Pasatiempo, March 7, 2014

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

Na Nc yH olt 193 8 -2 014

March 7, 2014

The Santa Fe Conservation Trust and The Lensic are proud to host

THE BANFF CENTRE PRESENTS 2013 / 14

BANFF

MOUNTAIN

FILM FESTIVAL WORLD TOUR March 10 & 11 $16 one night $28 both nights

THE WORLD’S BEST MOUNTAIN FILMS

happy hour

Sunday -Thursday 5:30-6:30 pm Proceeds benefit Santa Fe Conservation Trust and The Lensic banffmountainfestival.ca

Tickets: 505-988-1234 www.TicketsSantaFe.org the lensic is a nonprofit, member-supported organization

S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E

free appeTizer

with purchase of an alcoholic beverage 5 0 5- 9 82- 860 8 | 5 48 a gu a f r i a | s a nta fe

Winner!

1st Annual Divine Decadence:The Chocolate Challenge Santacafé’s own Chef Fernando Ruiz

This Week’s Special: A Welcome - Spring Dinner 3 Courses - $30.00 per person Starts Friday, March 7 thru March 13 - From 5:30 p.m.

1st Course Please select one: Soup du Jour Bibb Lettuce Salad w/ Fresh Peas, Radishes & Herbed Buttermilk Dressing Entrée Champagne Risotto w/ Manchego Cheese, Spring Greens & Wild Mushrooms Dessert Please select one:

ON THE PLAZA

15% Locals Discount Open daily 11:30am till close Heated Balcony Happy Hour twice daily

Warm Chocolate Cake w/ Toasted Almonds & Vanilla Ice Cream Caramelized Banana Bread Pudding w/ Rum Crème Anglaise & Red Chile Candied Pecans Our regular menu always available …

Visit us online: ‘Instant Gift Certificates’ recipes & reservations

www.santacafe.com LUNCH from 9.50 DINNER from 19.00 Sunday Brunch from 9.50 OPEN EVERYDAY! 2

PASATIEMPO I March 7 - 13, 2014

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

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WIN!

SFCA

ThE SANTA FE CONCERT ASSOCIATION Presents

cURTis On TOUR DODG E MARCH 8, 15 & 22

CHALLENGER

Students from Curtis Institute of Music in Philadelphia, one of the world’s leading music conservatories, perform selections

by Mozart, Poulenc and more.

We’ll be giving aWay three dodge challengers in march hourly drawings on saturday, march 8, 15 & 22 from 6 to 10pm.

Earn 10x EntriEs on MonDaYs!

Family Concert Series

March 18, 2014, 6:00 pm • United Church of Santa Fe

1 hour family-friendly performance

Chamber Concert March 19, 2014, 7:30 pm • St. Francis Auditorium TICKETS:

Player receives one entry for every 30 points earned on their Lightning Rewards card, March 1 through March 22, 2014.

Drawings will be simulcast at Cities of Gold.

See Lightning Rewards Club desk for complete contest rules and details.

Management reserves all rights.

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PASATIEMPO I March 7 - 13, 2014

$10-$50 | ticketssantafe.org | (505)988-1234 or Santa Fe Concert Association (505)984-8759

INFORMATION: www.santafeconcerts.org

Santa Fe Concert Association, 324 Paseo de Peralta, Santa Fe, NM 87501 (505) 984-8759

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celebrating 10 years in the railyard and 26 years in santa Fe

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328 S. Guadalupe Stree t, Suite e • 505.820.1080 www.marc-howard.com

Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room • Bedroom • Entertainment • Lighting • Accessories We’re closing our Cerrillos Road location.

Our Warehouse Showroom on Airport Road will continue to feature over 8,000 sq. ft. of quality Southwestern Furniture.

STOREWIDE SALE ADDITIONAL 20% OFF OUR DISCOUNTED PRICES AT OUR WAREHOUSE SHOWROOM SAT, FEB 22 - SAT, MAR 8

SANTA FE COUNTRY FURNITURE 525 Airport Road • 660-4003 • Corner of Airport Rd. & Center Dr.

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PASATIEMPOMAGAZINE.COM

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THE SANTA FE NEW MEXICAN

March 7 - 13, 2014

www.pasatiempomagazine.com

On the cOver 24 the origin of spaces With the death of artist Nancy Holt in February the world lost a seminal figure in the land-art movement that emerged in the 1960s. Known for her monumental earthworks and public art, Holt was also a videographer, filmmaker, and photographer. She explored themes of perception, time, space, and our place in the universe, orienting components of her land art with astronomical alignments. Pasatiempo takes a look at some of the artist’s most well-known earthworks and public installations. On the cover is Holt at her creation Sun Tunnels in the Great Basin Desert in northwest Utah; photo by Matthew Coolidge/CLUI.org.

BOOKS

MOvIng IMAgeS

14 In Othe Words Lillian Hellman: An Imperious Life and The Wives of Los Alamos 22 Dark matters The End of Night 28 David Stuart MacLean A Memoir of Amnesia

32 Afternoon of a Faun 33 A Field in England 34 Pasa Pics

cALenDAr

MUSIc AnD PerFOrMAnce 16 18 21 30

Pasa tempos CD reviews terrell’s tune-Up Holly Golightly & The Brokeoffs Onstage The Other Place ron Bloomberg The Queen of Madison Avenue

PASAtIeMPO eDItOr — KrIStInA MeLcher 505-986-3044, kmelcher@sfnewmexican.com Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com

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Assistant editor — Madeleine nicklin 505-986-3096, mnicklin@sfnewmexican.com

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chief copy editor/Website editor — Jeff Acker 505-986-3014, jcacker@sfnewmexican.com

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Associate Art Director — Lori Johnson 505-986-3046, ljohnson@sfnewmexican.com

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calendar editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com

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StAFF WrIterS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 505-986-3039, billk@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com

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cOntrIBUtOrS Loren Bienvenu, taura costidis, Laurel gladden, Peg goldstein, robert Ker, Jennifer Levin, robert nott, Jonathan richards, heather roan-robbins, casey Sanchez, Michael Wade Simpson, Steve terrell, Khristaan D. villela

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PrODUctIOn Dan gomez Pre-Press Manager

The Santa Fe New Mexican

© 2014 The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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AnD 11 Mixed Media 13 Star codes 38 restaurant review: Shake Foundation

ADvertISIng: 505-995-3819 santafenewmexican.com Ad deadline 5 p.m. Monday

Pasatiempo is an arts, entertainment & culture magazine published every Friday

by The New Mexican. Our offices are at 202 e. Marcy St. Santa Fe, nM 87501. editorial: 505-986-3019. e-mail: pasa@sfnewmexican.com

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41 Pasa Week

Ginny Sohn Publisher

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MArKetIng DIrectOr Monica Taylor 505-995-3824

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grAPhIc DeSIgnerS Rick Artiaga, Jeana Francis, Elspeth Hilbert

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ADvertISIng SALeS - PASAtIeMPO Art trujillo 505-995-3852 Julee Clear 505-995-3825 Matthew Ellis 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830

Ray Rivera editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

DON’T MISS THE LAST WEEKEND OF THIS LANDMARK SHOW!

final weeKenD! santa fe is the only aMerican venue for what The New York Times called a “Trove of Spanish Artwork”from the reserves of the British Museum. Familiar as Goya’s iconic self-portrait The Sleep of Reason Produces Monsters may be, there is no substitute for a first-hand encounter with its inky intensity as the cats symbolizing witchcraft fix you in their stare and the bats of ignorance and the owls of folly descend.

free public lecture sunDay, March 9 · 10:00 – 11:00 aM Join Frances Carey in the Saint Francis Auditorium for A History of the World in 100 Objects, a lecture that will take you back in time and across the globe, to see how we humans have shaped our world and been shaped by it.

This lecure is llustrated with examples from the British Museum’s unparalleled collection.

107 west palace avenue on the plaza in santa fe · nMartMuseuM.org · 505-476-5072 Francisco de Goya, The Sleep of Reason Produces Monsters (detail), 1797–1798, etching and aquatint. © The Trustees of the British Museum.

The presentation of this exhibition is a collaboration between the British Museum, London and the New Mexico Museum of Art.

PASATIEMPOMAGAZINE.COM

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AN EVENING WITH

AMY GOODMAN

Host and Executive Producer of DEMOCRACY NOW!

THE VARIATION TRIO WITH BENJAMIN HOCHMAN

Jennifer Koh, violin | Hsin-Yun Huang, viola Wilhelmina Smith, cello | Benjamin Hochman, piano

FRIDAY, MARCH 14 • 7PM – 9PM

The Lensic Performing Arts Center, 211 W. San Francisco Street, Santa Fe, NM

TICKETS: $15 PER PERSON For tickets call (505) 988-1234 or visit TicketsSantaFe.org Amy will be available after the talk to sign copies of “The Silenced Majority: Stories of Uprisings, Occupations, Resistance, and Hope,” which will be available for purchase.

Proceeds from an “Evening with Amy Goodman” to benefit KNME, KUNM, and KSFR. In partnership with the Lensic Performing Arts Center.

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A L B U Q U E R Q U E

Sunday, March 16 at 3pm St. Francis Auditorium Sunday, March 16 at 5:30pm, post-concert dinner with The Variation Trio and Benjamin Hochman (limitedseating,reservationthroughthe ProMusicaBoxOfficerequired)

BEETHOVEN Trio in G Major, Op. 9, No. 1 NEIKRUG Green Torso DVORˇÁK Quartet in E-flat Major, Op. 87, No. 2 Meet the Music with Thomas O’Connor and John Clubbe one hour before the performance. Learn more about the music you love! $20, $35, $45, $65

Discounts for students, teachers, families, and groups available through the Santa Fe Pro Musica Box Office.

Santa Fe Pro Musica Box Office:505.988.4640 Tickets Santa Fe at the Lensic: 505.988.1234 www.santafepromusica.com

Major Lodging Sponsor:

Concert Sponsor:

Artist/Masterclass Sponsor:

The 2013-2014 Season is partially funded by New Mexico Arts (a Division of the Department of Cultural Affairs) and the National Endowment for the Arts.

This program is partially funded by WESTAF and the National Endowment for the Arts.

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PASATIEMPO I March 7 - 13, 2014

110 DON GASPER, SANTA FE (505) 989-3435 • SHOPBABETTE.COM

Inspired by caves and minerals, Babette's Cordoba collection is terrace-like and evokes the shadows on the earth. Wherever you happen to roam, walk with warmth, walk with style.

Community LeCtuRe

Why the Internet Won’t Get You Any More Friends

WHAT IS YOUR FINE ART WORTH? FREE APPRAISAL EVENT Friday, March 14: 10 am - 5pm Saturday March 15: 10 am - 4 pm Sunday March 16: 11 am - 4 pm Sell your Art On-Site or Qualify to Consign To receive a free appraisal of your art you must call to schedule an appointment 505-992-2882

Wednesday, March 12 7:30 p.m.

James A. Little Theater 1060 Cerrillos Rd., Santa Fe Lectures are free and open to the public. Seating is limited.

• Paintings • Sculpture • Fine Art Prints • Southwestern Art • Historic Santa Fe and Taos Artists • American Art • European Art • Modern Art • Contemporary Art MATTHEWS GALLERY 669 Canyon Road 505.992.2882 www.thematthewsgallery.com Recommended by: Forbes, Art + Auction and Travel + Leisure

Social media promises us an ever-expanding circle of friends, but that may be an empty promise. Social behavior is firmly rooted in biology, and our brains are hard-wired to maintain meaningful relationships with only about 150 people. Evolutionary psychologist, Robin Dunbar formulated “Dunbar’s Number” to measure the cognitive limit to our social circles – Facebook “friends” and Twitter “followers” notwithstanding. Dunbar will explore how our brains have evolved to support the complex social structures that ensure our survival, and how the size of those groups is defined by our DNA, suggesting real limits not only to our personal relationships, but to the size and capacity of every community in which we participate.

Robin Dunbar is Director of the Social and

Evolutionary Neuroscience Research Group, Department of Experimental Psychology at the University of Oxford.

Robin DunbaR

SFI’s 2014 Community Lecture series is generously sponsored by Thornburg Investment Management

PASATIEMPOMAGAZINE.COM

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presents

PUEBLO SASH WEAVING DEMONSTRATION SUNDAY MARCH 9, 2014 10AM–4PM Museum Hill | 710 Camino Lejo (off Old Santa Fe Trail) 505-476-1250 | indianartsandculture.org

Francisco de Zurbarán (1598–1664), Head of a monk, 1625–64. courtesy british MuseuM.

museum of indian arts and culture

March happenings focus on photography Last day to see

Renaissance to Goya Sunday, March 9

First Friday, March 7, 5–8 pm Opening reception for the museum’s yearlong series of photography exhibitions.

Opening tonight: Beneath our Feet: Photographs by Joan Myers, Grounded and Photo Lab—where ideas develop.

First Friday, April 4, 5:30–6:30 pm Photographer Joan Myers discusses her work.

poetry out loud Sunday, March 9, 1–3 pm

High-school students from all over New Mexico compete to go to the 2014 Poetry Out Loud National Finals in Washington, D.C.

public lecture Wednesday, March 26, 6–7:30 pm

“The Pueblo Canes and Spanish Vara: Enduring Symbols of Authority and Pueblo Sovereignty” by Robert J. Tórrez, former New Mexico State Historian.

book event

Sunday, March 30, 2–3 pm Detonography: The Explosive Art of Evelyn Rosenberg. The artist will talk about her work, followed by a book signing.

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

Recording Booth NOW OPEN!

Record your song, story or poem!

Hear it online at: soundcloud.com/heartbeatnm

Explore this exhibition of Native Southwest music and instruments

SUNDAY, MARCH 23 · 11:00 AM – 3:30 PM

Advanced Kite Making Workshop with Master Kite Maker Mikio Toki Ori-Zome Kaku Dako (Fold & Dye Tokyo Style) Kite Making for adults 16 years and older · $30 per person, $25 for MNMF members · Includes materials, lunch, and lecture · Pre-registration required, please call Stephanie Riggs at (505) 476-1215 Funded by the Japan Foundation and the International Folk Art Foundation.

Presented in conjunction with Tako Kichi: Kite Crazy in Japan

Museum of Indian Arts and Culture On Museum Hill in Santa Fe · 505.476.1250 · www.IndianArtsandCulture.org

Above: Drum (Cochiti Pueblo), ca.1930. Gift of Drs. Norman C. and Gilda M. Greenberg. Photo by Blair Clark.

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PASATIEMPO I March 7 - 13, 2014

On Museum Hill in Santa Fe · (505) 476-1200 · InternationalFolkArt.org

MIXED MEDIA

Join us for:

A Wine Tasting Featuring Soter Vineyards of Oregon • March 12 • 5pm Wine, Beer, Mixology with a “Trifecta”Head-to-Tail Dinner • March 13 • 6:30pm St. Patrick’s Day Dinner Special • March 14-17 • Evening

Dining Reservations • 505.995.4530

Joan Myers: Abó, New Mexico, 1980, pigment print

Eldorado Hotel & Spa 309 W. San Francisco St Santa Fe, NM 87501 EldoradoHotel.com 505.988.4455

These feet are made for walking Whether it is photographing the 19th-century trade route along the Santa Fe Trail between New Mexico and Missouri, penguins and glaciers in Antarctica, volcanic activity in Iceland, or wildlife in the jungles of India, photographer Joan Myers takes to her subjects with an adventurous zeal. Beneath Our Feet: Photographs by Joan Myers, a survey of her work, opens Friday, March 7, at the New Mexico Museum of Art (107 W. Palace Ave.).

“Beneath Our Feet talks about both the land we walk on and our feet, so it implies a human presence. These are things I’ve been interested in for a long time,” Myers told Pasatiempo. “You could sort of consider it a miniretrospective. It has selections from several bodies of work but certainly not all of them. It has work from very early in Los Angeles. It has work from the Santa Fe Trail series, which is a body of work the museum owns quite a few prints from. It has a little bit from the Antarctic work and images from more recent work, which is volcanic. I’m calling that Fire and Ice at this point.”

The exhibition is curated by Kate Ware, the museum’s curator of photography. “She wanted to do something that gave a sense of how the work has changed over time,” Myers said. “It’s been 40 years, so that’s a lot of time.

Forty years ago things were very different. I was using a view camera. I was shooting black and white. Now I’m almost entirely digital.”

Myers’ recent work explores the themes of climate change. She shot in locations with extreme conditions to capture vivid images of erupting volcanoes, icebergs, and geothermal activity. “The work has really taken me to some fascinating places, including Indonesia and Java. Volcanos are seductive. They pull you in and you want to get closer. I try to avoid situations which are obviously dangerous, but by nature it’s a little risky.”

The reception for Beneath Our Feet is Friday, March 7, at 5 p.m. Opening concurrently are Grounded, a group show of landscape photography, and Photo Lab, an exhibit exploring photographic processes. The three shows are part of the museum’s yearlong series Focus on Photography. There is no charge for admission to the reception; afterward, entrance is by museum admission. Myers discusses her work in a free gallery talk on Friday, April 4.

Call 505-476-5072.

— Michael Abatemarco

LENSIC PRESENTS Under Construction: New Works in Progress

The Queen of Madison Avenue

BY RON BLOOMBERG A staged reading of a play about the high price of success Featuring Ali MacGraw, Jonathan Richards, and more March 13 7 pm $10

Tickets: 505-988-1234 www.TicketsSantaFe.org S ERVICE CH ARGES A PPLY AT ALL POINTS OF PURCHASE

t h e l e n s i c i s a n o n p r o f i t, m e m b e r - s u p p o r t e d o r g a n i z at i o n

PASATIEMPOMAGAZINE.COM

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St. John’s College presents

Music on the Hill

™

ELEVATED Jazz Concert Series

Saturday, March 15, 7:30 p.m.

Larry Ham and Woody Witt Great Hall, Peterson Student Center 1160 Camino Cruz Blanca (Doors open at 7:00 p.m.)

$25 admission at the door; wine, beer, and small plates available for purchase, $7 each.

Concert series continues March 29.

For advance tickets, call 505-984-6118.

Proceeds of the event support financial aid for New Mexico students attending St. John’s College.

1160 Camino Cruz Blanca| Santa Fe| New Mexico 87505 | www.stjohnscollege.edu

Queen Bees & Masterminds: Creating a Culture of Respect and Dignity amongst Teens An evening with ROSALIND WISEMAN, best-selling author and internationally recognized expert on bullying among children.

March 12th, 7-9pm at the Lensic Most famously the author of Queen Bees & Wannabes, the basis for the movie Mean Girls - Rosalind Wiseman is an internationally recognized expert on children, teens, parenting, bullying and social justice. Her work to create communities based on the belief that each person has a responsibility to treat themselves and others with dignity aligns with the SFMC’s bullying prevention work to create a safer and more inclusive culture. Participants will walk away with positive ways to impact their community and concrete strategies for any parent, educator, or professional who works with children and teens.

Tickets are $15 at www.lensic.org or 988-1234 A fundraiser for the Santa Fe Mountain Center’s bullying prevention work with youth and adults in New Mexico. www.santafemc.org

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PASATIEMPO I March 7 - 13, 2014

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Get on with it this week. Even though the sun is still in intuitive,

dreamy, low-energy Pisces, it trines productive Saturn. It’s a good week to get our point across — communication flows pretty easily. Keep to the point while being able to see the big picture as cerebral Mercury in far-sighted-if-stubborn Aquarius trines active Mars in Libra and squares durable Saturn. This combination supports sending out letters, proposals, and résumés. Let’s talk first about why we do what we do, not just how, and then buckle down to the nitty-gritty. A lazy streak competes with this productive burst. We may have to push through some mental resistance or desire to do things the easy way in order to tackle the real work.

The social mood is friendly if not particularly intimate. Venus in Aquarius and Mars in Libra can give us some objectivity and take the heat out of ongoing negotiations. Most people will feel generally friendly if we don’t ask too much from them emotionally.

This less-passionate friendliness may dampen a budding romance, but it’s a great time to build a friendship. We can do this without getting too serious. Though many people would rather not go into the deepest depths of their emotional nature, they may be willing to talk about anything else.

Renewed friendships will really help in the exciting and challenge-filled months ahead.

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SPRING BOOK SALE

SouthSide Library • 6599 Jaguar Drive at Country Club Road

March 8 and 9

Saturday, 10 am to 4 pm • HC books $1, PB books 3/$1.

Sunday, 1-3:30 pm • Bag Day. All you can fit into a bag (provided) $4.

Friday, March 7: The mood is funny, anxious, and interested but with a low attention span under a verbose Gemini moon. Pay attention during morning confusion or sloppy conditions and then move into a productive and busy day. Watch glib speakers. Tonight’s mood is sociable if distracted.

Saturday, March 8: As the sun and moon square this morning we can accidentally bump heads. Midday communication opens up. After a low-energy spell around dinnertime, the evening calls for dancing shoes.

Sunday, March 9: Indulge in comfort this cozy, Cancer moon morning.

We really need to feel safe with dear ones and won’t tolerate crankiness.

Midday, tend the threads of a long-term relationship. Check in with elders.

Social conscience stirs. Tonight the mood is low energy and idealistic.

Monday, March 10: Overnight cozy dreams can make it hard to get up.

Early-morning static makes incoming news unsettling. Stay cool and don’t jump to conclusions as the moon opposes Pluto and squares Uranus.

We may have trouble digesting food or tough advice — our defenses are easily triggered. If people are crabby, give them room or reassurance.

A Mercury-Saturn square calls for rigorous thinking and careful editing, though it may be hard to let go.

Tuesday, March 11: We can work through an emotionally touchy problem or find productive compromise as the moon, Saturn, and sun form a grand trine in water signs. But we have to make the effort. Look for advice from mentors, and be generous with mentorship. Finish by dinnertime as the moon enters celebratory, expressive Leo. Wednesday, March 12: If people send mixed signals, it’s an honest reaction as the moon in Leo opposes Venus in Aquarius. People need their egos stroked — treat them as if they’re fascinating to open up communication.

Restlessness tonight can bring great plans for future adventures.

Thursday, March 13: Make great strides toward a project that grabs your heart as the sun trines Saturn. Watch a tendency to take yourself too seriously or feel put upon. Stretch the body; keep it limber — and we stretch the soul. ◀

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www.manymothers.org PASATIEMPOMAGAZINE.COM

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In Other wOrds book reviews Lillian Hellman: An Imperious Life by Dorothy Gallagher, Yale University Press, 184 pages It’s an engaging, readable, gossipy, bitchy hatchet job.

If Lillian Hellman were alive, and if it were not about her, she would probably love it.

Hellman died in Martha’s Vineyard in 1984. She was born in New Orleans in 1905. In between, she was one of the most famous writers in the world of American letters, a critically acclaimed and commercially successful playwright, screenwriter, and memoirist. And, as Dorothy Gallagher writes in this slim stiletto of a biography for Yale University Press’ Jewish Lives series, she was “a woman of enormous energy — talented, ambitious, restless, audacious, highly sexual, funny, generous, avaricious, mendacious, demanding, greedy, contemptuous, dogmatic, irritable, mean, jealous, self-righteous, angry.” There is an unmistakable downhill run to that torrent of adjectives, as if Gallagher started off trying to be nice but as she got rolling just couldn’t help herself.

Hellman today is best remembered for her remarkable string of hit plays, her tempestuous and passionate three-decade affair with mystery writer Dashiell Hammett, and the volumes of memoirs she wrote in the third act of her life. Some lingering fame is still attached to her stand against the House Un-American Activities Committee and to her feud with novelist Mary McCarthy. In none of these does Hellman emerge unscathed beneath Gallagher’s unsparing lens.

In 1934 Hellman finished her first play, The Children’s Hour. It dealt with a lesbian theme, it was a shocker, and it was a huge hit. When the Pulitzer committee, shy of the material, bestowed its drama prize elsewhere, the New York theater press created its own prize, the Drama Critics’ Circle Award.

Four years earlier she had met Hammett and had begun the affair that would last, with many detours and bumps in the road, until his death in 1961. Gallagher writes, “Would Hellman have become a playwright if she had not cast her lot with Hammett’s? Certainly she would not have written The Children’s Hour.”

There is no suggestion from Gallagher that the writing was not Hellman’s, but the material came to her from Hammett, who followed up with a lot of tough editing and shaping. He had come across an account of a court case from the early 19th century involving a disgruntled pupil’s accusation of an improper relationship between two teachers at a boarding school. Hammett considered using the story himself but then turned it over to Hellman.

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PASATIEMPO I March 7-13, 2014

“She was grateful to him, and she resented him; she depended on him for encouragement, for ruthless editing, for rewriting until he died. After that, perhaps coincidentally, she never again wrote an original play.”

That “perhaps coincidentally” is from the bottle of hot sauce from which Gallagher sprinkles liberally through the book. She is admiring of her subject in some ways, but little praise is given without a swipe attached to it. Hellman was unquestionably a gifted writer, but Gallagher doubts she could have created her extraordinary career on her own. It’s not a particularly damning indictment. No artist or thinker stands alone; every book preface, every arts award acceptance speech is full of heartfelt thanks to those without whom it would not have been possible. As Isaac Newton wrote to a friend, “If I have seen further, it is by standing on the shoulders of giants.” And even there, Newton was cribbing from someone else’s idea.

Gallagher reports on Hellman’s famous defiance of HUAC (“I cannot and will not cut my conscience to fit this year's fashions”) in more admiring terms, but with serious reservations. She spends a lot of time on Hellman’s sex life, which was voluminous and gender-inclusive, and there’s a kind of grudging admiration for the accomplishments of a woman who by her own assessment was never the prettiest girl in the room.

Where Hellman comes under Gallagher’s most damning scrutiny is in the area of her veracity, and the heaviest heat involves her memoirs, which can be self-serving and light on documentation. Nowhere is this more true than with her account of her friend Julia in Pentimento, which became an Oscar-winning movie ( Julia) with Jane Fonda and Vanessa Redgrave.

Hellman presented the story as true, but as The New York Times pointed out in a 1983 article about the book Code Name ‘Mary’, by Muriel Gardiner, a psychoanalyst whose wartime adventures bear a striking resemblance to those of Hellman’s alleged friend, “Critics have long suggested that Julia is a composite figure or even an invention.”

It was Hellman’s widespread reputation as a woman with an easy relationship to the truth that prompted novelist Mary McCarthy’s famous 1979 comment on the Dick Cavett show: “Every word she writes is a lie, including ‘and’ and ‘the’.” Hellman devoted much of the remaining five years of her life to suing McCarthy for libel. Too bad. It’s a damned good line, and if it had been about anyone else, Hellman certainly would have relished it.

— Jonathan Richards

SubtextS

Power of a painted face It’s no surprise that most of the sins chronicled in Donna Blake Birchell’s new book, Wicked Women of New Mexico (The History Press), from card-sharking to murder, are directed at males. Birchell’s collection of short biographies imparts a new respect for a certain brand of frontier women. When she reads at 5 p.m. on Saturday, March 8, at Op.Cit. Books, 500 Montezuma Ave., she’ll probably relate the story of Bronco Sue, a serial killer, jewel thief, and cattle rustler who could influence a judge by batting her eyes. Then there are the temptations offered in the chapter “Madam Millie and the Tarnished Women of Silver City.” In the introduction, Birchell writes that her intent “is not to glorify the lifestyles and choices made by the subjects of the book but to illustrate the strength of the human spirit and what people will do to survive.” Swayed by batting eyes or not, she leaves judgment to the reader. Call 505-428-0321.

This heart of mime Author and artist Paulette Frankl reads from her book Marcel & Me: A Memoir of Love, Lust, and Illusion (Lightning Rod Publications) at 7:30 p.m.

Wednesday, March 12, at the Jean Cocteau Cinema, 418 Montezuma Ave., followed by a screening of Roger Vadim’s 1968 cult classic Barbarella, starring Jane Fonda. Frankl began a relationship with celebrated mime Marcel Marceau in the early 1970s, and her book is a provocative, sexually charged look at the personality behind the face-paint. Why is it matched with Barbarella? Marceau, in a rare speaking part, plays the bearded Professor Ping in the space adventure that goes Gravity one better. Tickets are $10, $8 students and seniors; call 505-466-5528 or see www.jeancocteaucinema.com.

— Bill Kohlhaase

Santa Fe

EXCHANGE

Old Time Trading Post • Old Time Prices

The Wives of Los Alamos by Tarashea Nesbit, Bloomsbury, 234 pages Many books, both fiction and non-, have been written about the secrecy of Los Alamos during World War II, when scientists there built and tested the first atomic bomb. Among the most well-known are Jennet Conant’s 109 East Palace: Robert Oppenheimer and the Secret City of Los Alamos; Los Alamos by Joseph Kanon; Frank Waters’ Woman at Otowi Crossing; and The House at Otowi Bridge by Peggy Pond Church. All shed light — through historical research and carefully observed detail — on a time of transformative social and personal change, tying together small, human stories with larger events happening in the Southwest, in the United States, and around the world. The Wives of Los Alamos, by first-time novelist Tarashea Nesbit, joins this canon. The intimate yet artfully distanced narrative about women who came to The Hill with their scientist husbands incorporates elements of poetry, reportage, montage, and assemblage into its prose.

The Wives of Los Alamos has no specific protagonist, and the only antagonist is secrecy. The wives know they have had to move to this unlikely location because of their husbands’ work and that it is part of the war effort, but that is all they are told. Most of them are young, under 30, with small children or pregnant when they arrive, or soon afterward. The book’s chapters cover topics such as cooking troubles, cocktail parties, household help, sex, and women in the workplace. Though some individual first names are offered, keeping track of them isn’t necessary.

Nesbit gets at their lives in the collective, speaking for the group, as a group, avoiding the first person while utilizing its strong narrative through-line.

“We had degrees from Mount Holyoke, as our grandmothers did, or from a junior college, as our fathers insisted. We had doctorates from Yale; we had coursework from MIT and Cornell: we were certain we could discover for ourselves just where we would be moving,” she writes.

This structure has the potential to be overly simple, needlessly complex, or too precious, but Nesbit doesn’t fall into any of those traps. She writes with grace and mounting depth, creating nuance and shadows in a story that is both tenderhearted and no-nonsense. Wives cheated on their husbands, or fell deeply in love with their husbands. Wives were kind to the local women who cleaned their homes, or were gleeful in expressing their prejudice and disdain, or they acted one way with the help and another way with the other wives. Wives longed to go back to where they came from, or wanted to stay in New Mexico. Wives feared what their husbands were making, or resented it, or they were proud of it, or they didn’t want to care anymore. Nesbit covers a multitude of possibilities and different women without resorting to lists or generalizations.

The prose lulls and then startles, flows and then pulls up short with tension before diffusing itself with something light, much the way the wives dealt with inner turmoil over their temporary, half-understood living situation. The book is an immersive experience that feels, in hindsight, more like a collection of monologues than a novel using a collective voice. It’s an interesting and beautiful achievement.

— Jennifer Levin Tarashea Nesbit reads from and signs copies of “The Wives of Los Alamos” at Collected Works Bookstore (202 Galisteo St. 505-988-4226) at 6 p.m. on Monday, March 10.

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15

PASA TEMPOS

album reviews

MEHLIANA Taming Hardcore Traxx: the Dragon (Nonesuch) Dance Mania Records “I had this trippy dream,” Brad 1986-1997 (Strut) In certain Mehldau says, beginning a spoken-word circles, the Chicago house-music story, against choral synth tones, on the title scene that sprung out of the city’s gritty cut. The spoken passages are punctuated by South and West sides in the late 1980s is short, funky, electric, musical interludes. It’s nothing short of legendary. To this day, the first of a dozen original pieces on this those bass loops are ageless, played daily debut by Mehliana, a project of composer/ on evening-drive-time radio, even on the pianist Mehldau and composer/drummer/electronic musician most hardened hip-hop stations. This two-disc retrospective Mark Guiliana. This is the first album as leader/co-leader for collects the most well-known hits of the Chicago-based Dance the drummer (known for his long association with bassist Avishai Mania label, with classics of dance funk and dated experiments Cohen), while Mehldau has more than 30 jazz discs behind him. in drum sampling sitting side by side as a testament to the era’s Guiliana’s loose, inventive drum work stands out on “You Can’t Go DIY beat-production vitality. Much of this music is known by its Back Now.” Mehldau’s playing is cool and colorful, including fluttering street moniker, ghetto house, largely for the raunchy cat calls that upper-register figures and deep electronic growls. Like much here, the score tracks like “Feel My M.F. Bass” and Traxmen & Eric Martin’s “Hit tune is boldly adventurous — interesting, spacey, powerful — but not It From the Back,” both of which remain in rotation even among arena unstructured. “The Dreamer,” which also has a spoken-word element, DJs. Chicago’s house scene was as inclusive as it was carnal. Whether at a starts with an intro of thuds and scrapings and bell sounds, and warehouse dance floor or a cornfield rave, it was not uncommon then Mehliana takes off with an evocative storytelling piece to see street-tough black and Latino gay men sweating next to somewhat reminiscent of Chick Corea’s group Return to proto-hipsters and the young Europeans who often made Forever. Here and there are also flavors of Brian Eno, Sigur record-buying, club-hopping pilgrimages to this Midwestern Rós, Daft Punk, and other electronic atmospheric music city. The two musicians who later became Daft Punk went pioneers. “Elegy for Amelia E.” proceeds with spooky, there in the 1990s; their debut album, Homework, is a solemn tones, and then advances into more energetic and love letter to Chicago house, and its track “Teachers” ‘Taming the Dragon,’ soaring keyboard voicings — and alongside the music calls out several Dance Mania DJs and records by we hear Amelia Earhart in a 1935 radio speech. Taming the name. The past becomes the future. — Casey Sanchez boasting both wacky chaotics Dragon, boasting both wacky chaotics and gentle ambient gestures, is a fascinating excursion. — Paul Weideman JON GAGAN Transit 3: Migration (Luna Negra) and gentle ambient gestures, Santa Fe bassist Jon Gagan follows Transit (2004) and JANE IRA BLOOM Sixteen Sunsets (Outline) Transit 2 (2006) with his third album as leader, and the is a fascinating excursion.

Sixteen Sunsets is a showcase for soprano saxophonist Jane priority remains on groove-generated movement. This Ira Bloom’s rich tone and fluid expression. The disc’s welllatest addition to the series sets sometimes futuristic soundengineered sound and the smart program — six originals scaping against more rudimentary percussive instruments from Bloom and eight ballads — also showcase her thoughtful, (including calabashes and seedpods). It’s tempting to label this deliberate way with melody. There’s no rushing here. Bloom collection of 15 originals “jazz/world,” but “world” proves probseems to dwell on each note, no matter the phrase it appears in, lematic given Transit 3’s tag line: “The story of mankind’s escape delivering each with a tonal fullness that resonates with warmth and from a depleted Earth.” The album achieves liftoff with foot-tapping bass color. When performing “For All We Know,” “Darn That Dream,” and “Good and drum lines, compelling solo sections, and the tasteful use of dynamics, Morning Heartache,” she works in service of the lyric, adding embellishcontrapuntal melodic motion, and plenty of … space. Song titles like “Sirius, ments so natural that they seem part of the composition. On George and the Dog Star” and “Galilean Moons” speak to the cosmic overtones of Ira Gershwin’s “I Loves You Porgy,” she holds the last note of each phrase, the album, often sonically generated by Bert Dalton’s Rhodes work and slowly twisting its pitch in a way that adds both pathos and beauty. the guitars of Ottmar Liebert and Dimi Disanti. (The album features a Much of her soprano phrasing recalls Billie Holiday’s vocal phrasing, local-heavy cast of musicians, many drawn from Gagan and Liebert’s lingering and poignant, especially when she takes her sultry time with longtime association.) Gagan also introduces unearthly tones with his Holiday and Mal Waldron’s “Left Alone.” Bloom’s own tunes are fretless bass and keyboard parts, for instance in the line that introequally melodic and expressive. The minor-key lament “What She duces opening track, “Eos Chasma.” By the time we reach the Wanted” gives her an opportunity to bring no-gravity closer, “Heights,” Gagan’s musiher glowing sound to the soprano’s upper regcal momentum has carried us to a more ister. “Primary Colors,” the recording’s best relaxed, even weightless orbit. Reminiscent feature for pianist Dominic Fallacaro, bassist of Pat Metheny’s Grammy-winning Cameron Brown, and drummer Matt Wilson, Imaginary Day, Transit 3: Migration is full is the disc’s most rhythmically propulsive, to brimming with enough of the traditional full of emotional shading and tonal hues. to keep it approachable yet enough outDespite its name, Sixteen Sunsets of-this-world inventiveness to pull is perfect late-night music. the listener off his or her feet.

— Bill Kohlhaase — Loren Bienvenu

16

PASATIEMPO I March 7-13, 2014

The Final Round-up Cowboy hoedown Sunday, March 9, 1 – 4 pm Scoot your boots to the music of Holy Water and Whiskey.

(Free dance lessons!)

Craft a cowboy collage.

Get a hat-fitting by J.D. Noble of the Hatsmith of Santa Fe. Billy the Kid in the Movies Sunday, March 16, 2 pm Using film clips, historian Baldwin G. Burr shows the silver-screen evolution of New Mexico’s favorite outlaw.

All events free with admission; Sundays free to NM residents Funding support from the New Mexico Humanities Council

PASATIEMPOMAGAZINE.COM

17

TERRELL’S TUNE-UP Steve Terrell

A lot more rock and roll And this album is nothing if not fun. The two make fun of phony Nashville For the past several years, London-born singer Holly Golightly and her partner, cowboys in “Bless Your Heart” and praise an eccentric neighbor in “King Lee.” “Lawyer Dave” Drake, have quietly cranked out some of the most enjoyable country- “1234” sounds like an otherworldly gospel stomp, with Golightly and Drake singing soaked, devil-fearing, blues-inspired rock ‘n’ roll records you’ll find anywhere. in unison over a sinister-sounding carnival organ. This is followed by “Don’t Shed Does that sound familiar? For rabid readers of this column, it ought to. It’s almost Your Light,” which has a melody and arrangement that would fit in perfectly on one word for word the same thing I wrote a little more than a year ago when reviewing of Levon Helm’s last few albums and is one of the couple’s trademark gospel-forSunday Run Me Over by Holly Golightly and The Brokeoffs. Their new album, unbelievers tunes. It’s not as obvious as “A Whole Lot More …” — which contains All Her Fault, continues in that tradition. the lyric “We need a whole lot less of Jesus and a lot more rock and roll” — from Since her garage-punk days as a Billy Childish collaborator (though she’s better Sunday Run Me Over, but it’s coming from the same sardonic spirit. known for her one-off session with The White Stripes on a throwaway song called Come to think of it, Golightly might just be the Queen of Sardonica, as evidenced “It’s True We Love One Another” more than a decade ago), Golightly hooked up in at least a couple of songs here. “The Best” is a sweet country waltz, but the lyrics with Drake, moved to a farm in Georgia, and began honing tell of a love gone well beyond sour. “I am empty and a more rootsy, farm-fresh sound. broken, that’s what you said. … There is no happy ending, There are no major surprises and no major changes on you know I speak the truth/This is the best I can be.” And There is no radical makeover the new record. “I’m not looking to achieve something there’s “No Business,” which, if you’re not paying attention that hasn’t been achieved before,” Golightly says in the to the lyrics, sounds like a good upbeat honky-tonk song. in Holly Golightly and The Brokeoffs’ press notes for this album. “We just do what we do. The But if you are paying attention, you realize that it starts out, songs are really all that changes.” And that’s all right “Just you try and tell me, I’ll rip out your tongue/Won’t be new album, ‘All Her Fault.’ with me. To be sure, there are certain differences on whispering sweet nothings in my ear. … Just you try and All Her Fault. I think I’m hearing slightly more vocals touch me, I’ll chop off your hands.”

After all, when you make music this righteous from Lawyer Dave in the mix. And there definitely is The duo also shines when they get sincere. They prove more piano. But there is no radical makeover. After all, that on “Pistol Pete,” a song about a rescue horse that the (in their wickedly irreverent way), when you make music this righteous (in their wickedly couple adopted. “They thought that they could break him, irreverent way), this spot-on, and this enjoyable, why feel but he broke them all instead/And anyone who tried him this spot-on, and this enjoyable, why feel compelled to reinvent yourself? wound up crippled, blind, or dead. ... He was troubled, The album kicks off with “SLC,” an enthusiastic putand they called him Pistol Pete.” compelled to reinvent yourself? down of the capital of Utah. “Why you wanna go out to There are fewer cover songs on All Her Fault than on Salt Lake City? ... You ain’t gonna have a good time.” It the last album. In fact, the only nonoriginal tune on the only makes me wonder who wanted to go to Salt Lake City new one is the blues classic “Trouble in Mind,” which in the first place — and why? You might even argue that someone who plays slide was written in 1924 by Richard M. Jones. It was first recorded by singer Thelma guitar as well as Lawyer Dave does on this tune could probably have fun anywhere. La Vizzo and later by Louis Armstrong with Bertha “Chippie” Hill, Bob Wills & His Texas Playboys, Sister Rosetta Tharpe, Sam Cooke, Johnny Cash, Nina Simone, and Marianne Faithfull (for a 1985 movie of the same name). I don’t think the Brokeoffs’ take on it ranks up there with these. But Holly and Dave make a good stab at it. And though they might never become rich or extremely famous, I do believe that the sun’s going to shine on their back door someday.

Also recommended: ▼ Somewhere Else by Lydia Loveless. In the first song on her new album, an urgent rocker called “Really Want to See You Again,” Lydia Loveless finds herself coked up at some party and calling an ex-boyfriend who is now married. She admits that sometimes she was “such a bitch” and “so insensitive” (as if suddenly calling a married guy is “sensitive”), but now she feels desperate to see him and tell him all the things she should have said back then.

Ah, young love! It’s not a healthy situation, but it sounds disturbingly real. And, in Loveless’ short career, being disturbingly real has been her strong point. Her mostly first-person songs are indeed confessional. But her spitfire voice, rocking little band — sounding noticeably less country, despite that steel guitar in the title song, than her previous full-length album, Indestructible Machine — not to mention her blunt, sometimes profane lyrics, prevent her from sounding like some generic annoying neo-Joni Mitchell female singer-songwriter.

Perhaps the most gut-wrenching song here is “Everything’s Gone,” which is about her family moving out of the home she grew up in. “If I ever get back to where I live ... I’ll find a rich man’s house, and I’ll burn it down.”

As good as she is now, it’s sometimes hard to fathom that Loveless is only in her early 20s. Somehow I think she’s got years of great songs ahead of her. Check out www.bloodshotrecords.com. ◀

18

PASATIEMPO I March 7-13, 2014

Shidoni’s Second Saturdays Art Review

SFCA

The SanTa Fe ConCerT aSSoCiaTion

Presents

An Evening with

Joyce

March 8th 9:30-11:30am Sculptor Kate Reightley shares going from inspiration to original artwork.

DiDonato Monday, March 31, 2014 6:30 pm Santa Fe, new Mexico

Mention you heard about the event in the Pasatiempo and get into the bronze pour for free.

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20

PASATIEMPO I March 7 - 13, 2014

The City of Santa Fe Arts Commission

Detail from Untitled by Kai Nakamura, El Dorado Community School Inspired by Renaissance to Goya: prints and drawings from Spain at the New Mexico Museum of Art

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ON STAGE THIS WEEK

Staged seduction: Les Liaisons Dangereuses

Santa Fe University of Art and Design presents Christopher Hampton’s adaptation of Pierre Choderlos de Laclos’ 1782 novel, an epistolary work consisting of letters between two corrupt aristocrats. They partake in a game of competitive, vengeful seduction, and — surprise! — innocent and guilty alike suffer the consequences. The story has served as the basis for multiple adaptations, including the 1999 film Cruel Intentions. The show runs at the Greer Garson Theatre on the campus of SFUAD (1600 St. Michael’s Drive) for two weekends: Friday to Sunday, March 7 to 9, and March 14 to 16. Friday and Saturday shows are at 7 p.m. and Sunday matinees at 2 p.m. Tickets ($15, discounts available) may be purchased from Tickets Santa Fe at the Lensic (www.ticketssantafe.org, 505-988-1234). Visit www.santafeuniversity. edu/events.— L.B.

KENJI In the moment: Serenata of Santa Fe

The recording of Santa Fe-based composer Ron Strauss’ Five Pieces of the Puzzle and Arabesco with the Serenata of Santa Fe was released in 2012. Strauss premieres Four Dances – Septet for oboe, clarinet, bassoon, violin, viola, cello, and piano at 7 p.m. on Friday, March 7, at the Scottish Rite Center (463 Paseo de Peralta) with the Serenata in a program titled Here and Now. Also on tap is Kelvin McNeal’s new piece Songs for soprano, oboe, cello, and piano with vocalist Gail Springer, and adventurous violinist-composer (he was a founding member of the Flux Quartet) Kenji Bunch’s 26.2 for horn and a string trio. Tickets, $25, are available from Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org) and at the door. — B.K.

Perplexing state: The Other Place

Transcriptions: guitarist David Russell

Born in Scotland and raised on Menorca, the Grammy-winning guitarist David Russell was granted honorary membership in the Amigos de la Guitarra, the most venerable guitar society in Spain, where he resides. The Santa Fe Concert Association teams up with St. John’s College to present him in a program that includes Rossiniana No. 3 by Mauro Giuliani (1781-1829).

Giuliani, one of the supreme guitarists of his age, capitalized on the public’s adulation of Rossini by writing six different guitar suites that incorporate Rossini tunes. The third, played here, should resonate especially with local audiences since it includes a hit tune from La donna del lago, heard last summer at Santa Fe Opera, in addition to melodies from several other Rossini operas. The rest of the recital is devoted to Russell’s transcriptions of pieces by Domenico Scarlatti, Bach (his B-Minor Violin Partita), Granados, and Albéniz. The concert begins at 7:30 p.m. on Friday, March 7, in the Great Hall of the Peterson Student Center, St. John’s College (1160 Camino de Cruz Blanca). Tickets ($40) can be had directly from the Concert Association at 505-984-8759 or through Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). Call for availability. — J.M.K.

Jacqueline Reid, Scott Harrison, and Celia Schaefer

Wes Naman

Confusion can be a momentary experience or an evolving state that feeds on itself. Sharr White’s play The Other Place examines the life of Juliana Smithton, a woman who faces a cheating husband, a demanding career, an unpredictable daughter and a suspected medical condition that sets her thinking — and her life — adrift. Albuquerque’s Fusion Theatre production of White’s poignant story is directed by Shepard Sobel, co-founder of New York’s acclaimed Pearl Theatre Company.

Jacqueline Reid is Juliana. The play comes to the Lensic Performing Arts Center (211 W. San Francisco St.) on Friday, March 7, at 8 p.m., and Saturday, March 8, at 2 and 8 p.m. Tickets, $20 to $40, are available by calling 505-988-1234 or visiting www.ticketssantafe.org. — B.K.

BUNCH

PASATIEMPOMAGAZINE.COM

21

Bill Kohlhaase I The New Mexican

PAU L BOGA R D & TH E D EFENS E O F NIGHT

Our age is hostile to night and to all things dark — and so, paradoxically, we make night darker.

As our human lights blaze brighter and reach farther, from within their field night looks blacker, and our estrangement only grows.

— from “In Praise of Darkness”

by John Daniel, included in “Let There Be Night: Testimony on Behalf of the Dark,” edited by Paul Bogard

hasn't always been so bright. For most of human history, night’s darkness was smudged only by the flames of fires, and later candles and gas lamps. Arc lighting was demonstrated in Paris in 1844, and European cities began installing arc lamps along major thoroughfares around 1870. This light was so bright that it could damage your eyes, writes Paul Bogard in his recent book The End of Night: Searching for Natural Darkness in an Age of Artificial Light.

When incandescent electric light, a light civilized enough for use inside homes, was introduced to a wide audience at the 1881 International Exposition of Electricity in Paris, night went into full retreat. Bogard’s book chronicles that retreat, seen in the advent of electric advertisements along New York City’s Great

White Way in the 1890s, the Rural Electrification Act of 1936, and the endless march of brightly lit development across America — to the point that, as of 2001, 99 percent of people in the continental United States as well as two-thirds of the earth’s entire population no longer experienced true nighttime darkness.

Much of that loss has occurred just in the last generation. “Light pollution has grown very quickly in the last 25, 30, and 40 years,” said Bogard, an instructor of creative nonfiction at Virginia’s James Madison University. “But it’s grown slowly enough that it’s been hard to notice. If we could jump back those 25 years, or 1,200 years, we’d be shocked. But light has spread so slowly that we don’t notice it.”

Bogard’s recent book, an illumination on the consequences of losing night, is as much about fear, crime, and human health as it is about the loss of star-filled skies and the aesthetics of darkness. “There

are so many costs, so many reasons to control light pollution,” Bogard explained. “Basically, people aren’t aware of how much light we live among. We need to be aware that we’re wasting a lot of energy, wasting a lot of money, and at the same time we’re endangering our mental, physical, and spiritual condition.” The book’s most revealing chapter discusses the relation of darkness to human health. Bogard describes a litany of health problems, including obesity, diabetes, cardiovascular disease, miscarriage, substance abuse, and cancer, that plague the ever-growing population of night-shift workers. He also details the importance of darkness — so often compromised by the electronics in our bedrooms and light bleeding in from the outdoors — to sleep. Sleeping in darkness has health benefits, but those benefits are largely being ignored.

“There are good books out now that study the history of night and light and how human behavior has

changed radically to do things after dark,” Bogard said.

“At this point, we just think night is an extension of day. We don’t stop to think how important darkness is to our well-being.”

Then there’s the commonly held notion that the more lights there are at night, the safer one is. Bogard cites declarations from police and criminologists that adding lights reduces crime. This thinking results in more and more lights being thrown up against the night.

And while Bogard agrees that light can make us safer, he points out that light on top of light doesn’t always protect us from harm. Bad lighting, which includes much of the street lighting in the country, can actually be a hazard, because, especially when seen through a windshield, it causes glare and reduces contrast.

Despite the common wisdom, communities that have removed streetlights in an attempt to save energy and therefore money have actually seen reductions in crime, according to Bogard’s research. Some English towns saw crime drop as much as 50 percent after they began turning off streetlights after midnight. The bottom line? Santa Rosa, California, saved $400,000 a year after a modest streetlight reduction program.

“People have a visceral fear of the dark whether they admit it or not. Statistics … won’t always convince them. I would approach the issue by making people aware of the many costs of all this light. Also, I would talk about having smart, responsible lighting rather than basing our decisions on fear,” Bogard said.

Fear of the dark, surely felt by the first humans who sat around a campfire and were unable to see beyond the light it cast, is a powerful, sometimes unspoken force in any discussion about reducing light pollution.

Bogard freely admits that as a child, he too was afraid of the dark. “Actually, I still admit to being afraid of the dark. I think it’s a totally natural human feeling.

But a couple of things have happened to me. Over time, I’ve grown to respect the dark. Even if I still have some of those instinctual fears, I know how important darkness is to us. I would argue that as a society, we’re basically afraid of the dark. But I think it’s much more genuine to admit that fear and then learn to respect it by allowing it to be dark.”

Bogard’s interest in darkness and the night sky developed from a childhood appreciation of a sky filled with stars. In his introduction to Let There Be Night, the 2008 anthology he edited (for University of Nevada Press), he tells of being at a lake where his family had a cabin, watching day turn to night. “Every summer the dark, starry skies over the lake deepened their impression on me," he writes.

“My interests came from growing up in northern Minnesota and having firsthand experience of the beauty of nighttime and darkness,” he explained.

“That’s where it started, learning about all the effects of night, learning the constellations that can no longer be seen from most places. My writing comes from a love of the night and darkness.”

The End of Night seems to be ordered backward, the chapters beginning with 9, “From a Starry Night to a Streetlight,” and concluding with 1, “The Darkest Places.” The order, Bogard said, follows a scale created in 2001 by amateur astronomer John Bortle, which ranks the night skies, brightest to darkest from 9 to 1. Class 9 defines the inner-city sky. Class 1 is a sky so dark that “the Milky Way casts obvious diffuse shadows.”

Bogard writes that most Americans and Europeans can’t imagine a night dark enough to register a 3.

“The Bortle scale just seemed to define the journey of the book. It also gave me a structure in which to fit in the sections where I talk about the human health effects, the ecological effects [there’s a section on the devastating effect city lights have on the migrations of birds], and my going to the various places of both brightness and darkness.”

The aesthetics of the night sky pop up in every chapter, whether it’s in a discussion of Charles Dickens’ 1861 piece “Night Walks” or Bogard quoting the Argentine writer Jorge Luis Borges, who suggests the creative value of nighttime’s murkiness: “I think one should work into a story the idea of not being sure of all things, because that’s the way reality is.” The chapter “Know Darkness,” its title taken from a poem

by Wendell Berry, discusses the spiritual and creative meaning that can be found at night. “That chapter is on metaphorical darkness, the dark times of our lives, the melancholy, the sadness of it. That’s something we shouldn’t run from. It’s an important part of being human. What Borges said, that uncertainty, is a huge part of life. We can’t see that far ahead of us. We can’t see what’s coming. That’s how life is. To think we can illuminate the future is ridiculous. You have to live with that uncertainty.”

Despite the seeming unstoppable encroachment of night light into all corners of the country, Bogard said progress against the invasion has been slow. The New Mexico legislature passed the Night Sky Protection Act, with the goal of keeping the sky darker and curtailing nighttime energy waste, in 1999. Santa Fe has had an outdoor lighting ordinance, which requires new commercial and residential construction to shield outdoor lights, except for exposed bulbs of 160 watts or less, since 1998. On the other hand, the State Transportation Committee voted unanimously in January to allow electronic billboards along federal highways in New Mexico. The rules say the signs must be hooded to prevent light pollution. “There are certainly efforts here and in Europe to protect darkness. But it’s all a matter of awareness. If you’re under 40, you’ve grown up swamped in light. You may have never seen the Milky Way. Lots of people I talk to say they used to be able to see the stars and now they really miss it. It’s a grand idea: wanting to bring back the stars.” ◀ “The End of Night: Searching for Natural Darkness in an Age of Artificial Light” by Paul Bogard was published in 2013 by Little, Brown and Company.

Paul Bogard

PASATIEMPOMAGAZINE.COM

23

The orIgIN of spaces The life and work of Nancy holt Michael Abatemarco I The New Mexican

shot from multiple vantage points. Holt’s art, much of it documented in her own photography, is integral to the land-art movement that emerged in the 1960s, associated with luminaries like James Turrell and Smithson, who is best known for Spiral Jetty, constructed on Utah’s Great Salt Lake.

“Certainly her work stands up to theirs completely,” Lippard told Pasatiempo. “She was a strange combination of social and recluse. She came out to Galisteo because I found her a place while she was looking for a house.

I said, ‘Nancy, there’s not a single catalog on your work or a book. This is insane. You’re a really well-known artist, and there’s nowhere anybody can go to catch up on the work.’ I really worked hard to convince her to do a book.

I said, ‘All you have to do is do the kinds of things you do

in your lectures. Just tell about the making of the work and the reasons behind the work and have a lot of pictures.

Somebody could write a preface, and you’d have a book that people can refer to.’ But she just didn’t get on this.

Then Alena Williams, a marvelous young woman getting her Ph.D., asked her to do a show at Columbia and do a book with it, and Nancy said yes. So, whammo, there was a book, and it was wonderful because, if there hadn’t been, there would be almost no compendium at all.” Sightlines, published by University of California Press in 2011, is a retrospective of Holt’s work and includes much of her own photo documentation of projects as they developed from inception to completion. Williams and Lippard contributed continued on Page 26

IN

Nancy Holt: preparatory drawing of Sun Tunnels, 1975, pencil and 12 blackand-white photographs on paper, © Nancy Holt/Licensed by VAGA, New York Top left and opposite page, Sun Tunnels, 1973-1976, Great Basin Desert, Utah, concrete, steel, and earth; photo by Nancy Holt, © Nancy Holt/ Licensed by VAGA, New York; top, Nancy Holt at the Santa Fe Art Institute 2012; photo by Dianne Stromberg, courtesy SFAI

24

PASATIEMPO I March 7-13, 2014

1972 on a stretch of land north of Missoula, Montana, Nancy Holt installed a site-specific piece called Missoula Ranch Locators: Vision Encompassed. The work had a simple premise. Eye-level galvanized steel pipes attached to metal stands gave viewers the experience of directing their sight to specific locations on the landscape, blotting out all other features. Eventually, the land where the work was installed was sold, and it was taken down.

Fast-forward 40 years from the initial installation, and Holt was given an opportunity to reenvision the project in the campus garden of the University of Avignon in France, as part of the exhibition Geniuses of the Place: Land and Environmental Art. The new, permanent installation, called Avignon Locators, comprises eight locators set in specific compass directions in alignment with the North Star, bringing an ancient and ubiquitous practice of orienting terrestrial structures by astronomic observance into the idiom of contemporary, interactive sculpture.

At the June 14, 2012, dedication of Avignon Locators, Holt was made a knight of France’s Order of Arts and Letters in recognition of her contributions to the arts.

The work of Holt, who died of leukemia on Feb. 8, is marked by intense interest in visual perception. She created large-scale land-based sculptures that, though fixed in time and place, are subject to the vicissitudes of changing environments, shifting light, and the position of the viewer. The act of seeing itself was integral to her artwork. Holt lived in Galisteo since the mid-1990s, but her projects are installed at locations across the United States and in Europe.

Early in her career, Holt worked in conceptual art, then as a photographer and videographer, at times working closely with her husband, Robert Smithson (1938-1973), on collaborative video projects. Lines of sight were already essential to Holt’s work as a videographer, staging experimental interview projects with contemporaries such as art critic and historian Lucy Lippard and sculptor Richard Serra. Revolve, an experimental work in which Holt interviews filmmaker Denis Wheeler, is a disorienting video PASATIEMPOMAGAZINE.COM

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PASATIEMPO I March 7-13, 2014

Nancy Holt, continued from Page 25 essays to the monograph. The book accompanied a retrospective exhibit of Holt’s work that traveled nationally and overseas before coming to the Santa Fe Art Institute in 2012.

In the early 1970s Holt created Views Through a Sand Dune, an earthwork in Narragansett Beach, Rhode Island, consisting of a cement tube inserted through a large dune, allowing the observer to gaze through the dune to views on either side. Like a great eye opening in the sand, the sculpture posits the earth itself as observer and provides the viewer with a lands-eye perspective of the surrounding environment. But, as her 1974 outdoor installation Hydra’s Head shows, her work was as much about the earth as it was the sky and the relative position of our place in a vast universe. Placed along the Niagara River in Lewiston, New York, Hydra’s Head is a series of reflecting pools arranged in the configuration of the constellation Hydra and set into the ground. As with Views Through a Sand Dune, the idea here of lines of sight between earth and sky removes the locus of perception from the purely human and into the environment, as though the earth itself is bearing witness to the passage of time and the revolutions of the heavens.

Before she turned to land art, Holt was interested in the interaction of light and shadow, creating indoor installations involving light cast through holes and onto walls. The interplay of light and shadow and her interest in astronomical alignments came together in her most well-known work, Sun Tunnels. “Sun Tunnels has a lot to do with light,” Holt told Pasatiempo in a 2011 interview. “It’s also about looking and becoming aware of one's own perception. I knew about the solstices; I've watched the sun rising and setting on the solstices, and I wondered how I could capture that. It was a very immediate, very direct insight."

Completed in 1976, Sun Tunnels, four large concrete tubes aligned with the rising and setting sun, was constructed in the Great Basin Desert in northwest Utah. It occupies private land owned by Holt and is arranged in an X configuration. Visitors can walk around and through each 18-foot-long tube. Holes cut into the 9-foot-in-diameter tubes, each named for one of four constellations — Perseus, Capricorn, Draco, and Columba — catch the light, casting gradually moving sun spots on the inside walls. The tubes are also aligned with faraway features on the landscape.

While alignments with solstices and other celestial events can occur anywhere, Holt’s work is often specific to a particular location in other ways. Up and Under, a land-based project in Finland completed in the late 1990s, for instance, incorporates earth gathered from locations across Finland and tunnels positioned in relation to the North Star.

“So, it becomes a center of Finland as well as an astronomical center, a center of the universe,” Holt told Pasatiempo. Conceived as a work to be experienced below- and aboveground, the serpentine structure has a walkway that runs along its length and several tunnels built within its earthen walls, aligned with the cardinal directions. At the convergence of four of these tunnels, a vertical shaft rises, open to the sky at the sculpture’s highest point.

One of Holt’s final projects was a video about Smithson’s Amarillo Ramp, an earthwork in the Texas Panhandle. Holt was working on the project when she received the news that she was dying. “She came back from getting a lifetime achievement award from the Sculpture Center [the International Sculpture Center in Hamilton, New Jersey] and was very high on that,” Lippard said. “The next day she started losing breath and went into the hospital, and the doctors said she had maybe 48 hours. She was panicked about all the things she didn’t finish.”

Holt lived a few months past the two days doctors expected. Devoted to Smithson’s memory as well as her own projects, Holt worked tirelessly in promoting her late husband’s work. In what is perhaps a fitting twist of fate, Holt’s last acts included editing the video The Making of Amarillo Ramp, about the project Smithson was working on when he died in a plane crash, while surveying the area where it was situated.

“The Amarillo Ramp video was the thing most on her mind,” Lippard said. “She spent her last days working on this.” The video is currently exhibited in Robert Smithson in Texas, at the Dallas Museum of Art. ◀

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PASATIEMPOMAGAZINE.COM

27

he way this worked — it wasn’t like Fred Flintstone getting bonked on the head and losing everything and then getting bonked on the head again and gaining everything back,” David Stuart MacLean told Pasatiempo, describing what it was like to have amnesia. “There would be moments when I would remember things and moments when nothing was there. And the terror that whatever was there would be gone in a second was the worst.”

MacLean writes about his experiences with mefloquine, a malaria-prevention drug that caused him to lose his memory, among other side effects, in The Answer to the Riddle Is Me: A Memoir of Amnesia (published by Houghton Mifflin Harcourt). He reads from and signs copies of his book on Thursday, March 13, at Collected Works Bookstore.

In 2002 MacLean traveled to India on a Fulbright Fellowship to research local accents for a novel he was writing. He’d been in graduate school at New Mexico State University in Las Cruces, and his parents were

in Ohio, where he’d grown up. But he didn’t know any of this when he was found on an Indian train platform, assumed to be a drug addict, and eventually taken to a hospital. He believed what the authorities told him. They said he was killing his mother with his addiction, so he assumed he’d been estranged from his parents for years, and he manufactured a story in his head about shooting drugs with a red-haired woman.

None of it was true.

“The thing to understand is that I woke up feeling guilty,” he said. “I woke up looking for people to convict me. I thought I had done lots of horrible things.

I was looking for testimony that would convict me, that would align with the fact that I was a drug addict who was killing my mother and that I’d been kicked out of heaven by Jim Henson.”

His odd set of beliefs about Muppets creator Henson was another result of mefloquine poisoning. While MacLean was in the hospital, a local friend and colleague had rounded up a group of white people to visit MacLean, so that he might be more comfortable

not knowing who he was. The man he believed was Henson was really just a guy with a beard who read his poetry to MacLean.

MacLean also attributes his intense paranoia to mefloquine, the brand name of which is Lariam.

“Paranoia, confusion, and depression are all side effects of Lariam, so [the way I felt] can totally be read as part of the chemical gift package that Lariam gives you, or it could be an integral part of my personality that has always been there,” he said.

The drug’s known side effects include hallucinations, seizures, coordination and balance problems, cerebral edema, nightmares, neuropathies, and intestinal issues, among dozens of other adverse reactions; MacLean’s reaction — an amnesiac, almost total break with reality — was extreme. In the memoir, MacLean delves into the uses and dangers of mefloquine.

He told Pasatiempo that mefloquine poisoning and post-traumatic stress disorder have many of the same symptoms, which might explain the high incidence of PTSD in soldiers returning from the Middle East.

The Answer to the Riddle Is Me Jennifer Levin I For The New Mexican

28

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

Heather Eidson

David Stuart MacLean

“According to this theory, supposedly a lot of them are being misdiagnosed. They actually have mefloquine poisoning, which requires a different treatment. PTSD can be treated with various forms of therapy, whereas mefloquine poisoning is a chemical issue in the brain that will not necessarily be resolved through therapeutic methods.”

In the first year of his recovery, MacLean saw a therapist who diagnosed him with PTSD. Though he doesn’t identify with that diagnosis at this point, he continues, 12 years later, to suffer anxiety, depression, and panic attacks as well a classic presentation of PTSD: his body and brain react with an uptick in symptoms around Oct. 17, the anniversary of the day he was found on the train platform, whether or not he is consciously anticipating the date. He doesn’t know why the body remembers things this way, though he wishes he did, “because then I could control it,” he said.

A few days after he woke up in the hospital in India, the staff was able to piece together enough information about him to track down his parents. When they arrived, relief came from “being able to recognize the look of someone who recognized me. And to see in them the look of who they thought I was. It was such a relief from the looks I was getting from everyone else. With everyone else, I was suspect. With my parents, I wasn’t suspect; I was loved.”

As he reentered his life, he tried to act as if what had happened wasn’t a big deal, although he took to drinking to cope with it. In addition to amnesia, he had intense dreams that bordered in delusions. He would dream himself into an entire life: he would be a man with a job in a store, and a family, and a past. When he woke up, he was lost in the world all over again. As he reconnected with the people he used to know, he learned that if a memory didn’t come with an emotional component, it was probably something his mind had manufactured to make sense of the blank space.

“When I hit the emotional moment, it can be amazing and horrible. Four or five years ago I was at a charity event in my hometown. I ran into this older woman, and I didn’t know who she was, but as soon as I saw her I almost fell apart, because I was so happy and excited to see her. I talked with her for a while. She was very sweet. She had no idea what happened to me. She turned out to be the host mother of a German foreign-exchange student I’d been best friends with in high school. I’d spent all of my time at her house.”

MacLean lives in Chicago. He teaches at Columbia College and the University of Chicago, and he runs “obsessively,” he said. He holds a Ph.D. in creative writing from the University of Houston, which he earned post-Lariam. Though he said the novel he wrote about India was terrible — “there was no one to like; it was filled with fart jokes” — he managed to reconnect to his writing by sitting by himself and doing what he was told he did. “I just knocked out pages and pages like crazy. For a while in my writing — and I think a lot of people with trauma do this — I tried to overcontrol everything. One of the big steps for me was slackening the reins and allowing myself to write about what I didn’t know, instead of exclusively what I did know, which is a much scarier process.” ◀

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PASATIEMPOMAGAZINE.COM

29

James M. Keller I The New Mexican

WHERE THERE’S SMOKE

T

he dramatic setup may sound familiar: a young woman intent on breaking into the “boys club” world of 1960s advertising does what she has to do in order to realize her goal, even if she sometimes has to hold her nose doing it. Or maybe she’s so intent on her goal that it doesn’t occur to her that she ought to be holding her nose, and she may overlook how the talent that serves her aspirations may also be doing harm in the larger world. From this seed of an idea grew The Queen of Madison Avenue, a new play that will be 30

PASATIEMPO I March 7-13, 2014

presented in a staged reading on Thursday, March 13, as part of the Under Construction: New Works in Progress series at the Lensic Performing Arts Center. “Oh, I can hardly tell you,” said Ron Bloomberg, the work’s playwright, who has been a Santa Fean since 2004.

“When Mad Men first came on, I literally threw my script at the TV, I was so upset. I thought I had this area all to myself. But I realize now that the whole Mad Men phenomenon will actually spark interest in my play.”

For Bloomberg, Madison Avenue in the 1960s represents familiar territory. Although he has always been active in the world of words, he veered for practical reasons into the field of advertising. “I always wanted to be a comedy writer,” he reported, “but I was a bit of a

dilettante, and I didn’t actually get around to writing things down. When I finally did, I got a script into the hands of someone at the William Morris Agency, and they placed it — but on a TV show that got canceled before my script got used. It was the guy at William Morris who suggested I get into advertising, and I did.” Bloomberg worked as a copywriter and creative director, and after a while he opened his own small agency in Philadelphia, a firm he described as a “creative boutique.” It was a golden age that gave rise to still-remembered campaigns like the “Think Small” advertisements for Volkswagen, which began running in 1959; “You Don’t Have to be Jewish to Love Levy’s Real Jewish Rye,” which ran from 1961 through the

1970s; and “We Try Harder,” which Avis used for 50 years beginning in 1962.

Bloomberg cited these as among his personal favorites, and he noted that they all came out of the Doyle Dane Bernbach agency, the pacesetter at the time.

Bloomberg’s particular interest centered on social-service advertising, and the bee in his bonnet was cigarette smoking. In 1967, his friend John Banzhaf III, now a law professor at George Washington University in D.C., founded an organization called Action on Smoking and Health, and Bloomberg’s agency signed on to support it with advertising muscle. The health risks of smoking were hardly a secret by that time, but public awareness lagged far behind the science. By 1972, however, Action on Smoking and Health managed to get cigarette ads banned from television and radio, a remarkable achievement given the immense budgets the tobacco industry pledged in opposition. One of the most alarming issues of that moment was the spiraling tobacco addiction of American women, which resulted from another of the era’s fabulously successful advertising campaigns, this one devised by the Leo Burnett Agency: “You’ve Come a Long Way, Baby,” which the Phillip Morris Companies (later renamed the Altria Group) used to launch its Virginia Slims brand in 1968. “It was so seductive,” Bloomberg recalled, “a wonderful commercial from the creative standpoint. So damn dangerous.” To confuse the issue further, the cigarette company signed on to sponsor the Virginia Slims Circuit, the leading women’s tennis tour, thereby investing the brand with overtones of female health and athleticism. “It was all so bizarre. All these healthy young women who, through no real fault of their own, were tied up with promoting a product that was actually killing young women.”

This provided the crux for The Queen of Madison Avenue. For his central character, Bloomberg created Abby Walsh. She appears sometimes in flashbacks to her earlier life but mostly in her advancing years, retired after a career in which she broke through the glass ceiling of the advertising industry and scored her immortalizing success with the Virginia Slims campaign. (At the Lensic, the young Abby is portrayed by Sheridan Johnson, the more mature one by Ali MacGraw.) “I did have an individual in mind, but I ended up making Abby a composite of three real-life women I was aware of at the time. A lot of women did work in advertising in the ’60s, but they were mostly secretaries and a few copywriters. Only three women I know of became CEOs of fairly large ad agencies. They were tremendously bright, definitely talented, and very driven.

“What I’m trying to explore is whether, now that Abby is in her 70s, she ever allows it to creep into her mind how many young women’s lives she helped shorten by creating the campaign urging them to smoke cigarettes.

On the other hand, this is not a heavy, forceful, message-driven play.

There’s quite a bit of comedy in it.” Enhancing the friction is a character Bloomberg made up entirely: Abby’s lover (played by Jonathan Richards), who is “a ferocious anti-smoking advocate.”

Although this is his first full stage-play, Bloomberg brings a good deal of comedy writing to the experience. After closing down his ad agency, he headed to Los Angeles, where the first script he sold became an episode of All in the Family. Others followed for the sitcoms Three’s Company and Home Improvement. “And some dogs, but we don’t talk about them.”

Nonetheless, serious questions inhabit the core of his play, particularly the nervous balance involved in professional achievement that is on one hand laudable and on the other not. After working on the play for 10 years, Bloomberg expressed astonishment about the timing of this stage of the work’s development. “In just the last few weeks, three things have happened. CVS has decided it will no longer sell cigarettes. Doctors have reported that, even apart from the heart and lungs, there are no organs in the body that are not affected by smoking. And it was reported that since the Surgeon General’s report on smoking came out in 1964, 20 million Americans have died prematurely because of smoking. And imagine: it’s still legal.” You can’t take the warrior out of the playwright. ◀

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movIng Images film reviews

A talent to a muse Michael Wade Simpson I For The New Mexican Afternoon of a Faun: Tanaquil Le Clercq, documentary, not rated, The Screen, 2.5 chiles

Jerome Robbins/The Robbins Rights Trust

Tanaquil Le Clercq

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PASATIEMPO I March 7-13, 2014

Photos Kino Lorber, Inc.

According to legend, George Balanchine, co-founder of New York City Ballet and the School of American Ballet, first met his future wife Tanaquil Le Clercq when she was a teenager standing in a hallway with her arms cross outside a classroom at the school.

“Why aren’t you in class?”he asked. “Kicked out,”she replied. “What’s your name?”“Tanny.”

A new documentary about Le Clercq, the last of Balanchine’s four wives, depicts the life of a ballerina who served as a creative spark for Balanchine and Jerome Robbins, who joined City Ballet as associate artistic director soon after its beginning. Together the two choreographers built an American ballet company around the dancers who inspired them. But the film is also the story of a woman who maintained a certain will and orneriness throughout her life. It was this personal essence, the film suggests, that enabled her to survive a great tragedy.

Balanchine and Le Clercq married in 1952. On tour with her husband and the New York City Ballet in Denmark in 1956, she contracted polio and never danced again. She was confined to a wheelchair for the rest of her life.

Afternoon of a Faun: Tanaquil Le Clercq was written and directed by Nancy Buirski and features interviews with friends and dancers who knew Le Clercq as well as footage of the ballerina in some of NYCB’s signature ballets, including Balanchine’s La Valse, Western Symphony, and Symphony in C and Robbins’ Afternoon of a Faun.

The Robbins’ piece, a retelling of the 1912 ballet choreographed by Nijinsky for the Ballets Russes, features the same Debussy score as the earlier work.

Tanaquil Le Clercq and George Balanchine

However, instead of tableaux with a faun and nymphs, it shows two dancers, here Le Clercq and Jacques d’Amboise, working together in a rehearsal studio.

The audience functions as their mirror, and the selfabsorption that Le Clercq portrays references the autoeroticism of the Nijinsky work while suggesting a sexual attraction toward her partner in ways both subtle and brilliant.

Le Clercq was one of the first ballerinas to define the ideal Balanchine body type — she was thin, leggy, and angular. Her dancing had a certain idiosyncrasy.

“She had a very stylish, witty way of dancing,”says Barbara Horgan, who served as Balanchine’s personal assistant for 20 years, including his time with Le Clercq. “He went for people with strong personalities on stage. They became his muses.”

“She really covered space,”d’Amboise says. “She was not afraid to use those long legs and make them longer.

Before Tanny, ballerinas were usually short and quick.

She was elongated, stretched out on a path to heaven.”

Actors recreate the voices of Le Clercq and Robbins in readings from letters that illustrate his passion toward her as a dancer, a woman, and a muse. In a much later filmed interview, the choreographer says it would take five different dancers today to be able to equal the range of qualities Le Clercq was known for. “She could do concert style, crazy stuff; she was elegant, classical, and she could be wild.”Le Clercq made it clear, in her letters to him, that she was only in love with Balanchine. “There was one star in her solar system, and it was George Balanchine,”says her longtime friend Randy Borcheidt. “She had total devotion to him as an artist and a person.”

In a director’s note, the filmmaker says that an early inspiration for her documentary was 1948’s Portrait of Jennie, starring Joseph Cotten and Jennifer Jones. She writes that the Debussy music, particularly Afternoon of a Faun, “captured the haunting, romantic, and elusive relationship between the painter

and his young muse.”Buirski was also fascinated by the inherent drama in the fact that both Balanchine and Robbins were obsessed with Le Clercq, only to lose her, at least as a dancer. None of Balanchine’s wives outlasted his hunger for constant inspiration. At the school, there were always new, younger, talented dancers for him to discover.

“I suppose genius is hard to live with,”Horgan says.

After Le Clercq was stricken, Balanchine spent years attempting to rehabilitate her legs. He sometimes used the Pilates method, and he created exercises for her, moving her limbs — to no avail. Arthur Mitchell, one of the leading male dancers in the company during Le Clercq’s career, describes how in the 1957 ballet Agon, the male dancer manipulates the arms, feet, and legs of the ballerina, clearly a reference to Balanchine’s work with his wife. Mitchell went on to found the Dance Theatre of Harlem and offered Le Clercq an opportunity to teach class and coach dancers — which she did, from her wheelchair.

Le Clercq’s marriage to Balanchine ended in 1969.

He had become obsessed with ballerina Suzanne Farrell, who married dancer Paul Mejia and left the company for several years. Balanchine died in 1983.

Le Clercq, who had originally not been expected to live past 40, died at 71.

Afternoon of a Faun is not a gripping film. Le Clercq’s illness ended her performing career as well as her status as muse. Life in a wheelchair offered no possibility for redemption, no comeback tale. What glimpses there are of her dancing are historically fascinating, but the film is not a compelling story of survival. In a New York Times obituary, in 2001, Anna Kisselgoff wrote that Le Clercq’s “mysterious dramatic perfume had attracted an adoring public.” This perfume is best exemplified in an the excerpt from Afternoon of a Faun.

Here, in a few minutes of black-and-white footage, are a gaze, a touch, a few steps, and a look at the audience that create an unforgettable impression. ◀

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“A TIGHTLY WOUND, CLOCK-TICKING THRILLER.

Debuting Israeli writer-director Yuval Adler and Palestinian co-scripter Ali Waked combine forces and their own intimate knowledge to impressive effect.”

-Leslie Felperin, VARIETY

“A

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BACK IN THEATERS THIS WEEKEND! WINNER golden globe award

that regards the Israeli-Palestinian conflict through a filter of double-agenting and family matters and betrayal and anxiety.

It’s tense and edgy and highly believable start to finish. At the same time it’s a curiously touching father-son relationship story.”

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*

ULAR DE MANactor D! best supporting jared leto

-Jeffrey Wells, HOLLYWOOD ELSEWHERE

“A GRIPPING WAR DRAMA, this absorbing film directed and co-written by an ex-Israeli intelligence officer (Yuval Adler) looks at both sides (Adler’s co-scenarist is Muslim writer Ali Waked) with unusual even-handedness and compassion.”

hugely entertaining!”

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screen actors guild award nominee

OFFICIAL SELECTION TORONTO FILM FESTIVAL

Playing the field: Michael Smiley

Meadow madness Bill Kohlhaase I The New Mexican A Field in England, surreal drama, not rated, Jean Cocteau Cinema, 3 chiles There’s a warning at the beginning of A Field in England, director Ben Wheatley’s strange film set during the English Civil War of the 17th century. But it’s not the one you’d expect. Incidences of violence (a man being run through with a spear, others dispatched by point-blank musket fire) are certainly horrific, as is some of the nonmurderous cruelty. But the warning that precedes this black-and-white film — “This film contains flashing images and stroboscopic sequences” — is something else again, meant to prepare viewers for something vastly different from the usual costume drama. Well before those mind-bending images appear, a collage of weird behavior, shadowy symbolism, and a resurrection or two make the warning seem unnecessary — except, perhaps, for those with a history of seizures.

The story behind A Field in England, with a script written by Wheatley’s wife, Amy Jump, won’t be mistaken for Stephen Crane’s The Red Badge of Courage, though both are about what can happen after fleeing the battlefield. The film opens with Whitehead (Reece Shearsmith) frantically pushing his way through a hedgerow as the smoke and explosions of muskets and cannon fire swirl around him. He’s pursued by Trower ( Julian Barratt) who has charged him with capturing an Irish thief. He teams up with two other deserters, one simply known as Friend (Richard Glover), and the scheming Cutler (Ryan Pope), who has plans for the men, luring them across the meadow with the promise of an ale house not far away. He leads them to the Irishman (Michael Smiley), who enlists them, and not with subtlety, in a search for treasure. The promised grub and comfort of the ale house suddenly seem a long way off, especially after the hungry men partake of a thin broth made from field mushrooms. The film’s climax, such as it is, and those stroboscopic sequences come after Whitehead crawls through a mushroom fairy ring, eating everything he can reach.

Wheatley’s film won’t be everyone’s cup of soup. Its narrative can be elusive and its characters, some of whom just won’t stay dead (one springs back to life at the mention of beer), seem torn between controlling their destiny and abandoning themselves to it. Contrasts between mysticism and religion and subservience and domination serve to make the film engaging, even at its strangest. The dialogue, part Elizabethan formality, part potty-mouth platitudes, allows for revelation and humor. The cinematography — tight shots of faces and crawling insects contrasted with long views of the men marching fourabreast down a long, tree-lined meadow, backlit by a cloud-draped sky — is breathtaking. Throw in a sinister soundtrack, strangely-posed tableaux, and the psychedelic optical effects, and A Field in England becomes something like a dream you can’t forget. ◀

OFFICIAL SELECTION AFI FILM FESTIVAL

6

WINNER

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best cast

OSCAR WINNER FOR BEST ACTOR (MCCONAUGHEY) AND SUPPORTING ACTOR (LETO)

OFFICIAL SELECTION TELLURIDE FILM FESTIVAL

best actor matthew mcConaughey best supporting actor jared leto

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MOVING IMAGES pasa pics

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conflicts between Israel and Palestine. Not rated.

99 minutes. In Hebrew and Arabic with subtitles.

Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) A FIELD IN ENGLAND Ben Wheatley’s film about deserters from the English Civil War who trade one nightmare for another is a surreal, opaque story that turns on ingenious dialogue and stunning black-and-white cinematography. Its strange blend of reality — brutal killing and degradation — and mysticism suggests that profound experiential changes can be found just the other side of a hedgerow or from inside a fairy ring. There’s humor as well as horror here, and almost too much to wonder at. No rating. 90 minutes. Jean Cocteau Cinema, Santa Fe. (Bill Kohlhaase) See review, Page 33.

A boy and his time-traveling dog: Mr. Peabody & Sherman, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week ADULT WORLD A recent college graduate (Emma Roberts) struggles to get her career in poetry going (that’s the first meaning of the film’s title), so she takes a job at a sex shop (that’s the second meaning) and through that experience finds romance (courtesy of a co-worker played by Evan Peters) and the potential for a very different writing career. John Cusack co-stars.

Rated R. 97 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) AFTERNOON OF A FAUN: TANAQUIL LE CLERCQ Tanaquil Le Clercq, a striking and versatile dancer, was the fourth and last wife of choreographer George Balanchine, co-founder of New York City Ballet. On tour with him and the company in Denmark in 1956, she contracted polio and never danced again. A highlight of this documentary is an extract of her in Jerome Robbins’ stripped-down Afternoon of a Faun with Jacques d’Amboise. Here, in a few minutes of black-and-white footage, are a gaze, a touch, a few steps, and a look at the audience that create an unforgettable impression.

The documentary provides many fascinating glimpses

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PASATIEMPO I March 7-13, 2014

of Le Clercq in performance, but the film is not a compelling story of survival. Not rated. 91 minutes.

The Screen, Santa Fe. (Michael Wade Simpson) See review, Page 32.

BANFF MOUNTAIN FILM FESTIVAL WORLD TOUR 2014 Santa Fe Conservation Trust and the Lensic Performing Arts Center present the annual touring film festival as a benefit for both organizations. The screenings highlight short films that focus on adventure, sport, and conservation. 7 p.m.

Monday and Tuesday, March 10 and 11, only (different program each night). Not rated. Running times vary. Lensic Performing Arts Center, Santa Fe. (Not reviewed) BETHLEHEM Israel’s official entry for Best Foreign Language Film at the 86th Academy Awards is a taut, suspense-filled thriller about an Israeli intelligence agent (Tsahi Halevi) and a teenage Palestinian informant (Shadi Mar’i). It builds to a tense climax as the men’s burgeoning friendship is threatened by conflicting loyalties when the informant’s older brother is suspected of involvement in terrorist activities.

Director Yuval Adler’s film may be too fast-paced for its own good, sacrificing character development as it attempts to humanize both sides of the ongoing

GAME OF THRONES MARATHON The Jean Cocteau shows the first three seasons of the HBO series Game of Thrones, based on George R.R. Martin’s Song of Ice and Fire books. Several episodes screen per week (first come, first served). Occasionally, Martin will drop by or a cast or crew member will appear via Skype. Season 3 episodes 4 and 5 screen at 7 p.m. on Monday, March 10. Not rated, but not suitable for children. Each episode runs roughly 55 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) GLORIA Chile’s official submission for Best Foreign Language Film at this year’s Oscars is an understated comedy that tells an honest story about middle-aged romance. In Santiago an outgoing sexy divorcée with a youthful spirit (Paulina García) makes a fresh start at dating in this light-hearted but keenly observed film about the challenges of finding love later in life. After meeting a former naval officer (Sergio Hernández) who owns a paintball park, Gloria is swept into a whirlwind romance. She’s a woman seeking freedom from the past, and he’s a man who can’t let go of his.

García gives a strong but measured performance as Gloria. She’s a likable character, and when the cracks in her new relationship open wide, she has a way of handling disappointments with dignity, charm, and self-respect — but a little ammo doesn’t hurt, either.

Rated R. 110 minutes. In Spanish with subtitles.

Regal DeVargas, Santa Fe. (Michael Abatemarco) IN BLOOM In the mid-1990s, in the Georgian capital of Tbilisi, in the midst of a burgeoning civil war and interethnic violence, two teenage girls struggle to assert their independence. Eka and Natia (Lika Babluani and Mariam Bokeria) have troubled home lives. As

they challenge societal customs, the girls are faced with the indifference of the adult world. Young men freely maraud in the streets, and women are treated like second-class citizens. Set in the backdrop of post-Communist Georgia, where crowds fight one another for fresh bread, In Bloom is as much a story of Georgia in the wake of its independence from the Soviet Union as it is a story of Eka and Natia’s fragile bond. Poignant, powerful, and emotionally charged, the film is not to be missed. Not rated. 102 minutes.

In Georgian with subtitles. The Screen, Santa Fe. (Michael Abatemarco) MR. PEABODY & SHERMAN Those old enough to have watched The Rocky and Bullwinkle Show may remember “Peabody’s Improbable History,” a segment about the time travels of a brilliant beagle and his human owner. This wacky animated film based on the duo’s adventures aims to please nostalgic 30- and 40-somethings and their kids. Rated PG. 91 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española.(Not reviewed) MY NEIGHBOR TOTORO The neighbor of Studio Ghibli’s signature film is a rotund, wideeyed, rabbit-like spirit who enters the lives of two young girls in rural Japan and comforts them while their mother recovers from serious illness. Despite the fact that the girls are introduced to mortality and death, Totoro is nonetheless a gentle affair that is magical, sweet, and beautiful to look at. The 1988 film is a near-perfect movie for toddlers and a meditative work of art that adults can savor. Hayao Miyazaki wrote, directed, and conceived the film’s visuals with a big heart. 11 a.m. Saturday and Sunday, March 8 and 9, only. Rated G. 86 minutes. Dubbed in English. Center for Contemporary Arts, Santa Fe. (Robert Ker) 300: RISE OF AN EMPIRE In the years since the 2006 blockbuster 300, there’s been no shortage of movies attempting to copy that film’s distinct visual style and Roman-era subject matter. So, finally, here is an official follow-up — but without Zack Snyder as director (he co-writes and produces) or star Gerard Butler, is this still Sparta? The plot centers on greased-up, shirtless men waving swords and shouting. Rated R. 103 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española.(Not reviewed) TWO LIVES Katrine ( Juliane Köhler), a young woman who has grown up in Norway, is the result of an affair between a Norwegian woman and a German soldier during World War II. When the Berlin Wall collapses, Katrine must decide whether

to testify on behalf of the other “war children.”

Not rated. 97 minutes. In multiple languages with subtitles. Center for Contemporary Arts, Santa Fe. (Not reviewed)

now in theaters AMERICAN HUSTLE Irving Rosenfeld (Christian Bale) and Sydney Prosser (Amy Adams) bond over the music of Duke Ellington at a party. This is appropriate, because David O. Russell has orchestrated his wild and wonderful riff on the 1978 Abscam sting operation like an Ellington suite. The film weaves themes and rhythms, tight ensemble work and electrifying solos, and builds to a foot-stomping climax. Rated R. 138 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) AUGUST: OSAGE COUNTY Tracy Letts adapted his Pulitzer Prize-winning play for the screen, with an embarrassment of riches led by Meryl Streep as the poisonous matriarch of one of the most dysfunctional families you’ll ever meet. As the family gathers to cope with the suicide of the patriarch (Sam Shepard), Streep is joined but not matched by a generally strong cast, with particular kudos to Julia Roberts. Rated R. 119 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) DALLAS BUYERS CLUB In 1985 a Texas redneck named Ron Woodroof was diagnosed as HIV-positive, at a time when AIDS was known almost exclusively as a gay disease. His battle against a medical industry that put profit ahead of patients is the basis for this remarkable story. Matthew McConaughey as Woodroof and Jared Leto as his transvestite sidekick Rayon won Academy Awards for their work. Rated R. 117 minutes. Center for Contemporary Arts, Santa Fe. (Jonathan Richards) FROZEN Disney’s latest fable, which won the Academy Award for Best Animated Feature Film, is strange: it is a breezy tale of misunderstanding with no real villain or central conflict. Two princess sisters in a fantasy kingdom part ways when one is revealed to have magical powers to summon snow and ice. With the help of a big lug (voiced by Jonathan Groff), younger sis (Kristen Bell) must pull older sis out of her withdrawal from society. Rated PG. 108 minutes.

Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker)

GRAVITY You’ve never seen a movie like this before. Tense and gripping but also tranquil and meditative, this thriller from director Alfonso Cuarón centers on two astronauts (George Clooney and Sandra Bullock) whose shuttle is destroyed while they are on a space walk. The resulting struggle to survive — like the special effects of the film — showcases humankind’s vast resourcefulness and potential. Cuarón won the Best Director Academy Award, and the film cleaned up in the technical categories as well. Rated PG-13.

91 minutes. Screens in 3-D only at Regal Stadium 14, Santa Fe. (Robert Ker) THE GREAT BEAUTY Director Paolo Sorrentino’s excursion through Roman high life is a funny, sexy, and heartbreaking look at a society dancing as fast as it can to keep up with a past that can’t be caught. Our guide is Jep Gambardella (Toni Servillo), a writer who made a literary splash with a novel 40 years ago and hasn’t been able to think of anything worth writing about since. The movie, which won the Academy Award for the Best Foreign Language Film, is a conscious and masterful updating of Fellini. Not rated. 142 minutes.

In Italian with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) HER Writer and director Spike Jonze has spun a modern fable about a melancholy man (Joaquin Phoenix) and his computer operating system (voiced by Scarlett Johansson). The breadth of the themes makes Her a Rorschach test: one could see it as a movie about the definition of love, our reliance on technology, the shifting of gender roles, or the merits of Buddhist philosophy. Jonze won the Academy Award for Best Original Screenplay. Rated R. 119 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE LEGO MOVIE Emmet Brickowski (voiced by Chris Pratt) is an ordinary LEGO worker in a city where everyone follows instructions to build the perfect world. Then, Brickowski learns from some rebels that he can build whatever he wants, and they set out to defeat the evil President.

What sounds like a long commercial is one of the best family films in recent years, with subversive humor, nifty twists, wild visuals, catchy music, guest spots by the likes of Batman, and an anarchic plot that snaps together as perfectly as a certain plastic toy. Rated PG. 101 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) continued on Page 36

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LIKE FATHER, LIKE SON Japanese director Hirokazu Kore-eda (Still Walking) has spent much of his career reflecting on what makes families tick.

His latest, which is told with an uncommon visual sense and attention to nuance, centers on a strict workaholic (Masaharu Fukuyama) who learns that his 6-year-old was switched at the hospital with that of a boisterous play-before-work family living in the country. The families must decide whether to keep or switch back the kids they have been raising.

Not rated. 120 minutes. In Japanese with subtitles.

The Screen, Santa Fe. (Robert Ker) THE MONUMENTS MEN During World War II, the U.S. put together a team of art scholars and academics under the aegis of the military to try to locate art treasures looted by the Nazis. As the war wound down, it became apparent that the Germans were prepared to destroy these works if they couldn’t keep them. George Clooney, wearing the hats of writer, director, producer, and star, has crafted a hugely enjoyable old-fashioned war movie in the tradition of The Dirty Dozen out of this gripping, funny, and moving material. Rated PG-13.

118 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) NEBRASKA Woody Grant (Bruce Dern) has won a million dollars, or so his letter from Publishers Clearing House says, and he’s determined to go to Lincoln, Nebraska, to claim his prize. His son David (Will Forte) agrees to drive him. The film’s black-and-white photography, brings out the lonely feeling of an era and a generation disappearing into the past. Rated R. 115 minutes.

Regal DeVargas, Santa Fe. ( Jonathan Richards) NON-STOP An ordinary trans-Atlantic flight is terrorized by someone who threatens to kill all the passengers on board. Fortunately, one of those passengers is a federal air marshal. Unfortunately, the terrorist has a vendetta against this marshal.

Fortunately, the marshal is played by Liam Neeson.

spicy

medium

bland

heartburn

mild

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PASATIEMPO I March 7-13, 2014

Go get ’em, Liam! Rated PG-13. 106 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed)

to take out a terrorist with the promise that if he kills it, a cure will come. Rated PG-13. 117 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)

PHILOMENA Steve Coogan plays a down-on-his-luck journalist who brings an Irishwoman (Judi Dench) to America to find her long-estranged son. The film has the makings of an odd-couple comedy — and there are laughs — but the material runs much deeper and darker than that. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. (Robert Ker)

12 YEARS A SLAVE Director Steve McQueen takes us into America’s slave trade with clinical observation and exquisite composition, but he tarnishes his adaptation of Solomon Northup’s 1853 autobiography — about the free-born man’s stint as a slave after being captured and shipped south — with too many movie moments, blunting the impact.

The film won the Academy Award for Best Picture; supporting actress Lupita Nyong’o took home an Oscar as well. Rated R. 133 minutes. Regal DeVargas, Santa Fe. (Robert Ker)

POMPEII In this blockbuster, Mount Vesuvius erupts and blasts lava all over a period drama, a gladiator movie, and a romance, turning the whole thing into a big disaster pic. Kit Harington plays a slave-turned-gladiator who must race against time to save his true love (Emily Browning) before his entire ancient Roman city is buried beneath red, glowing, special effects. Rated PG-13. 105 minutes. Screens in 3-D and 2-D only at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española.

(Not reviewed) RIDE ALONG Kevin Hart plays a wise-cracking young punk who joins an older, hard-case cop (Ice Cube) on a ride-along. And then things get crazy.

Rated PG-13. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) ROBOCOP Director Paul Verhoeven’s 1987 RoboCop elevated a B-movie premise into a scathing critique of society and a prescient look at the city of Detroit. This remake looks like a sleek action pic. Rated PG-13.

117 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) SON OF GOD Diogo Morgado plays Jesus Christ in this biopic, which covers everything from Christ’s birth to death in epic, action-movie style. This movie attracted controversy during production, when it was discovered that they cast a man who looks very much like the current president of the United States as Satan (the character was since removed).

Some afternoon screenings at Regal Stadium 14 are dubbed in Spanish. Rated PG-13. 138 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) 3 DAYS TO KILL Kevin Costner attempts to reinvent his career as an action star the same way Liam Neeson did with Taken. He plays a spy who speaks in a gravelly voice and really loves his daughter. He also has a fatal disease and is offered an assignment

THE WIND RISES Japanese animation master Hayao Miyazaki opens his latest film with a dream: a slumbering boy in the 1920s has a vision of one day designing planes. As the boy grows to a man (voiced by Joseph Gordon Levitt) and meets his goals, the film passes like a dream, places audiences in a painterly reverie that lets the eyes wander to background characters, clouds, and blades of grass. The criticisms that the film whitewashes Japanese wartime atrocities is somewhat fair, but it also misses the heavy anti-war message of the moving third act. The Wind Rises is a life-spanning epic in the tradition of David Lean, and the latest masterpiece in a directorial career that’s contained little else. Dubbed in English. Rated PG-13. 126 minutes.

Regal Stadium 14, Santa Fe. (Robert Ker)

other screenings Center for Contemporary Arts 2 p.m. Thursday, March 13: Authors Anonymous.

Jean Cocteau Cinema 11 p.m. Friday & Saturday, March 7 & 8; 7:30 p.m.

Wednesday, March 12: Barbarella.

6 p.m. Thursday, March 13: Like Water for Chocolate.

Regal Stadium 14 2 p.m. Sunday, March 9; 2 & 7 p.m.

Wednesday, March 12: Chicago.

8 p.m. (3-D), 8:30 p.m. (2-D) Thursday, March 13: Need for Speed.

The Screen 7 p.m. Tuesday, March 11: Rising From Ashes. ◀

“A

TERRIFIC MOVIE

kind of like a West Bank ‘Wire.’”

-A.O. Scott, THE NEW YORK TIMES

“A

TIGHTLY WOUND, CLOCK-TICKING THRILLER.”

What’s shoWing

-Leslie Felperin, VARIETY

Call theaters or check websites to confirm screening times.

6

WINNER

ISRAELI FILM ACADEMY AWARDS including BEST FILM

A film by YUVAL ADLER CCA CinemAtheque And SCreening room 1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Authors Anonymous (PG-13) Thurs. 2 p.m.

Bethlehem (NR) Fri. to Sun. 12:45 p.m., 6 p.m., 8:15 p.m. Mon. to Wed. 5:30 p.m., 7:45 p.m.

Thurs. 3:15 p.m., 5:30 p.m., 7:45 p.m.

Dallas Buyers Club (R) Fri. 5 p.m. Sat. 12 p.m., 5 p.m. Sun. 5 p.m. Mon. to Thurs. 4:30 p.m.

The Great Beauty (NR) Fri. to Sun. 3 p.m.

My NeighborTotoro (G) Sat. 11 a.m. Sun. 11 a.m.

Two Lives (NR) Fri. to Sun. 2:30 p.m., 7:30 p.m.

Mon. to Thurs. 7 p.m.

JeAn CoCteAu CinemA 418 Montezuma Avenue, 505-466-5528 www.jeancocteaucinema.com Adult World (R) Fri. to Sun. 4:30 p.m., 8:30 p.m.

Tue. 8:30 p.m. Wed. 3:30 p.m. Thurs. 2 p.m.

Barbarella (PG) Fri. and Sat. 11 p.m.

Wed. 7:30 p.m.

A Field in England (NR) Fri. to Sun. 2:30 p.m., 6:30 p.m. Tue. 6:30 p.m. Wed. 5:30 p.m.

Thurs. 4 p.m.

Game ofThrones (NR) Mon. 7 p.m.

Like Water for Chocolate (R) Thurs. 6 p.m. regAl deVArgAS 562 N. Guadalupe St., 505-988-2775, www.fandango.com 12 Years a Slave (R) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7:10 p.m., 10:05 p.m. Sun. to Thurs.

1:10 p.m., 4:10 p.m., 7:10 p.m.

American Hustle (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 10 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m.

August: Osage County (R) Fri. and Sat. 4:20 p.m., 10:10 p.m. Sun. to Thurs. 4:20 p.m.

Gloria (R) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:15 p.m. Sun. to Thurs. 1:40 p.m., 4:40 p.m., 7:40 p.m.

Her (R) Fri. to Thurs. 1:20 p.m., 7:20 p.m.

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

Philomena (PG-13) Fri. and Sat. 1:50 p.m., 4:50 p.m., 7:50 p.m., 10:15 p.m. Sun. to Thurs.

1:50 p.m., 4:50 p.m., 7:50 p.m. regAl StAdium 14 3474 Zafarano Drive, 505-424-6296, www.fandango.com 3 Days to Kill (PG-13) Fri. to Wed. 12:25 p.m., 5:20 p.m., 10:20 p.m.

300: Rise of an Empire (R) Fri. to Wed. 5:30 p.m., 8 p.m.

300: Rise of an Empire 3D (R) Fri. and Sat. 12 p.m., 12:30 p.m., 2:30 p.m., 3 p.m., 5 p.m., 7 p.m., 7:30 p.m., 9:30 p.m., 10 p.m., 10:30 p.m. Sun. to Wed. 12 p.m., 12:30 p.m., 2:30 p.m., 3 p.m., 5 p.m., 7:30 p.m., 10 p.m., 10:30 p.m.

Chicago (PG-13) Sun. 2 p.m. Wed. 2 p.m., 7 p.m.

Frozen (PG) Fri. and Sat. 1 p.m., 4:15 p.m.

Sun. to Wed. 1 p.m., 4:15 p.m., 7 p.m., 9:35 p.m.

Gravity 3D (PG-13) Fri. to Wed. 3 p.m., 8 p.m.

The Lego Movie (PG) Fri. to Wed. 12 p.m., 2:30 p.m., 5 p.m., 7:40 p.m., 10:10 p.m.

The Monuments Men (PG-13) Fri. to Wed. 1:15 p.m., 4:30 p.m., 7:20 p.m., 10:10 p.m.

Mr. Peabody & Sherman (PG) Fri. to Wed. 12:20 p.m., 2:50 p.m., 5:15 p.m., 7:45 p.m., 10:15 p.m.

Mr. Peabody & Sherman 3D (PG) Fri. to Wed. 12:05 p.m., 2:35 p.m., 5:05 p.m., 7:35 p.m., 10:05 p.m.

Need for Speed (PG-13) Thurs. 8:30 p.m.

Need for Speed 3D (PG-13) Thurs. 8 p.m.

Non-Stop (PG-13) Fri. to Sun. 12:05 p.m., 2:45 p.m., 5:20 p.m., 7:50 p.m., 10:25 p.m. Mon. to Wed. 12:05 p.m., 2:45 p.m., 5:20 p.m., 7:50 p.m., 10:25 p.m.

Pompeii (PG-13) Fri. to Wed. 2:40 p.m., 10:20 p.m.

Pompeii 3D (PG-13) Fri. to Wed. 12:05 p.m., 5:10 p.m., 7:45 p.m.

Ride Along (PG-13) Fri. and Sat. 12:10 p.m., 2:40 p.m., 5:10 p.m., 7:55 p.m., 10:25 p.m.

Sun. 5:10 p.m., 7:55 p.m., 10:25 p.m. Mon. and Tue. 12:10 p.m., 2:40 p.m., 5:10 p.m., 7:55 p.m., 10:25 p.m. Wed. 4:35 p.m., 10:25 p.m.

RoboCop (PG-13) Fri. to Wed. 1:30 p.m., 4:40 p.m., 7:35 p.m., 10:20 p.m.

Son of God (PG-13) Fri. to Wed. 4 p.m., 7:10 p.m., 10:20 p.m. Fri. to Wed. 12:50 p.m. Spanish dubbed The Wind Rises (PG-13) Fri. to Wed. 12:40 p.m., 4:10 p.m., 7:15 p.m., 10:15 p.m. the SCreen Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Afternoon of a Faun:Tanaquil Le Clercq (NR) Fri. 5:40 p.m. Sat. and Sun. 11 a.m., 5:40 p.m.

Mon. 5:40 p.m. Tue. 12:45 p.m., 5 p.m.

Wed. and Thurs. 5:40 p.m.

In Bloom (NR) Fri. to Mon. 3:30 p.m., 7:40 p.m.

Tue. 2:45 p.m. Wed. and Thurs. 3:30 p.m., 7:40 p.m.

Like Father, Like Son (NR) Fri. to Mon. 1 p.m.

Wed. and Thurs. 1 p.m.

Rising from the Ashes (NR) Tue. 7 p.m. mitChell dreAmCAtCher CinemA (eSpAñolA) 15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com 300: Rise of an Empire (R) Fri. 4:45 p.m., 7:15 p.m., 9:45 p.m. Sat. 2:20 p.m., 4:45 p.m., 7:15 p.m., 9:45 p.m. Sun. 2:20 p.m., 4:45 p.m., 7:15 p.m.

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

300: Rise of an Empire 3D (R) Fri. 4:45 p.m., 7:15 p.m., 9:45 p.m. Sat. 2:20 p.m., 4:45 p.m., 7:15 p.m., 9:45 p.m. Sun. 2:20 p.m., 4:45 p.m., 7:15 p.m. Mon. to Thurs. 4:45 p.m., 7:15 p.m.

The Lego Movie (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.

Mr. Peabody & Sherman (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.

Mr. Peabody & Sherman 3D (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.

Non-Stop (PG-13) Fri. 4:50 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:20 p.m.

Mon. to Thurs. 4:50 p.m., 7:20 p.m.

Pompeii (PG-13) Fri. 4:55 p.m., 7:10 p.m., 9:40 p.m.

Sat. 2:25 p.m., 4:55 p.m., 7:10 p.m., 9:40 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:10 p.m. Mon. to Thurs.

4:55 p.m., 7:10 p.m.

Ride Along (PG-13) Fri. 5 p.m., 7:30 p.m., 9:40 p.m.

Sat. 2:30 p.m., 5 p.m., 7:30 p.m., 9:40 p.m. Sun. 2:30 p.m., 5 p.m., 7:30 p.m. Mon. to Thurs. 5 p.m., 7:30 p.m.

RoboCop (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:10 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:10 p.m., 4:50 p.m., 7:25 p.m.

Mon. to Thurs. 4:50 p.m., 7:25 p.m.

Son of God (PG-13) Fri. 4:40 p.m., 7:35 p.m.

Sat. and Sun. 1:45 p.m., 4:40 p.m., 7:35 p.m.

Mon. to Thurs. 4:15 p.m., 7:10 p.m.

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37

RESTAURANT REVIEW Bill Kohlhaase I The New Mexican

Scenes from a malt Shake Foundation 631 Cerrillos Road, 505-988-8992, www.shakefoundation.com 11 a.m.-6 p.m. daily Takeout available Vegetarian options Outdoor dining in season Noise level: bird songs and traffic No alcohol Credit cards, no checks

•

The Short Order Shake Foundation reminds us how well shakes and malts complement good burgers and fries. The burgers — ground sirloin and beef brisket, New Mexican lamb, and turkey — are all served on buttered buns.

They’re on the smallish side but generously topped, if you like, with jack cheese and green chile that’s not afraid to assert itself.

Other toppings, including house-brined pickles and jalapeños and whipped lardo, make for something out of the ordinary. The menu also includes a decent fried-oyster sandwich with red-chile mayo and a wonderful “burger” of breaded cheese-stuffed portobello mushroom. Shoestring fries are crisp and usually greaseless. The Taos Cow ice cream, whether in a shake or sundae, is worth a visit on its own. Recommended: green chile cheeseburger, New Mexico Shepherd’s Lamb burger, portobello mushroom burger, fries, chocolate malt, lavender shake, and affogato.

Ratings range from 0 to 4 chiles, including half chiles.

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

38

PASATIEMPO I March 7-13, 2014

Brian Knox’s Shake Foundation is a welcome throwback to the days before soda trumped malts and shakes in the hamburger-fries-drink equation. Shake Foundation does offer sodas as well as iced tea, a tad-tangy ginger lemonade, and espresso alternatives. But order a shake or a root-beer float, both so thick you’ll collapse your straw trying to suck them up, and you’ll be reminded just how nicely ice cream complements a good burger and fries. It’s a way to enjoy dessert both during and after your meal.

These aren’t the syrupy shakes of the sort found at the fast-food chains, made from a mix and dispensed from a machine. They’re all about the ice cream. If the crowd’s not too big, you can peer in one of the windows and watch the frozen foundation of your shake being scooped out of its container. That ice cream, from Taos Cow, is excellent — smooth and wonderfully textured, with a satisfying level of sweetness. There are vanilla and chocolate varieties to satisfy traditionalists as well as shakes for those looking for something more exotic.

When was the last time you had a lavender shake? We were disappointed only when a flavor advertised on a few visits — salted caramel — wasn’t available. Topped with a swirl of whipped cream, the shakes require periodic stirring. Don’t forget to get a spoon.

Shake Foundation’s location on Cerrillos Road, near Paseo de Peralta, practically requires that you approach it from the southwest to make a safe right turn into the gravel lot. Once there, finding a suitable space can be tough. Large menus are located on either side of the order window, and once you’ve placed yours, you’ll be given a receipt and a numbered buzzer. Retreat to one of the picnic tables safely corralled off from the parking lot and wait for good vibrations.

On one visit, the friendly woman at the counter window explained that the fries that day were made with potatoes grown not in Idaho but in Colorado. Would that be OK? It was a unnecessary act of disclosure — but if she had told us that the green chile on the burgers that day was from Colorado, we might have had second thoughts.

Those shoestring Colorado fries came out a deeper color and a little less crispy than the greaseless, golden shoestrings we’d had on previous visits. We attributed this to the time spent frying and the temperature of the fat, not the origin of the potato.

Even without a shake to chase them down, the burgers stand out, whether they’re lamb, turkey, or beef. It’s not just the buttered buns that make them good. It’s the quality of the meat, the lamb only slightly gamey, the turkey seasoned just enough to bring out its subtle flavor, the robust beef burger ground from brisket and sirloin. Each burger carries meat and grill flavors, both of which are enlivened by the butter. Note that you have to request the free toppings you want, including lettuce and tomato.

The modest three-ounce patties are plump but prone to being overwhelmed by their toppings. You won’t mind if it’s that mouth-warming green chile or the grilled onions.

Another slice of the jack cheese (50 cents extra) makes a good thing even better. If you opt for the mustard sauce, ask that it be applied lightly. Try the thick, snappy, housebrined pickles. I haven’t worked up the courage yet to try the whipped lardo (cured, seasoned pork fat), but as a firm believer that fat is flavor, I’ll be opting for it soon.

The fried-oyster sandwich, with its small, perfectly cooked shellfish, came with too much of an otherwisedelicious red-chile mayo, which pushed the oysters into the background. The portobello mushroom burger — the mushroom breaded and stuffed with Muenster cheese and the whole thing slathered with mustard — was a surprising hit.

We saw some inconsistencies, particularly during the busy lunchtime hours. On one visit, we placed a large order, and a couple of buns came with blackened tops that we were compelled to peel away. But we’ve almost always left happy, often with half our shake remaining or with an affogato, a shot of espresso poured over a scoop of coffee ice cream. Dessert doesn’t often serve as an afternoon pick-me-up. But this one kept us shakin’. ◀

Lunch for two at Shake Foundation: Green chile cheeseburger ..................................$ 3.95 Double classic cheeseburger with pickles ..........$ 7.45 Single fries .........................................................$ 3.75 Chocolate shake ................................................$ 5.75 Caramel-piñon shake ........................................$ 5.75 TOTAL ...............................................................$ 26.65 (before tax and tip) Lunch for four, another visit: Turkey burger with green chile ..........................$ 4.45 Lamb burger ......................................................$ 5.50 Classic burger ....................................................$ 3.50 Oyster sandwich ................................................$ 5.50 Double fries .......................................................$ 5.50 Single fries .........................................................$ 3.75 Chocolate shake with malt ................................$ 6.25 Ginger lemonade (2) .........................................$ 4.50 Affogato .............................................................$ 4.50 TOTAL ...............................................................$ 43.45 (before tax and tip)

Spring Workshops with Daniel Bruce

Center for Conscious Living

Mindfulness Based Stress Reduction Tuesday evenings, from april 15 through June 3, 6–8:30 pm

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Tai Chi-Qi Gong

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Day of Mindfulness Retreat Saturday, June 14, 9 am–4:30 pm at upaya

To register visit danieljbruce.com For more information call 988.5106.

MARCH EVENTS at op.cit. books Saturday, March 8th 2pm: Edward Mendez ‘One Calamitous Spring’ Saturday, March 8th at 5pm: Donna Blake Birchell ‘Wild Women of New Mexico’ March 13 Nickel Stories @ 6pm March 15 1-3pm: Pamela Boyd ‘I Mattered’ Memoir Workshop March 15 4:30pm: Nancy King ‘Changing Spaces’ March 28 6pm: Ariel Gore ‘The End of Eve’ March 29 5pm: Craig Varjabedian ‘Landscape Dreams: A New Mexico Portrait’ op.cit. books - Sanbusco - 500 Montezuma 428.0321 op.cit. com

Come Meet the Phillips Family During This Special Open House Event!

Special Open House Event!

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Please contact us today, call 1 (888) 751-1952. Appointments are limited so call early. Experience for yourself why we are the best place to go for hearing aids!

05501-13 © 2013 NuEar PASATIEMPOMAGAZINE.COM

39

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SANTAFE NEWMEXICAN.COM /NEWSLETTERS 40

PASATIEMPO I March 7 - 13, 2014

pasa week Friday, March 7 GALLERY/MUSEUM OPENINGS

Argos Studio/Gallery 1211 Luisa St., 505-988-1814. Skin Deep, works by members of the Tuesday Night Drawing Group, reception 6-8 p.m., through April 2.

Georgia O’Keeffe Museum 217 Johnson St., 505-946-1000. Celebrate Creativity: Artwork From the Georgia O’Keeffe Museum’s Pre-K Programs, reception 4-6 p.m., through March 17.

Liquid Outpost Coffeehouse Inn at Loretto, 211 Old Santa Fe Trail, 505-983-6503. Of Wax and Water, encaustic paintings and watercolors by Deanna Kovacs, reception 4-6 p.m., through March.

Manitou Galleries 123 W. Palace Ave., 505-986-0440. New Mexico Landscape Group Show, featuring Douglas Aagard, reception 5-7:30 p.m., through March 21.

New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Focus on Photography, year-long cycle of photography exhibits; Beneath Our Feet, photographs by Joan Myers; Grounded, landscapes from the museum collection; Photo Lab, interactive exhibit explaining the processes of color and platinum-palladium printing, reception 5-8 p.m.

Santa Fe Arts Commission Community Gallery 201 W. Marcy St., 505-955-6705.

Art Is Core: Third Annual ArtWorks Works!, Santa Fe Public School student exhibit, reception 5-7 p.m., through April 23.

Verve Gallery of Photography 219 E. Marcy St., 505-982-5009. Diffusion: A Five-Year Retrospective, group show celebrating the fifth anniversary of the magazine Diffusion: Unconventional Photography, reception 5-7 p.m., through April 26. Gallery talk with curator Blue Mitchell, 2 p.m. Saturday.

Vivo Contemporary 725 Canyon Rd., 505-982-1320. Awakening Image, works by gallery artists, reception 5-7 p.m., through April 29.

CLASSICAL MUSIC

David Russell Classical guitarist, 7:30 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, $40, ticketssantafe.org, 505-988-1234, call for availability, Santa Fe Concert Association, 505-984-8759.

Music on Barcelona The ensemble performs music of Spohr, Bach, and Joplin, 5:30 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd., donations appreciated, 505-424-0094.

Santa Fe Community Orchestra Compositions by Monk Blaire and JayChristopher Williams, 6 p.m., Stieren Hall, 301 Opera Dr., donations welcome, sfco.org, 505-466-4879.

Pasa’s Little Black Book......... 42 Elsewhere............................ 44 People Who Need People..... 44 Under 21............................. 44 Pasa Kids............................ 44

Richard C. Miller: James Dean taking a break on the set of Giant, 1956, Monroe Gallery of Photography, 112 Don Gaspar Ave.

Serenata of Santa Fe Here & Now, works

by Kelvin McNeal and Ron Strauss; performers include oboist Pamela Epple, cellist Sally Guenther, and French hornist Scott Temple, 7 p.m., Scottish Rite Center, 463 Paseo de Peralta, $25 in advance and at the door, 505-988-1234, ticketssantafe.org, discounts available.

St. Michaels High School String & Wind Ensemble Featuring Phoenix Avalon on violin and Kira Breeden on horn, 7 p.m., San Miguel Church, 401 Old Santa Fe Trail, 505-983-3974, no charge.

TGIF recital Tenor Andre Garcia-Nuthmann and pianist Linda King, 5:30 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations welcome, 505-982-8544, Ext. 16.

THEATER/DANCE

Les Liaisons Dangereuses Christopher Hampton’s adaptation of the novel about seduction and revenge, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available, ticketssantafe.org, 505-988-1234, runs Fridays-Sundays through March 16.

The Other Place Fusion Theatre Company presents Sharr White’s drama, 8 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$40, 505-988-1234, ticketssantafe.org.

Water by the Spoonful Teatro Paraguas presents Quiara Alegria Hudes’ drama, 7:30 p.m., 3205 Calle Marie, $15, discounts available, teatroparaguas.org, 505-424-1601, continues Thursdays-Sundays through March 16.

In the Wings....................... 45 At the Galleries.................... 46 Museums & Art Spaces........ 46 Exhibitionism...................... 47

BOOKS/TALKS

Feasting at the Colonial Palace: History With Dirt on It New Mexico History Museum director Frances Levine and archaeologist Stephen Post discuss the exhibit Santa Fe Found: Fragments of Time, 5:30 and 6:30 p.m., Palace of the Governors, 113 Lincoln Ave., no charge for the First Friday Gallery Talk series, 505-476-5200.

OUTDOORS

Dale Ball Day Celebrate trails and open space with Dale and Sylvia Ball; includes a guided hike and a mountain-bike ride, Dale Ball Sierra del Norte Trailhead at the corner of Hyde Park Road and Sierra del Norte, 1 p.m., no charge, for more information visit sfct.org/trails.

NIGHTLIFE

(See Page 42 for addresses) Café Café Trio Los Primos, Latin favorites, 6 p.m., no cover.

Cowgirl BBQ Singer/songwriter Danny Trashville, 5 p.m.; rocker Cody Jasper, 8:30 p.m.; no cover.

Hotel Santa Fe Guitarist/flutist Ronald Roybal, 7-9 p.m., no cover.

La Fiesta Lounge at La Fonda Blues band Night Train, 8 p.m., no cover.

Lodge Lounge at The Lodge at Santa Fe Pachanga! Club Fridays with DJ Gabriel “Aztec

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

Sol” Ortega spinning salsa, cumbia, bachata, and merenge, dance lesson, 8:30-9:30 p.m., call for cover.

Low ’n’ Slow Lowrider Bar at Hotel Chimayó Revolver Jazz Trio, 9:30 p.m., no cover.

Palace Restaurant & Saloon Boomroots Reggae, 10 p.m., call for cover.

Pizzeria da Lino Accordionist Dadou, European and American favorites, 6-9 p.m., no cover.

Pranzo Italian Grill Ron Newman, piano and vocals, 6-9 p.m., call for cover.

Second Street Brewery Kodama Jazz Trio, 6 p.m., no cover.

Second Street Brewery at the Railyard Swing Soleil, Gypsy jazz and swing, 7 p.m., no cover.

Shadeh DJ 12 Tribe, 9 p.m.-4 a.m., call for cover.

Tiny’s Grateful Dead tribute band Detroit Lightening, featuring Josh Martin on bass; opening set by Neil Young tribute band Drastic Andrew & The Cinnamon Girls, 8 p.m., no cover.

Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.

8 Saturday THEATER/DANCE

Les Liaisons Dangereuses Christopher Hampton’s adaptation of the novel about seduction and revenge, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available, ticketssantafe.org, 505-988-1234, runs Fridays-Sundays through March 16.

The Other Place Fusion Theatre Company presents Sharr White’s drama, 2 and 8 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $20-$40, 505-988-1234, ticketssantafe.org.

Water by the Spoonful Teatro Paraguas presents Quiara Alegria Hudes’ drama, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $15, discounts available, 505-424-1601, teatroparaguas.org, continues Thursdays-Sundays through March 16.

BOOKS/TALKS

Candace Walsh and Victoria Brooke Rodrigues Readings from the anthology The Good Mother Myth: Redefining Motherhood to Fit Reality, 2 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

David Hoptman: mixed-media photography and printmaking An illustrated talk by the local photographer, 2-4 p.m., Santa Fe Public Library, Main Branch, 145 Washington Ave., no charge. ▶▶▶▶▶▶▶▶

calendar guidelines

Please submit information and listings for Pasa Week no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 505-820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar?

Call Pamela Beach, Pasatiempo calendar editor, at 505-986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter.

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Op. Cit. Books readings and signings Author Edward F. Mendez: One Calamitous Spring: A Novel of Santa Fe, 2 p.m.; Donna Blake Birchell: Wicked Women of New Mexico, 5 p.m., (See Subtexts, Page 14), 500 Montezuma Ave., Suite 101, Sanbusco Center, 505-428-0321.

Shidoni Second Saturday Art Review Sculptor Kate Reightley discusses her work, 9:30 a.m., bronze-pour demonstration follows, Shidoni Gallery, 1508 Bishop’s Lodge Rd., no charge, 505-988-8001.

EVENTS

Axle Contemporary clay workshop Make small porcelain sculptures for the exhibit The Royal Breadshow, noon-1:30 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, no charge, 505-670-7612 or 505-670-5854.

Contra dance Folk dance with easy walking steps, live music by the Connie Manhattan Trio, beginners class 7 p.m., dance 7:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $9, students $5, 505-820-3535.

Santa Fe Farmers Market Local goods sold weekly on Saturday; this week’s live music by Pedro Romero, 8 a.m.-1 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, santafefarmersmarket.com, no charge.

Vista Grande Social Club Saturday Night Salsa Party Cesar Bauvallet y Tradiciones, dance lesson 8-9 p.m., dance 9 p.m.-12:30 a.m., La Tienda Performance Space, 7 Caliente Rd., Eldorado, $10 at the door.

NiGhTliFE

(See addresses below) ¡Chispa! at El Mesón Latin jazz quartet Shades of Tjader, with Dave Brady on vibes, 7:30 p.m., no cover.

317 Aztec 20-0150 317 Aztec St., 505-8 the inn at ge Agoyo loun a ed am Al e th on 505-984-2121 303 E. Alameda St., nt & Bar Anasazi Restaura Anasazi, the of Rosewood Inn e., 505-988-3030 113 Washington Av Betterday Coffee 5-555-1234 , 50 905 W. Alameda St. nch Resort & Spa Ra e dg lo ’s op sh Bi Rd., 505-983-6377 1297 Bishops Lodge Café Café 5-466-1391 500 Sandoval St., 50 ó ay Casa Chim 5-428-0391 409 W. Water St., 50 ón es M ¡Chispa! at El 505-983-6756 e., Av ton ing ash W 213 Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. te Café The Den at Coyo 5-983-1615 50 , St. r 132 W. Wate Duel Brewing 5-474-5301 1228 Parkway Dr., 50 lton hi e th El Cañon at 88-2811 5-9 50 , St. al ov nd Sa 100

42

PASATIEMPO I March 7-13, 2014

Café Café Contemporary-Latin guitarist Ramón Bermudez, 6 p.m., no cover.

Cowgirl BBQ Pollo Frito, New Orleans-style funk and soul, 2 p.m.; Grateful Dead tribute band Detroit Lightning, 8:30 p.m.; no cover.

El Farol The Sister Mary Band, Brant Leeper, Tiho Dimitrov, Mo Roberts, and Tone Forrest, soulful blues, 9-11 p.m., no cover. hotel Santa Fe Guitarist/flutist Ronald Roybal, 7-9 p.m., no cover. la Fiesta lounge at la Fonda Blues band Night Train, 8 p.m., no cover. la Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, featuring vocalist Whitney Carroll Malone, 6-9 p.m., call for cover.

Mine Shaft Tavern The Hopeful Heroines, Gypsy-folk fusion, 3 p.m.; banjo-driven roots-rock duo Todd & The Fox, 8 p.m., call for cover.

Palace Restaurant & Saloon John Kurzweg Band, alt-folk rock, 10 p.m., call for cover.

Pranzo italian Grill Robin Holloway, piano and vocals, 6-9 p.m., call for cover.

Second Street Brewery at the Railyard Pollo Frito, New Orleans-style funk and jazz, 7 p.m., no cover.

Shadeh DJ 12 Tribe, 9 p.m.-5 a.m., call for cover.

Sweetwater harvest Kitchen Hawaiian slack-key guitarist John Serkin, 6 p.m., no cover.

Pasa’s little black book Spa Eldorado hotel & St., 505-988-4455 o 309 W. San Francisc El Farol 5-983-9912 808 Canyon Rd., 50 ill Gr & r Ba El Paseo 5-992-2848 208 Galisteo St., 50 Evangelo’s o St., 505-982-9014 200 W. San Francisc erging Arts high Mayhem Em 38-2047 5-4 50 , ne La er 2811 Sil hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters iconik Coffee Ro -0996 28 1600 Lena St., 505-4 Junction , 505-988-7222 530 S. Guadalupe St. la Boca 5-982-3433 72 W. Marcy St., 50 ina nt Ca la Casa Sena 505-988-9232 e., Av e lac Pa E. 5 12 at la Fonda la Fiesta lounge , 505-982-5511 St. o isc nc Fra n Sa 100 E. a Fe Resort nt Sa de da sa la Po e Ave., lac Pa E. 0 and Spa 33 505-986-0000 g Arts Center lensic Performin St., 505-988-1234 o 211 W. San Francisc

Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m., no cover.

Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.

9 Sunday ClASSiCAl MUSiC

New Mexico Bach Chorale Open rehearsal to start the Bach Easter Oratorio Project, with New Mexico Bach Society music director Franz Vote, 2-5 p.m., Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd.; contact New Mexico Performing Arts Society for information on the evening reception, 505-474-4513.

iN CONCERT

The Sonic White Musician Bill Williams and poet Cyril Christo reflect on Earth’s cryosphere regions, 2-4 p.m., Muñoz Waxman Gallery, Center for Contemporary Arts, 1050 Old Pecos Trail, $10 suggested donation, 505-982-1338.

ThEATER/DANCE

Les Liaisons Dangereuses Christopher Hampton’s adaptation of the novel about seduction and revenge, 2 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available, ticketssantafe.org, 505-988-1234, runs Fridays-Sundays through March 16.

Water by the Spoonful Teatro Paraguas presents Quiara Alegria Hudes’ drama, 2 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $15, discounts available, 505-424-1601, teatroparaguas.org, continues Thursdays-Sundays through March 16.

lodge lounge at The lodge at Santa Fe 750 N. St. Francis Dr., 505-992-5800 low ’n’ Slow lowrider Bar at hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St. Mine Shaft Tavern 2846 N.M. 14, Madrid, 505-473-0743 Molly’s Kitchen & lounge 1611 Calle Lorca, 505-983-7577 Museum hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Music Room at Garrett’s Desert inn 311 Old Santa Fe Trail, 505-982-1851 Palace Restaurant & Saloon 142 W. Palace Ave., 505-428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 505-986-0022 Pranzo italian Grill 540 Montezuma Ave., 505-984-2645 Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705

BOOKS/TAlKS

highlights of A History of the World in 100 Objects Illustrated talk by British Museum curator Frances Carey, 10 a.m., New Mexico Museum of Art, 107 W. Palace Ave., by museum admission, visit britishmuseum.org to view the photographs.

Journey Santa Fe Presents Wage Theft in New Mexico, a talk by the Rev. Holly Beaumont on recent legislative actions, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

The Turquoise Trail Author Laurie Frantz shares the national scenic byway’s history, 2 p.m., Cerrillos Hills State Park Visitor Center, 37 Main St., 16 miles south of Santa Fe off NM 14, donations accepted, 505-474-0196.

EVENTS

Beauty in Simplicity A demonstration of sash weaving by Louie Garcia Tiwa of Piro Pueblo, 10 a.m.-4 p.m., Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, by museum admission, 505-476-1269.

Cowboy hoedown Live music by Holy Water and Whiskey, dance lessons, and crafts, in conjunction with the exhibit Cowboys Real and Imagined, 1-4 p.m., New Mexico History Museum, 113 Lincoln Ave., by museum admission, 505-476-5200.

Railyard Artisan Market Weekly event with live music, entertainment, and local artists; this week’s musicians, Mose Malin and Lucy Barna, 10 a.m.-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, no charge, artmarketsantafe.com.

Santa Fe Sol Stage & Grill 37 Fire Place, solofsantafe.com Second Street Brewer y 1814 Second St., 505-982-3030 Second Street Brewer y at the Railyard 1607 Paseo de Peralta, 505-989-3278 Shadeh Buffalo Thunder Resort & Casino, Pojoaque Pueblo, U.S. 84/285, 505-455-5555 Sweetwater harvest Kitchen 1512-B Pacheco St., 505-795-7383 Taberna la Boca 125 Lincoln Ave., 505-988-7102 Tiny’s 1005 St. Francis Drive, Suite 117, 505-983-9817 The Underground at Evangelo’s 200 W. San Francisco St. Upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Vanessie 434 W. San Francisco St., 505-982-9966 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia Dinner 326 S. Guadalupe St., 505-988-7008

12 Wednesday

Nightlife

(See Page 42 for addresses) Cowgirl BBQ Gospel Brunch Renunion, noon-3 p.m.; folk and alt-country singer Adam Acuragi, 8 p.m.; no cover. el farol Latin chanteuse Nacha Mendez, 7:30 p.m., call for cover. evangelo’s R & B/rock ’n’ roll singer Jessica Childress, 8 p.m., call for cover.

Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.

iN CONCeRt

greensky Bluegrass Progressive-bluegrass band, 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Place, $15 in advance, $20 at the door, 505-988-1234, ticketssantafe.org.

BOOKS/tAlKS

2014 Sfi Community lecture The Santa Fe Institute series continues with Why the Internet Won’t Gain You Any More Friends,

by Robin Dunbar of the University of Oxford, 7:30 p.m., James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., no charge, santafe.edu.

Artists, Natural Resources, and the environment A School for Advanced Research lecture by Rose Simpson, Kathy Wallace, Roy Kady, and Cynthia Chavez Lamar, noon, SAR, 660 Garcia St., no charge, 505-954-7203.

Paulette frankl The author debuts Marcel & Me: A Memoir of Love, Lust, and Illusion with a reading at 7:30 p.m., followed by a screening of the 1968 cult film Barbarella, a signing, and a conversation, Jean Cocteau Cinema, 418 Montezuma Ave., 505-466-5528, advance tickets available online at jeancocteaucinema.com.

Photographer William Clift The docent-led gallery-talk series continues, 12:15 p.m., New Mexico Museum of Art, 107 W. Palace Ave., by museum admission, 505-476-5075.

Queen Bees & Masterminds: Creating a Culture of Dignity and Respect Amongst teens Presentation by author Rosalind Wiseman in support of Santa Fe Mountain Center, 7-9 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $15, 505-988-1234, ticketssantafe.org.

10 Monday BOOKS/tAlKS

living life to the fullest With Native humor The Southwest Seminars lecture series continues with Without Reservations cartoonist Ricardo Caté, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 505-466-2775.

Santa fe Photographic Workshops instructor image Presentations Open conversation and slide presentation of works by Alan M. Thornton, Richard Newman, Norman Mauskopf, and R. Mac Holbert, 8-9 p.m., Immaculate Heart of Mary Retreat and Conference Center, 50 Mount Carmel Rd., Sunmount Room, no charge, 505-983-1400, Ext. 11. taraShea Nesbit The author reads from and signs copies of The Wives of Los Alamos: A Novel, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

eVeNtS

Game of Thrones Free weekly screenings of the HBO series at 7 p.m. through March 24, Jean Cocteau Cinema, 418 Montezuma Ave., jeancocteaucinema.com.

Banff Mountain film festival World tour 2014 Action-sports-themed films, 7 p.m. today and Tuesday, the Lensic, 211 W. San Francisco St., $16 one night, $28 both nights, ticketssantafe.org, 505-988-1234.

Nightlife

(See Page 42 for addresses) Cowgirl BBQ Cowgirl karaoke hosted by Michele Leidig, 8 p.m., no cover. la fiesta lounge at la fonda R & B and soul artist Zenobia, 7:30 p.m., no cover.

11 Tuesday BOOKS/tAlKS

Salt of the Earth Santa Fe Community College History Department celebrates the once-controversial 1954 film’s 60th anniversary with a presentation by journalist Yolanda Nava, noon, West Wing Board Room, 6401 Richards Ave., no charge, 505-428-1501.

Digest this! Coffee & etiquette SITE Santa Fe’s weekly series related to themes and concepts in the exhibit Feast: Radical Hospitality in Contemporary Art continues with a presentation and tasting with Tai Ayers of Ohori’s Coffee Roasters,

Nightlife

Norman Mauskopf’s photographs are included in the Santa Fe Photographic Workshops Instructor Presentation series, Monday, March 10, Immaculate Heart of Mary Retreat and Conference Center, 50 Mount Carmel Rd.

followed by Bizia Greene from the Etiquette School of Santa Fe, 6-7 p.m., SITE Santa Fe, 1606 Paseo de Peralta, $10.

Notes on Music: Mendelssohn Illustrated talk with Santa Fe Concert Association artistic director Joseph Illick, 7:30 p.m., Temple Beth Shalom, 205 E. Barcelona Rd., $20, discounts available, 505-984-8759, or 505-988-1234, ticketssantafe.org.

School for Advanced Research lecture Chasing Dichos Through Chimayó, by photographer Don J. Usner, 3 p.m., SAR, 660 Garcia St., no charge, 505-954-7203.

eVeNtS

Banff Mountain film festival World tour 2014 Action-sports-themed films, 7 p.m., the Lensic, $16, 505-988-1234, ticketssantafe.org. international folk dances Weekly on Tuesdays, dance 8 p.m., lessons 7 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5 donation at the door, 505-501-5081 or 505-466-2920.

Nightlife

(See Page 42 for addresses) ¡Chispa! at el Mesón Argentine Tango Milonga, 7:30 p.m., no cover.

Cowgirl BBQ Americana duo Miss Shevaughn & Yuma Wray, 8 p.m., no cover. el farol Canyon Road Blues Jam, 8:30 p.m., call for cover. la fiesta lounge at la fonda R & B and soul artist Zenobia, 7:30 p.m., no cover.

Second Street Brewery at the Railyard Open-song night hosted by Ben Wright, 7:30 p.m., no cover. tiny’s Song Circle, monthly open-mic song swap hosted by Percolator John, 7-9 p.m., no cover.

Vanessie Classical and jazz guitarist Marc Yaxley, 6:30-9:30 p.m., call for cover.

Zia Diner Weekly Santa Fe bluegrass jam, 6-8 p.m., no cover.

(See Page 42 for addresses) ¡Chispa! at el Mesón Guitarist/songwriter Jesus Bas, 7 p.m., no cover.

Cowgirl BBQ Stanlie Kee & Step In, blues/funk/jazz, 8 p.m., no cover. el farol Nacha Mendez and Santastico, 8 p.m., call for cover. iconik Coffee Roasters Ravensong; a monthly singer/songwriter showcase hosted by Dave Tutin; performers include Karen Marolli, Dave Tutin, and Laurianne Fiorentino, 7 p.m., no cover. la fiesta lounge at la fonda Bill Hearne Trio, classic country tunes, 7:30 p.m., no cover.

Palace Restaurant & Saloon Local blues/rock guitarist Alex Maryol, 7:30 p.m., call for cover. the Pantry Restaurant Gary Vigil, guitar and vocals, 5:30-8 p.m., no cover.

13 Thursday gAlleRY/MUSeUM OPeNiNgS

Manitou galleries 225 Canyon Rd., 505-986-9833. Western Images, group show of works by gallery artists, reception 5-7:30 p.m., through March 27.

Santa fe Center for Spiritual living 505 Camino de los Marquez, 505-983-5022.

Paintings by Victoria Mauldin, reception 5-7 p.m. ▶▶▶▶▶▶▶▶

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THEATER/DANCE

Photographers Center Choice Awards call for entries The local nonprofit organization offers photographers awards and participation in its Review Santa Fe networking event; guidelines and application form available online at visitcenter.org; March 21 deadline.

The Queen of Madison Avenue A reading of Ron Bloomberg’s new play, 7 p.m., the Lensic, 211 W. San Francisco St., $10, 505-988-1234, ticketssantafe.org.

(See story, Page 30) Water by the Spoonful Teatro Paraguas presents Quiara Alegria Hudes’ drama, 7:30 p.m., Teatro Paraguas Studio, 3205 Calle Marie, $15, discounts available, 505-424-1601, teatroparaguas.org, continues Thursdays-Sundays through March 16.

Filmmakers/Performers/Writers

Santa Fe Playhouse: 93rd season Accepting proposals from local directors for fall 2014-summer 2015 season; any genre (no original plays considered); 505-988-4262, March 31 deadline; santafeplayhouse.org.

BOOKS/TALKS

China’s Place in a Changing World A talk by NMSU history professor Kenneth Hammond, 5 p.m., The Forum, SFUA&D, 1600 St. Michael’s Dr., $20, discounts available, contact Santa Fe Council on International Relations for more information, 505-982-4931, sfcir.org.

David Stuart MacLean The author reads from and signs copies of The Answer to the Riddle Is Me: A Memoir of Amnesia, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. (See story, Page 28) New Mexican Mapmakers and Troublemakers in the 1800s A Renesan Institute for Lifelong Learning lecture with Phil Goldstone, 1-3 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, 505-982-9274, renesan.org.

Nickel Stories Open five-minute prose readings, 6 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, Sanbusco Center, 505-428-0321.

EVENTS

Public programming at SFCC Planetarium The New Milky Way (part I), live presentation, 7-8 p.m., Santa Fe Community College, 6401 Richards Ave., $5 at the door, discounts available, 505-428-1744.

NigHTLiFE

(See Page 42 for addresses) ¡Chispa! at El Mesón Latin-jazz with guitarist Chuscales and Ramon Bermudez, with Mark Clark on drums, 7 p.m., no cover.

Cowgirl BBQ Autumn Electric, folk-rock, 8 p.m., no cover.

El Farol Guitarras con Sabor, Gypsy Kings style, 8:30 p.m., call for cover.

La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country tunes, 7:30 p.m., no cover.

La Posada de Santa Fe Resort and Spa Pat Malone Trio, featuring Kanoa Kaluhiwa on saxophone, Asher Barreras on bass, and Malone on guitar, 6-9 p.m., call for cover.

Low ’n’ Slow Lowrider Bar at Hotel Chimayó Tenor guitarist and flutist Gerry Carthy, 9 p.m., no cover.

Palace Restaurant & Saloon Thursday limelight karaoke, 10 p.m., no cover.

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

Tiny’s Country Blues Revue, 8 p.m., no cover.

Vanessie Pianist/vocalist Bob Finnie, ’50s-’70s pop, 6:30 p.m., call for cover.

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PASATIEMPO I March 7-13, 2014

Volunteers

New Mexico History Museum/Palace of the Governors, 113 Lincoln Ave., shows work by photographer Donald Woodman in the exhibit Transformed by New Mexico.

▶ Elsewhere AlbuquErquE

Richard Levy gallery 514 Central Ave. S.W., 505-766-9888.

Darshan, photographer Manjari Sharma’s series; wall sculpture by Emi Ozawa; reception 5-8 p.m. Friday, March 7, through April 18.

New Mexico gay Men’s Chorus High School Reunion cabaret; solos, duets, and full-chorus pieces, 7:30 p.m. Friday and Saturday, 3 p.m. Sunday, March 7-9, South Broadway Cultural Center, 1025 Broadway Blvd. S.E., $15-$20, nmgmc.org.

Manuel Barrueco Classical guitarist, 7:30 p.m. Saturday, March 8, National Albuquerque Journal Theatre, National Hispanic Cultural Center, 1701 Fourth St. S.W., $25-$45, 505-724-4771, nhccnm.org.

Chatter Sunday Music of Debussy, Michael Mauldin, and Ricky Ian Gordon; featuring soprano Shana Blake Hill and pianist Michael Dauphinais, 10:30 a.m. Sunday, March 9, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, chatterabq.org.

Outpost Performance Space concerts Singer/songwriter Nicole Atkins, 7:30 p.m.

Sunday, March 9, $25, ampconcerts.org; kora player Yacouba Sissoko & Siya, 7:30 p.m.

Thursday, March 13; Outpost Performance Space, 210 Yale Blvd. S.E., $20, discounts available, outpostspace.org, 505-268-0044.

los AlAmos

globetrotters, Border Crossers, and the Tangled Tales of U.S.-Mexico Borderlands History A Los Alamos Historical Society lecture by UNM professor Samuel Truett,

American Cancer Society Training offered in support of the Cancer Resource Center at Christus St. Vincent Cancer Center; various shifts available during business hours Mondays-Fridays; call Geraldine Esquivel for details, 505-463-0308.

Bollywood Club invasion Dance Party Call Deepti, 505-982-9801, to donate your time during this annual Amma Center of New Mexico benefit; held Saturday, March 22, at the Scottish Rite Center.

Cerrillos Hills State Park volunteer training Seeking weekend receptionists, park greeters, and help serving refreshments during public programs; training held 10 a.m.1 p.m. Saturday, March 8; call for reservations, 505-474-0196; Visitor’s Center, 37 Main St., Cerrillos.

The Hospice Center Assist in the office entering data for the volunteer program for a limited number of hours either weekly or biweekly; basic computer skills required; call Mary Ann at 505-988-2211.

7:30 p.m. Tuesday, March 11, Fuller Lodge, 2132 Central Ave., visit losalamoshistory.org for more information.

▶ under 21

TAos

UNDER 21

Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462.

Taos Pueblo Artists Winter Showcase and Sale, reception 5-7 p.m. Friday, March 7, through Sunday, March 9.

Río Bossa nova/jazz quartet, 8 p.m. Friday, March 7, KTAOS Solar Center, 9 NM 150, no charge, 575-758-5826.

▶ People who need people Artists

Call for artists and fashion designers Santa Fe Arts Commission Community Gallery seeks apocalypse-themed works for its November exhibit End of Days; submit portfolios (5-10 images, artist statement, and/or bio) no later than Friday, March 14, to Rod Lambert, Community Gallery, P.O. Box 909, Santa Fe, NM, 87504-0909; santafeartscommission.org, 505-955-6705.

Call for sculpture One-inch-high sculptures sought for The Royal Breadshow; sculptures will be exhibited and then baked into breads; March 31 deadline; see theroyalbreadshow.com or axleart.com for submission guidelines.

MasterWorks of New Mexico 2014 Accepting miniatures, pastels, watercolors, and oils/acrylics; miniatures must be shipped

by March 15 or hand-delivered by March 22; for prospectus and information visit masterworksnm.org.

Warehouse 21 concerts 8-11 p.m. Friday, March 7, hip-hop artists Exclucive, C.D.B. Gang, Selfmade, and DJ Optamystik; 6-11 p.m. Saturday, March 8, Lilyoung Olmeca Swishahouse and Rasheed; Warehouse 21, 1614 Paseo de Peralta, $5 at the door, 505-989-4423, all ages.

▶ Pasa Kids Bee Hive Kids Books events Make a Bird, parent/child crafts in celebration of the annual spring migration, 10 a.m.-noon Fridays through March; story times 11 a.m.

Saturday, March 8, with Jesse Wood, all ages; 10:30 a.m. Wednesday, March 12, for ages 3-5; 328 Montezuma Ave., no charge, 505-780-8051. georgia O’Keeffe Museum Education Annex 123 Grant Ave., 505-946-1039.

Celebrate Creativity: Artwork From the Georgia O’Keeffe Museum’s Pre-K Programs, opening reception 4-6 p.m. Friday, March 7, through March 17, no charge.

Children’s Story Hour Readings from picture books for children up to age 5; 10:45-11:30 a.m. weekly on Wednesdays and Thursdays, Collected Works Bookstore, 202 Galisteo St., no charge, 505-988-4226.

Santa Fe Children’s Museum events Weekly events including an open art studio, a drama club, a jewelry-making club, and preschool programs, 1050 Old Pecos Trail, by museum admission, 505-989-8359, visit santafechildrensmuseum.org for schedule details. ◀

In the wings MUSIC

Yacouba Sissoko Kora player, 7:30 p.m. Friday, March 14, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.

Sharon Jones and the Dap-Kings Soul and funk; Valerie June opens, 7:30 p.m.

Tuesday, March 18, Lensic Performing Arts Center, 211 W. San Francisco St., $34-$54, 505-988-1234, ticketssantafe.org.

Curtis on Tour Touring ensemble made up of students from Philadelphia’s Curtis Institute of Music; music of Mozart, Barber, and Katerina Kramarchuk, 7:30 p.m. Wednesday, March 19, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$40, ticketssantafe.org, 505-988-1234.

Round Mountain and Selkies Folk-rock duo Char and Robby Rothschild and the Celtic band celebrate St. Patrick’s Day, 3 p.m. Saturday, March 22, Teatro Paraguas Studio, 3205 Calle Marie, $12, discounts available, 505-424-1601, teatroparaguas.org.

Concordia Santa Fe The Full-Ensemble Series continues at 2 p.m.

Sunday, March 23, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., donations appreciated, concordiasantafe.org, 505-827-4455.

Santa Fe Symphony Featuring violinist Clara-Jumi Kang; music of Bruch, Rachmaninov, and Borodin, 4 p.m.

Sunday, March 23, $22-$76; conductor Steven Smith returns to lead the orchestra in Mahler’s Symphony No. 7, 4 p.m. Sunday, April 13, $22-$72; the Lensic, ticketssantafe.org, 505-988-1234.

Beth Kennedy Jones Music from the Lena Horne Songbook, with the Bert Dalton Trio, 6 p.m. Sunday and Monday, March 23-24, La Casa Sena Cantina, 125 E. Palace Ave., $25, 505-988-9232.

Pierre Bensusan French-Algerian acoustic guitarist, 7 p.m.

Wednesday, March 26, Garrett’s Desert Inn Music Room, 311 Old Santa Fe Trail, $25, brownpapertickets.com, 800-838-3006.

Sounds of Santa Fe Local musicians showcase series; featuring Luke Carr’s Storming the Beaches with Logos in Hand and Ben Wright’s iNK oN pAPER, 7:30 p.m. Friday, March 28, Lensic Performing Arts Center, 211 W. San Francisco St., $12, 505-988-1234, ticketssantafe.org.

Joe Ely Alt-country singer/songwriter, with David Ramirez, 8 p.m. Saturday, March 29, Santa Fe Sol Stage & Grill, 37 Fire Place, $32 in advance, $40 at the door, 505-988-1234, ticketssantafe.org.

Santa Fe Men’s Camerata Journeys: Music of America and Scotland, directed by Karen Marrolli, 3 p.m. Sunday, March 30, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20, students under 18 no charge, 225-571-6352.

An Evening With Joyce DiDonato Mezzo-soprano, 6:30 p.m. Monday, March 31, the Lensic, 211 W. San Francisco St., concert only $25-$95, 505-988-1234, ticketssantafe.org; premium seats and dinner $325, tickets available through the Santa Fe Concert Association, 505-984-8759.

Vadym Kholodenko 2013 Van Cliburn Piano Competition winner, music of Schumann, Brahms, and Chopin, 7:30 p.m. Tuesday, April 1, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$50, for tickets call the Santa Fe Concert Association, 505-984-8759, or ticketssantafe.org, 505-988-1234.

Fourteenth Annual Nuestra Musica Celebrating New Mexico’s diverse musical heritage, 7 p.m. Friday, April 4, the Lensic, 211 W. San Francisco St., $10, discounts available, 505-988-1234, ticketssantafe.org.

Joshua Redman Jazz saxophonist, 7 p.m.

Friday, April 4, Outpost Performance Space, 210 Yale Blvd. S.E., Albuquerque, $30, students $25, holdmyticket.com.

The Met at the Lensic The season continues with an encore broadcast of Puccini’s La Bohème, 6 p.m. Saturday, April 5, the Lensic, $22, ticketssantafe.org, 505-988-1234.

Awna Teixeira Singer/songwriter, 7:30 p.m. Saturday, April 5, Gig Performance Space, 1808 Second St., $17 in advance, brownpapertickets.com, $20 at the door.

The Mavericks Veteran country/rock/Tex-Mex-fusion band, 7:30 p.m. Monday, April 7, the Lensic, 211 W. San Francisco St., $36-$54, 505-988-1234, ticketssantafe.org.

Upcoming events Serenata of Santa Fe Spring for Mozart, music of Pärt, Schnittke, and Mozart, 7 p.m. Friday, April 11, Scottish Rite Center, 463 Paseo de Peralta, $25, 505-988-1234, ticketssantafe.org.

Neko Case Singer/songwriter, with The Dodos, 7:30 p.m. Monday, April 14, Lensic Performing Arts Center, 211 W. San Francisco St., $34-$44, 505-988-1234, ticketssantafe.org.

The Dandy Warhols Power-pop rockers, 7:30 p.m. Tuesday, April 29, Santa Fe Sol Stage & Grill, 37 Fire Place, $27 in advance, 505-988-1234, ticketssantafe.org, $35 at the door.

Perla Batalla Singer/songwriter, 7:30 p.m. Monday, May 5, the Lensic, 211 W. San Francisco St., $15-$35, 505-988-1234, ticketssantafe.org.

THEATER/DANCE

Aspen Santa Fe Ballet Choreography by Nicolo Fonte, Cayetano Soto, and Norbert de la Cruz, 7:30 p.m.

Friday and Saturday, March 21-22, the Lensic, $25-$72, 505-988-1234, ticketssantafe.org, April 19 encore.

Southwest Irish Theater Festival Theaterwork presents four plays and a concert, March 21-30, New Mexico School for the Deaf, 1060 Cerrillos Rd., reservations 505-471-1799.

HaMapah/The Map Dancer Adam McKinney’s multimedia performance, 7:30 p.m. Saturday, 2 p.m.

Sunday, March 22-23, The Dance Barns, 1140 Alto St., $20, discounts available, 505-988-1234, ticketssantafe.org.

The Lyons Santa Fe Playhouse presents Nicky Silver’s comedy, 7:30 p.m. Thursdays-Saturdays, 4 p.m. Sundays, March 28-April 13, final dress rehearsal/sneak preview March 27, Santa Fe Playhouse, 142 E. De Vargas St., gala opening $30; general admission $20; discounts available, 505-988-4262.

pierre Bensusan performs at garrett’s Desert inn music Room march 26.

Flamenco Fiesta! 2014 Dancer Juan Siddi, choreographer/dancer Mina Fajardo, guitarist Chuscales, percussionist Alejandro Valle, and singer Vicente Griego, 6 p.m. Thursday and Friday, March 27-28, Teatro Paraguas Studio, 3205 Calle Marie, $20, 505-424-1601.

The Guru of Chai Jacob Rajan’s one-man portrayal of modern India, 7:30 p.m. Tuesday, April 1, the Lensic, 211 W. San Francisco St., $15-$35, 505-988-1234, ticketssantafe.org.

Luma Experimental-light theater performance, 2 and 7 p.m. Sunday, April 6, the Lensic, 211 W. San Francisco St., $15-$35, discounts available, 505-988-1234, ticketssantafe.org.

Left to Our Own Devices: Staying Connected in the Digital Age Just Say It Theater presents a collaborative performance by students of Santa Fe University of Art & Design and New Mexico School for the Arts, 7 p.m. Thursday-Saturday, 2 p.m. Sunday, April 24-27, Warehouse 21, 1614 Paseo de Peralta, $10, 505-820-7112.

Spring Awakening A musical based on Frank Wedekind’s oncecontroversial play, 7 p.m. Friday and Saturday, April 25-May 3, 2 p.m. Sunday, May 4, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org.

One Woman Dancing 2014 Julie Brette Adams, 8 p.m. Friday and Saturday, 2 p.m. Sunday, May 9-11, Santa Fe Playhouse, 142 E. De Vargas St., $20, discounts available, 505-986-1801.

HAPPENINGS

Sixth Annual Bollywood Club Invasion Dance Party DJ-driven dance rhythms, Indian-dance class, Indian bazaar, and food, 7 p.m.-12:30 a.m. Saturday, March 22, Scottish Rite Center, 463 Paseo de Peralta, $15, ages 11 and under $7, 512-694-4375, proceeds benefit Amma Center of New Mexico.

Tenth Annual Japanese Cultural Festival Folk dances; kite-making demonstrations; live entertainment, including singer Madi Sato and drum ensemble Smokin’ Bachi Taiko, 10 a.m.5 p.m. Saturday, March 22, Santa Fe Community Convention Center, 201 W. Marcy St., $3 at the door, ages 12 and under no charge, for more information visit santafejin.org.

Paper Dosa Collaborative event between the owners of the San Francisco restaurant Dosa and the local art collective SCUBA in support of the CCA; sample South Indian fare on handmade plates, 7-10 p.m.

Saturday, March 29, Center for Contemporary Arts, 1050 Old Pecos Trail, $50, 505-982-1338, ccasantafe.org.

Wild Horse Film Showcase Documenting the plight of mustangs; El Caballo kicks off the series with a free screening, 6 p.m. Friday, April 4, at Collected Works Bookstore; four ticketed screenings are held Saturday, April 5, beginning at 10:30 a.m., at The Palace of the Governors Auditorium, $5 each, $15 for all four films, 505-988-1234, ticketssantafe.org, visit cimarronskydog.org for details.

Antiques Roadshow The PBS series visits Albuquerque for an all-day appraisal of all collectibles big and small, Saturday, July 19, no charge, but tickets are required and must be obtained in advance by Monday, April 7, pbs.org/antiques, 888-762-3749.

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At the GAlleries Andrew Smith Gallery Annex 203 W. San Francisco St., 505-984-1234.

Outer/Inner: Contemplation on the Physical and the Spiritual, work by photographer Patrick Nagatani, through March 14.

Charlotte Jackson Fine Art 554 S. Guadalupe St., 505-989-8688. Unidentified Floating Objects, paintings by Ronald Davis, through March.

Counter Culture 930 Baca St., 505-995-1105. Photographic montage by Melvin Duncan, through March 27.

David Richard Gallery 544 S. Guadalupe St., 505-983-9555.

Oli Sihvonen: In Motion, paintings from 1988 to 1991, through Saturday, March 8.

New Moon West, Paul Pascarella’s paintings, through April 12.

Jean Cocteau Cinema Gallery 418 Montezuma Ave., 505-466-5528.

Photographs of abandoned theaters

by Matt Lambros, through March 17.

Monroe Gallery of Photography 112 Don Gaspar Ave., 505-992-0800.

When Cool Was King, photojournalistic works, through April 20.

Peyton Wright Gallery 237 E. Palace Ave., 505-989-9888. Art of Devotion, historic art of the Americas, through Saturday, March 9.

Photo-eye Gallery 370-A Garcia St., 505-988-5159. Conventional Entropy, works by photographer Kevin O’Connell, through April 5.

Red Dot Gallery 826 Canyon Rd., 505-820-7338. Concept, Curves, and Whimsey, sculptural works by Cary Cluett, Tom Osgood, and DeeAnne Wagner, through March 28.

Scheinbaum & Russek Call 505-988-5116 for directions. On View, group show of vintage and contemporary B & W photographs, through March.

Than Povi Fine Art Gallery 6 Banana Lane, 10 miles north of Santa Fe off US 84/285, 505-301-3956. George Toya: The Spirit of Color, mixed media, through March 21.

Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111. View/ Review: Contemporary Masters, including works from Robert Motherwell (1915-1991), Ellsworth Kelly, and Pierre Soulages, through March 22.

MuseuMs & Art spAces Santa Fe

Center for Contemporary Arts 1050 Old Pecos Trail, 505-216-0672. Icepop, installation by Sandra Wang and Crockett Bodelson of the art collective SCUBA, Muñoz Waxman Gallery • All the News That’s Fit to Print, group show, Spector-Ripps Project Space, both shows through March 30. Open Thursdays-Saturdays; visit ccasantafe.org.

Georgia O’Keeffe Museum 217 Johnson St., 505-946-1000. Celebrate Creativity: Artwork From the Georgia O’Keeffe Museum’s Pre-K Programs, reception 4-6 p.m.

Friday, March 7, through March 17 • Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures

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PASATIEMPO I March 7-13, 2014

David sloane: Loostoh, Museum of contemporary Native Arts, 108 cathedral place

• Abiquiú Views; through Sept. 14. Paintings, drawings, sculptures, sketches, and photographs

by O’Keeffe in the permanent collection. Open daily; visit okeeffemuseum.org.

Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1666. Articulations in Print, group show, through July • Bon à Tirer, prints from the permanent collection, through July • Native American Short Films, continuous loop of five films from Sundance Institute’s Native American and Indigenous Program. Closed Tuesdays; visit iaia.edu/museum.

Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 505-476-1269.

Native American Portraits: Points of Inquiry, vintage and contemporary photographs, through January 2015 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, more than 1,300 artifacts from the museum collection. Closed Mondays through Memorial Day; visit indianartsandculture.org.

Museum of International Folk Art 706 Camino Lejo, Museum Hill, 505-476-1200.

Tako Kichi: Kite Crazy in Japan, exhibition of Japanese kites, through March • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s Brazilian collection, through Aug.10.

Closed Mondays; visit internationalfolkart.org.

Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 505-982-2226.

Filigree & Finery: The Art of Adornment in New Mexico, through May • Window on Lima: Beltrán-Kropp Peruvian Art Collection, through May 27 • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, latecolonial-period re-creation. Closed Mondays; visit spanishcolonialblog.org.

New Mexico History Museum/ Palace of the Governors 113 Lincoln Ave., 505-476-5200. Transformed by New Mexico, Mezzanine Gallery exhibit of work by photographer Donald Woodman, through Oct. 12 • Water Over Mountain, Channing Huser’s photographic installation • Cowboys

Real and Imagined, artifacts and photographs from the collection, through March 16 • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe. Closed Mondays; visit nmhistorymuseum.org.

New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Focus on Photography, year-long cycle of photography exhibits; Beneath Our Feet, photographs by Joan Myers; Grounded, landscapes from the museum collection; Photo Lab, interactive exhibit explaining the processes of color and platinum-palladium printing, reception 5-8 p.m.

Friday, March 7 • Renaissance to Goya: Prints and Drawings From Spain, through Sunday, March 9 • 50 Works for 50 States: New Mexico, through April 13. Closed Mondays; visit nmartmuseum.org.

Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900. Gathering of Dolls: A History of Native Dolls, through April 27. Closed Mondays; visit pvmiwa.org.

Santa Fe Children’s Museum 1050 Old Pecos Trail, 505-989-8359. Houses permanent and temporary interactive exhibits.

Closed Mondays and Tuesdays through May; visit santafechildrensmuseum.org.

SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. Feast: Radical Hospitality in Contemporary Art, group show, through May 18. Closed Mondays-Wednesdays; visit sitesantafe.org.

Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13. Open daily; visit wheelwright.org.

albuquerque

Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255.

Behind Closed Doors: Art in the Spanish American Home, 1492-1898, works from the Brooklyn Museum, through May 18 • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, more than 150 examples of craftsmanship and design distinctive to the charro • African American Art From the Permanent Collection, installation of drawings, prints, photographs, and paintings

by New Mexico African American artists, through May 4. Closed Mondays; visit cabq.gov/culturalservices/albuquerquemuseum/general-museum-information.

National Hispanic Cultural Center 1701 Fourth St. S.W., 505-604-6896. En la Cocina With San Pascual, works by New Mexico artists. Hispanic visual arts, drama, traditional and contemporary music, dance, literary arts, film, and culinary arts. Closed Mondays; visit nationalhispaniccenter.org.

New Mexico Museum of Natural History & Science 1801 Mountain Rd. N.W., 505-841-2804. Timetracks, core exhibits offer a journey through billions of years of history, from the formation of the universe to the present.

Open daily; visit nmnaturalhistory.org.

UNM Art Museum 1 University of New Mexico Blvd., 505-277-4001.

Melanie Yazzie: Geographies of Memory, works by the printmaker and sculptor • 400 Years of Remembering and Forgetting: The Graphic Art of Floyd Solomon, etchings by the late artist • The Blinding Light of History: Genia Chef, Ilya Kabakov, and Oleg Vassiliev, Russian

paintings and drawings • Breakthroughs: The Twentieth Annual Juried Graduate Exhibition, all through May 17. Closed Sundays and Mondays; visit unmartmuseum.org.

eSpañola

Bond House Museum and Misión Museum y Convento 706 Bond St., 505-747-8535. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Call for hours; visit plazadeespanola.com.

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; visit lanl.gov/museum.

Los Alamos Historical Museum 1050 Bathtub Row, 505-662-4493. Exhibits on area geology, early homesteaders, and the Manhattan Project. Housed in the Guest Cottage of the Los Alamos Ranch School.

Visit losalamoshistory.org; open daily.

Pajarito Environmental Education Center 3540 Orange St., 505-662-0460. Exhibits of flora and fauna of the Pajarito Plateau; herbarium, live amphibians, and butterfly and xeric gardens.

Closed Sundays; visit pajaritoeec.org.

taoS

E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish colonial antiques.

Open daily; visit taoshistoricmuseums.org.

Harwood Museum of Art 238 Ledoux St., 575-758-9826. Ken Price: Slow and Steady Wins the Race, Works on Paper 1962-2010, drawings by the late artist • Charles Mattox: Poetry in Motion, works on paper from the 1970s • Art for a Silent Planet: Blaustein, Elder and Long, works by local artists Jonathan Blaustein, Nina Elder, and Debbie Long, exhibits up through May 4 • Highlights From the Harwood Museum of Art’s Collection of Contemporary Art • Death Shrine I, work

by Ken Price • works of the Taos Society of Artists and Taos Pueblo Artists. Closed Mondays; visit harwoodmuseum.org.

Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson displaying artifacts, antique firearms, pioneer belongings, and Carson memorabilia.

Visit kitcarsonhomeandmuseum.com, open daily.

La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. One of the few Northern New Mexico-style, late-Spanishcolonial-period “great houses” remaining in the American Southwest. Built in 1804 by Severino Martin. Open daily; visit taoshistoricmuseums.org.

Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462.

Taos Pueblo Artists Winter Showcase and Sale, reception 5-7 p.m. Friday, March 7, through Sunday, March 9. Historical collections of Native American jewelry, ceramics, and paintings; Hispanic textiles, metalwork, and sculpture; and a wide range of contemporary jewelry.

Closed Mondays through March; visit millicentrogers.org.

Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690.

Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933. Open 10 a.m.-4 p.m. Visit taosartmuseum.org; closed Mondays.

exHibiTionisM

A peek at what’s showing around town

John Tollett: Blowing Kisses, 2014, charcoal and pastel on paper.

Argos Studio/Gallery and Santa Fe Etching Club (1211 Luisa St.) presents Skin Deep, an exhibition of live-model works by members of Argos’ Tuesdaynight drawing group, which has been active since it was started by artist Eli Levin in 1969. There is an opening reception at 6 p.m. on Friday, March 7.

Call 505-988-1814.

Rita bernstein: Journey, 2009, photograph on handmade paper with beeswax and oil paint. Verve Gallery of Photography (219 E. Marcy St.) presents a retrospective exhibition of photography by artists featured in Diffusion, an independent Portland, Oregon-based annual that celebrates unconventional photographic processes and artwork. The exhibit Diffusion: A Five Year Retrospective includes work by Don Anton, Polly Chandler, and Tina Maas. There is a 5 p.m. reception on Friday, March 7, and a gallery talk at 2 p.m. on Saturday, March 8. Call 505-982-5009.

Paul Caponigro: Seaside Treasures, Cushing, Maine, 2013, photograph. Paul Caponigro: Old and New features a selection of work by the American photographer ranging from the 1960s to the present. The show includes Caponigro’s mystical landscapes, architectural photographs, and still-lifes that reflect his ongoing interest in natural forms. The exhibit is on view through March 14 at Andrew Smith Gallery (122 Grant Ave.).

Call 505-984-1234.

Patricia Pearce: Borrowed Dimension, 2014, mixed media.

Vivo Contemporary’s Awakening Image celebrates the arrival of spring with gallery artists Paul Biagi, Ilse Bolle, Joy Campbell, and others who work in a variety of media including book art, printmaking, sculpture, and collage.

The opening reception is on Friday, March 7, at 5 p.m. The gallery is at 725 Canyon Road. Call 505-982-1320.

William Haskell: Divide, 2013, acrylic. Manitou Galleries (123 W. Palace Ave.) presents a group show of New Mexico landscape painters. It includes work by Fran Larsen, Harry Greene, and William Haskell and features a selection of paintings by Douglas Aagard, whose landscapes are rendered in rich colors and bathed in light. “I have found that my work has a more dimensional feel or depth when painted with a knife, and often times the texture is more fun than the composition,” he writes. The show opens with a 5 p.m. reception on Friday, March 7. Call 505-986-0440.

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