Hernandez, Mariachi Nuevo Sonido, Allen Muñiz, and Mariachi Buenaventura; silent auction 5:30-6:30 p.m., music starts at 7 p.m. Saturday, Aug. 9, $18 in advance at tickets.com, $20 at the door, proceeds benefit the nonprofit organization Sangre de Cristo Funeral Fund.

Freedom Work: Folk Forms and Variations

Outpost Performance Space, Albuquerque A five-part jazz suite by Santa Fean Lenny Tischler, 7:30 p.m. Thursday, Aug. 14, performers include woodwind artist Arlen Asher, saxophonist Brian Wingard, and bassist Andy Zadrozny, $10-$15 in advance at holdmyticket.com.

Music From Angel Fire

Angel Fire, Las Vegas, Raton, and Taos

The 31st festival season running Aug. 15-31, opening night features Ida Kavafian, Steven Tenenbom, and Anne-Marie McDermott in works of Beethoven and Andrew Hsu, tickets start at $30, discounts available, 888-377-3300, musicfromangelfire.org.

Eric Johnson

Santa Fe Sol Stage & Grill Austin, TX-based guitarist/songwriter, 7:30 p.m. Sunday, Aug. 17, $27, 505-988-1234, ticketssantafe.org.

Dave & Phil Alvin

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Country-blues brothers, 7:30 p.m. Tuesday, Aug. 19, $25 in advance, $29 at the door, brownpapertickets.com.

40th Annual Santa Fe Bluegrass & Old Time Music Festival Santa Fe County Fairgrounds, 3229 Rodeo Rd. This year's lineup includes The Chapmans, James Reams & The Barnstormers, Todalo Shakers, and Higher Ground, Friday-Sunday, Aug. 22-24, $15-$40, three-day pass $50, ages 16 and under no charge, tickets available in advance and at the door, southwestpickers-fesitival.org.

Avett Brothers

Santa Fe Opera, 301 Opera Dr. North Carolina-based folk-rock band, 8 p.m.

Wednesday, Aug. 27, $35-$55 in advance, ticketmaster.com, $40-$60 day of show.

Mariachi Extravaganza de Santa Fe

Santa Fe Community Convention Center, 201 W. Marcy St. Annual Santa Fe Fiestas concert; Mariachi Reyna de Los Angeles (with Angel Espinoza), Mariachi Buenaventura, and Los Niños de Santa Fe, 7 p.m.

Sunday, Aug. 31, call 505-988-1234 for advance tickets.

Jerry López and Friends

The Lensic Local singer/guitarist, 7 p.m. Friday, Sept. 12, $25-$35, 505-988-1234, ticketssantafe.org, benefit concert in support of the National Latino Behavorial Health Association.

Lyle Lovett and His Large Band

The Downs of Santa Fe, 27475 W. Frontage Rd. Texas singer/songwriter, 7 p.m. Saturday, Sept. 13, $12-$76, 505-988-1234, ticketssantafe.org.

Buckwheat Zydeco

Santa Fe Farmers Market Pavilion Louisiana-based accordianist/singer, 7:30 p.m.

Wednesday, Sept. 24, $25 in advance, $30 at the door, brownpapertickets.com.

THEATER/DANCE

Sylvia

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 The New Mexico Actors Lab presents A.R. Gurney’s comedy, 7:30 p.m. Thursdays-Saturdays, 4 p.m. Sundays, July 31-Aug. 17, $10-$25, santafeplayhouse.org.

Daniel Ulbricht and New York City Ballet performers

The Lensic 7:30 p.m. Wednesday and Thursday, Aug. 13-14, includes a pre-performance talk by Ulbricht, $13.50-$100, 505-988-1234, ticketssantafe.org.

HAPPENINGS

Mortenson Silver & Saddles National Day of the Cowboy Mortenson Arena, 96 Bonanza Creek Rd. The Horse Shelter presents Gimme Shelter, a trainers' rally for rescued horses competition, followed by a horse auction, 3 p.m. Saturday, July 26, no charge, thehorseshelter.com, 505-471-6179.

North African Sephardic Festival

Various venues in Santa Fe Film screenings, a concert, talks, Moroccan-cuisine dinner, and a photographic exhibit, July 29-Aug. 3, presented by Santa Fe Jewish Film Festival, screenings $12 in advance $15 at the door, concert $20, dinner $35, 505-216-0672, santafejff.org.

Salaam-Shalom

Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta Annual gathering of young women from Palestine and Israel in conversation about their experiences at the 2014 Creativity for Peace summer-camp session, 4:30-6 p.m Thursday, July 31., $25 in advance at creativityforpeace.com, $30 at the door.

36th Annual Whitehawk Antique Indian & Ethnographic Art Show

Santa Fe Community Convention Center, 201 W. Marcy St. Workshops and free evaluations of items brought to the show; launch party and preview Friday, Aug. 15 ($75), show runs Saturday-Monday, Aug. 16-18 ($10, run of show $17, whitehawkshows.com.

Antique American Indian Art Show Santa Fe 2014

El Museo Cultural de Santa Fe, 555 Camino de la Familia Presenting works from national galleries; preview party 6-9 p.m. Tuesday, Aug. 19; show 11 a.m.6 p.m. Wednesday and Thursday, Aug. 20-21, preview party and Institute of American Indian Arts benefit $50 in advance and at the door, show tickets $10 run of show in advance, $13 at the door, tickets available online at antiqueindianartshow.com.

39th Annual Wheelwright Museum of the American Indian Benefit Auction

704 Camino Lejo, Museum Hill Silent auction and preview of live auction items 4-6 p.m. Thursday, Aug. 21, Collector’s Table 10 a.m. Friday, Aug. 22, followed by live auction preview and live auction; catered lunch available, 505-982-4636, wheelwright.org.

Indigenous Fine Art Market- IFAM

Santa Fe Railyard More than 400 Native artists are slated to participate in this inaugural market ThursdaySaturday, Aug. 21-23; events include a kickoff Glow Dance Party, youth programming, and film screenings, indigefam.org.

93rd Annual Santa Fe Indian Market Launch Party

On The Plaza Thursday, Aug. 21; sneak preview Friday, Aug. 22; live auction dinner and gala Saturday, Aug. 23; market Saturday and Sunday, Aug. 22-23; swaia.org, 505-983-5220.

Mariachi Nuevo Sonido performs during the sixth annual mariachi and dance concert at Buffalo Thunder Resort & Casino on Saturday, Aug. 9.

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PASATIEMPO I July 18-24, 2014

AT THE GALLERIES

Chiaroscuro Contemporary Art

702½ Canyon Rd., 505-992-0711 Australian Contemporary Indigenous Art III, group show, through Aug. 3.

David Richard Gallery

544 S. Guadalupe St., 505-983-9555 Heads Up, mixed-media work by Judy Chicago, through July 26.

Santa Fe Clay

545 Camino de la Familia, 505-984-1122 Finished With Fire, works by ceramicists Bonnie Lynch and Mary Roehm, through Aug. 2.

William Siegal Gallery

540 S. Guadalupe St., 505-820-3300 Ruah, works on paper by Judy Tuwaletstiwa, through Tuesday, July 22.

MUSEUMS & ART SPACES Santa Fe Santa Fe Center for Contemporary Arts

1050 Old Pecos Trail, 505-982-1338 The Curve, Center’s annual show of awardwinning photography • Dear Erin Hart, multimedia exhibit by Jessamyn Lovell • Air Force: Aesthetic Experiments in Aviation, works on paper created via remote-controlled airplane; exhibits through Aug. 10. Open Thursdays-Sundays; ccasantafe.org.

SITE Santa Fe

1606 Paseo de Peralta, 505-989-1199 SITElines 2014: Unsettled Landscapes, biennial exhibit of works by contemporary international artists, 2 p.m. opening Saturday, July 19, no charge on the opening day, through Jan. 11. Open ThursdaysSundays; sitesantafe.org. (See story, Page 42)

Georgia O’Keeffe Museum

217 Johnson St., 505-946-1000 Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept. 17.

Open daily; okeeffemuseum.org.

Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1777

3-D digital landscape of the project, a live performance by German sound artist Robert Henke and Benally based on sounds captured during the installation, and a screening of the documentary Bert & Wei Wei: TIME 2014 by Daniel Hyde and Blackhorse Lowe (exhibits up through Oct. 16) • We Hold These Truths,

contemporary paper baskets by Shan Goshorn • Brandywine Workshop Collection, works by indigenous artists donated to the Philadelphia facility • Articulations in Print, group show • Bon à Tirer, prints from the permanent collection • Native American Short Films, continuous loop of five films from Sundance Institute’s Native American and Indigenous Program; exhibits up through July.

Closed Tuesdays; iaia.edu/museum.

Museum of Indian Arts & Culture

710 Camino Lejo, Museum Hill, 505-476-1269 Turquoise, Water, Sky: The Stone and Its Meaning, highlights from the museum’s collection of jewelry • Native American Portraits: Points of Inquiry, vintage and contemporary photographs, through January 2015 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, artifacts from the museum collection. Open daily; indianartsandculture.org.

Museum of International Folk Art

706 Camino Lejo, Museum Hill, 505-476-1200 Between Two Worlds: Folk Artists Reflect on the Immigrant Experience, International Folk Arts Week kick-off exhibit on immigration • Wooden Menagerie: Made in New Mexico, early 20th-century carvings, through Feb. 15, 2015 • Tako Kichi:

Kite Crazy in Japan, exhibition of Japanese kites, through July 27 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s collection, through Aug. 10.

Open daily; internationalfolkart.org.

Museum of Spanish Colonial Art

750 Camino Lejo, Museum Hill, 505-982-2226 Secrets of the Symbols: The Hidden Language of Spanish Colonial Art • 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; spanishcolonial.org; open daily through Sept. 1.

New Mexico History Museum/ Palace of the Governors

113 Lincoln Ave., 505-476-5200 Painting the Divine: Images of Mary in the New World, rare Spanish colonial paintings, through March 29, 2015 • Poetics of Light: Pinhole Photography, through March 29, 2015 • Transformed by New Mexico, work by photographer Donald Woodman, through Oct. 12 • Water Over Mountain, Channing Huser’s photographic installation • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe; nmhistorymuseum.org; open daily through Oct. 7.

New Mexico Museum of Art

107 W. Palace Ave., 505-476-5072 Local Color: Judy Chicago in New Mexico 1984-2014, focusing on public and personal projects, through Oct. 12 • Southwestern Allure: The Art of the Santa Fe Art Colony, including early 20th-century paintings

by George Bellows, Andrew Dasburg, Marsden Hartley, and Cady Wells, through July 27 • Focus on Photography, rotating exhibits • Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes used to make color and platinum-palladium prints from the collection, through March 2015 • New Mexico Art Tells New Mexico History, including works

by E. Irving Couse, T.C. Cannon, and Agnes Martin, through 2015 • Spotlight on Gustave Baumann, works from the museum’s collection, through 2015.

Open daily through Oct. 7; nmartmuseum.org.

Poeh Cultural Center and Museum

78 Cities of Gold Rd., 505-455-3334 Nah Poeh Meng, 1,600-square-foot installation highlighting the works of Pueblo artists and Pueblo history; also, ongoing sculpture exhibits in the Tower Gallery, 505-455-3037, roxanneswentzell.net. Closed Saturdays and Sundays; poehcenter.org.

Wheelwright Museum of the American Indian

704 Camino Lejo, Museum Hill, 505-982-4636 Works by Diné photographer Will Wilson, through April 19, 2015. Core exhibits include contemporary and historic Native American art.

Open daily; wheelwright.org.

Albuquerque Albuquerque Museum of Art & History

2000 Mountain Rd. N.W., 505-243-7255 Everybody’s Neighbor: Vivian Vance, family memorabilia and the museum’s photo archives of the former Albuquerque resident, through January 2015 • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, more than 150 examples of craftsmanship and design distinctive to the charro. Closed Mondays; cabq.gov/ culturalservices/albuquerque-museum/generalmuseum-information; closed Mondays.

Georgia O'Keeffe: Waterfall #3, Lau Valley, Georgia O'Keeffe Museum, 217 Johnson St.

Indian Pueblo Cultural Center

2401 12th St. N.W., 866-855-7902 Our Land, Our Culture, Our Story, historical overview of the Pueblo world, and contemporary artwork and craftsmanship of each of the 19 pueblos. Weekend Native dance performances; indianpueblo.org.

Maxwell Museum of Anthropology

UNM campus, 1 University Blvd. N.E., 505-277-4405 The museum’s collection includes individual archaeological, ethnological, archival, photographic, and skeletal items. Closed Sundays and Mondays; maxwellmuseum.unm.edu.

National Hispanic Cultural Center

1701 Fourth St. S.W., 505-604-6896 ¡Papel! Pico, Rico y Chico, group show of works in the traditional art of papel picado (cut paper).

Closed Mondays; nationalhispaniccenter.org.

UNM Art Museum

1 University of New Mexico Blvd., 505-277-4001 Oscar Muñoz: Biografías, video works; Luz Restirada, Latin American photography from the museum collection, through July 26. Closed Sundays and Mondays; unmartmuseum.org.

Los Alamos Bradbury Science Museum

1350 Central Ave., 505-667-4444 Information on the history of Los Alamos and the Manhattan Project as well as over 40 interactive exhibits. Open daily; lanl.gov/museum.

Los Alamos Historical Museum

1050 Bathtub Row, 505-662-4493 Core exhibits on area geology, homesteaders, and the Manhattan Project. Housed in the

Guest Cottage of the Los Alamos Ranch School.

Open daily; losalamoshistory.org.

Pajarito Environmental Education Center

3540 Orange St., 505-662-0460 Exhibits of flora and fauna of the Pajarito Plateau; herbarium, live amphibians, and butterfly and xeric gardens. Closed Sundays and Mondays; pajaritoeec.org.

Taos E.L. Blumenschein Home and Museum

222 Ledoux St., 575-758-0505 Color-field paintings by Donald Roy Thompson, through Aug. 10. Hacienda art from the Blumenschein family collection, European and Spanish colonial antiques. Open daily; taoshistoricmuseums.org.

Harwood Museum of Art

238 Ledoux St., 575-758-9826 Highlights From the Gus Foster Collection, contemporary works, through Sept. 7. Open daily through October; harwoodmuseum.org.

Millicent Rogers Museum

1504 Millicent Rogers Rd., 575-758-2462 Historical collections of Native American jewelry, ceramics, and paintings; Hispanic textiles, metalwork, and sculpture; and contemporary jewelry. Open daily through October; millicentrogers.org.

Taos Art Museum at Fechin House

227 Paseo del Pueblo Norte, 575-758-2690 Intimate and International: The Art of Nicolai Fechin, paintings and drawings, through Sept. 21. Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933.

Closed Mondays; taosartmuseum.org.

PASATIEMPOMAGAZINE.COM

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Christina Chalmers: All One 2014, oil, beeswax, lead, and mixed media on panel Selby Fleetwood Gallery 600 Canyon Road, 505-992-8877

Christina Chalmers and Olga Antonova present new works. Dresses are a persistent theme in Chalmers’ mixed-media pieces. “In archetypal symbolism, clothing represents persona, a kind of camouflage which lets others know only what we wish them to know about us and nothing more,” the artist explained.

Antonova’s still-life paintings of fine porcelain and books capture details of reflected and distorted light. The reception is on Friday, July 18, at 5 p.m.

Arin Dineen: Caesura 2 2013, oil on canvas Ellsworth Gallery, 215 E. Palace Ave., 505-989-7900

Arin Dineen’s paintings of interiors and figurative subjects capture detail at a photographic level. Her architectural paintings are scaled to the aspect ratio of film stills. Jeff Juhlin’s richly textured encaustic paintings are rendered with lengthwise bands of color reminiscent of the visible horizon. Sight Lines, an exhibition of new works by the two artists, opens with a 5 p.m. reception on Friday, July 18.

Gregory Botts: Madrid, Night Studio, All One, falling, #1 2004-06, oil on canvas David Richard Gallery, 544 S. Guadalupe St., 505-983-9555

A P E E K AT W H AT’S S H OW I N G A R O U N D TOW N

Roxy Paine: Mycelium 3 2011, stainless steel and enamel Peters Projects, 1011 Paseo de Peralta, 505-954-5700

Temporal Domain is the inaugural exhibit of Peters Projects, a division of Gerald Peters Gallery that aims to expand the audience for historically significant national and international contemporary artists. The show, which includes works by Lynda Benglis, James Lee Byars, Agnes Martin, and Roxy Paine, opens with a 5 p.m. reception on Friday, July 18.

James Drake: Accelerators (drawings #1262, 1263, 1264, and 1265) 2014, graphite and ink on book pages James Kelly Contemporary 1611 Paseo de Peralta, 505-989-1601

James Drake: Pages, New Drawings continues through Aug. 27. The exhibition includes pieces the artist made as a continuation of a project — on view in the show James Drake: Anatomy of Drawing and Space (Brain Trash) at the Museum of Contemporary Art San Diego — that displays the results of his two-year commitment to produce a drawing every day, resulting in more than 1,200 images. Drake is known for his skill as a draftsman, for his expertise in different mediums — including video, sculpture, and drawings — and for his focus on the themes of myth, history, and contemporary social consciousness.

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PASATIEMPO I July 18-24, 2014

Selections from the Madrid Group is an exhibition of contemporary abstract landscapes that Gregory Botts made in Madrid, New Mexico. Botts combines plein-air and studio painting with geometry and figuration, taking elements from previous works for use in others. The show opens on Friday, July 18, with a reception on Friday, July 25, at 5 p.m.

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