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

November 1, 2013


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T U E S D AY

NOVEMBER 5

6–8 PM

Art & Leadership for Adults O’Keeffe’s Approach to Abstraction from Nature: An Exploration. Examine your understanding of abstraction through hands-on activities and group discussion. Led by Lorraine Schechter, visual artist, poet, educator.

W E D n E S D AY

NOVEMBER 13

6 PM

Research Center Lecture and Book Signing Jaune Quick-to-See Smith: An American Modernist.

Look at the

Georgia O’Keeffe Museum curator and 2008 Research Center Scholar Carolyn Kastner lectures on her book recently published by the University of New Mexico Press. S AT U R D AY

NOVEMBER 16

9:30–11:30 AM

Family Program Our Bodies of Water in Watercolor. From our memories or photos (bring some!), we will create watercolor paintings of these important places in our lives. Led by Tuscany Wenger, visual artist. T U E S D AY

NOVEMBER 19

6–7:30 PM

Readers’ Club Alfred Stieglitz at Lake George. Discuss the catalogue by

John Szarkowski, the former curator of photography for the Museum of Modern Art, examines a period in the life of photographer, editor, and art dealer Alfred Stieglitz.

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THE SANTA FE NEW MEXICAN

November 1 - 7, 2013

www.pasatiempomagazine.com

On the cOver 36 An 18th-century renaissance man The santero tradition in Northern New Mexico has its origins in the Spanish colonial era. Scholars have identified artist, cartographer, and explorer Bernardo Miera y Pacheco as a major influence on the tradition. The Art & Legacy of Bernardo Miera y Pacheco, a new book published by the Museum of New Mexico Press, is the most complete overview of his work to date. Editor Josef Díaz and contributors discuss the book at the New Mexico History Museum on Friday, Nov. 1. On the cover is a photo of an 18th-century Franciscan escutcheon by Miera y Pacheco in the collection of the Museum of International Folk Art.

BOOKS 12 14 16 30 32

MOvIng IMAgeS

In Other Words My Notorious Life A new look at Laramie Matthew Shepard Lost assets Valerie Plame & Sarah Lovett holier than thou Saints and martyrs the dead have their day Jung’s Red Book

44 46 47 48 50

Art AnD DeSIgn 18 Digits in a digital age Design Santa Fe 2013 40 As the wheel turns Repsher & Repsher

MUSIc AnD PerFOrMAnce 20 22 24 26 29

Art Director — Marcella Sandoval 986-3025, msandoval@sfnewmexican.com

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

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

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

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

AnD

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

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

cOntrIBUtOrS Loren Bienvenu, Laurel gladden, Peg goldstein, robert Ker, Jennifer Levin, robert nott, Jonathan richards, heather roan-robbins, casey Sanchez, roger Snodgrass, Steve terrell, Khristaan D. villela, hollis Walker

PrODUctIOn Dan gomez Pre-Press Manager

The Santa Fe New Mexican

© 2013 The Santa Fe New Mexican

57 Pasa Week

9 Mixed Media 11 Star codes 54 restaurant review: the Pink Adobe & the guadalupe café

PASAtIeMPO eDItOr — KrIStInA MeLcher 986-3044, kmelcher@sfnewmexican.com ■

cALenDAr

Sound Waves Mayhem memories Pasa reviews Apollo’s Fire terrell’s tune-Up La La Brooks Pasa tempos CD Reviews Onstage Salt and Pepper

Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 e. Marcy St. Santa Fe, nM 87501. editorial: 505-986-3019. Fax: 505-820-0803. e-mail: pasa@sfnewmexican.com

Detail of Animated Apertures video still, by herwig Baumgartner and Scott Uriu, B +U, Los Angeles, 2012

Robin Martin Owner

www.pasatiempomagazine.com

The Counselor Wadjda All Is Lost Mr. Nobody Pasa Pics

Ginny Sohn Publisher

ADvertISIng DIrectOr Tamara Hand 986-3007

MArKetIng DIrectOr Monica Taylor 995-3824

grAPhIc DeSIgnerS Rick Artiaga, Dale Deforest, Elspeth Hilbert

ADvertISIng SALeS Julee clear 995-3825 Mike Flores 995-3840 Laura harding 995-3841 Wendy Ortega 995-3892 vince torres 995-3830 Art trujillo 995-3852

Ray Rivera editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet


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Cyril Christo and Marie Wilkinson: Crouching Tiger, Bandhavgar, India, 2009; top, Polar Bear in Retreat, Svalbard, Norway, 2008; both silver gelatin prints

Fearful symmetry “The death of the last predator, of the very last of the innocent killers, will signal our end,” write photographers Cyril Christo and Marie Wilkinson in the prologue to their new book In Predatory Light: Lions and Tigers and Polar Bears. “Predators are not our enemies,” they write; “rather, they form part of the immune system of our planet.” What these three predators have in common is that they’re all endangered and threatened with loss of habitat. The book, published by Merrell, is a tribute to these great beasts. It is Christo and Wilkinson’s third project together, and the second dealing specifically with species threatened by humans (the previous was 2009’s Walking Thunder: In the Footsteps of the African Elephant, also published by Merrell). For In Predatory Light, Christo and Wilkinson photographed the animals in their natural environments, shooting in black and white. The images convey a sense of the animals’ beauty and power and the precarious place they hold in the ecosystem. Naturalist Sy Montgomery, anthropologist Elizabeth Marshall Thomas, and documentarian John Houston contribute stories, anecdotes, myths, and legends, adding a deeper context for understanding the significance of predators and their symbiotic relationship with humans and other animals. Christo and Wilkinson give a talk at Collected Works Bookstore (202 Galisteo St.) at 6 p.m. on Friday, Nov. 1. Call 505-988-4226. — Michael Abatemarco

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This week quivers with more than a Halloween-candy hangover. We

need a lighthouse to guide us across the potential-filled but choppy waters and into a good harbor. Uranus and Pluto, the two planets most connected to change and revolution, form seven exact era-changing squares from 2012 to 2015. Though we feel their effects for three years, one of the exact squares forms this weekend, and Mercury tags them both. These two planets started a new cycle together from 1965 to 1968, synchronous with a cultural debate over racial equality, women’s rights, gay rights, ecological concerns, social structure, the division of wealth, and nuclear power. Sound familiar? Here we are back again at the crossroads. This square can trigger events that shake us up and remind us to keep working toward positive changes started at the conjunction. We may have our emotional attachments deeply challenged and feel pressured to gain insight so we can get on with our work. Mercury is retrograde through Nov. 11, snuggled up next to Saturn, asking us to review what we’ve said and done and holding us accountable. It encourages us to look at how we communicate, collect information, move through the world, and make adjustments if needed. Friday is eventful and informative, even shocking. It’s easy to blame others for the shock, but this deprives us of the tools we need to improve the situation. As we approach a Scorpio new moon eclipse on Sunday morning, introverts will be more comfortable than extroverts; everyone needs to take a step inward to connect to themselves and their core source. Be specific about what needs to be composted and what needs to be revived. Friday, Nov. 1: Communication and transportation may have glitches. The mood is friendly but easily affronted under a Libra moon, but Mercury irritably bounces off the triggering Uranus-Pluto square. Make wise choices under pressure to move a personal agenda forward. Compassion is rewarded. Saturday, Nov. 2: Turn within as the moon wanes in Scorpio. Find that fine line between realism and cynicism. Prune and pare as Mercury sextiles Mars, but don’t cut healthy growth.

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In Other wOrds book reviews My Notorious Life by Kate Manning, Scribner/ Simon & Shuster, 435 pages Kate Manning’s novel My Notorious Life begins in 1860s New York City. Regular access to birth control is not yet a reality, and girls are told they’ll learn what they need to know about sex on their wedding night. Children whose parents are dead or too poor to take care of them often wander the streets, at risk of starvation and mistreatment. Women routinely die in childbirth, and medicines given to them to treat their general female complaints sound, to a modern ear, more like a witch’s brew than anything found at a pharmacy. Thirteen-year-old Axie Muldoon; her 7-year-old sister, Dutch; and their 2-year-old brother, Joe, spend their days begging and trying to stay out of the arms of the law. Their mother is so poor she can barely feed them, and their father is dead. They meet a man from the Children’s Aid Society who persuades their mother they would be better off adopted, so he puts them on a train to Illinois with other orphans and unwanted children, where good Christians are waiting for them. Dutch and Joe find families, but Axie does not — nor does she want to. She is enraged at being separated from her siblings, and she isn’t afraid to let anyone know how she feels. She is shipped back to Manhattan to fend for herself. She finds her mother, but before long her mother dies from complications after having another baby. Axie becomes indentured to the midwife who tried to save her mum’s life. Written memoir-style in an appealing Irishimmigrant vernacular, My Notorious Life follows Axie as she learns about midwifery and the difficult position indigent women face without birth control, the ability to fend off their husbands, or money to feed another child when their families already don’t have enough to eat. At a time when being an unwed mother ensured a life of destitution and being considered the scourge of society, she sees how easy it is for young women to get into trouble with men who have no intention of marrying them. Axie’s mentor performs abortions under the radar; the law forbids them once the fetus is “quick” (when the mother first feels move-

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PASATIEMPO I November 1-7, 2013

ment). Manning’s period medical vocabulary is rich and convincing and leaves to the imagination only what Axie doesn’t yet understand. We learn the trade with her. She eventually becomes the city’s most well known — and derided — midwife, gossiped about as much for her wealth as for the supposed evils she perpetrates on the women of New York City. Axie and her husband, Charlie, make a fortune from mail-order remedies for various female ailments and “French letters” — or condoms. This eventually runs them afoul of Anthony Comstock, the profoundly uptight and moralistic United States postal inspector who so loathed smut that he championed the arrest and prosecution of doctors for the “crime” of offering written directions for administering medicine. While the novel is unabashedly a tale of women’s lives and reproductive rights and history, it’s also a fairy tale of New York, an orphan’s dream come true. Axie goes from dire poverty to home ownership on Fifth Avenue and marriage to a devoted husband, all the while preventing more children from growing up the way she did — starving, dirty, and ripped away from the only people she loved. She also goes to some lengths to find her lost siblings, which provides an opportunity for Manning to show how society treated adoption as a dirty secret, as if one’s origin as a foundling — or, God forbid, an Irish Catholic from New York — was the equivalent of sin. Manning based aspects of the novel on the life of Ann Trow Lohman, also known as Madame Restell, who practiced midwifery in New York during the same period that Axie’s story takes place. The fun of My Notorious Life lies in Axie’s voice and the vivid sense of place that Manning has created as well as the vast cast of supporting characters — especially Charlie, an orphan with brains who never had one advantage tossed his way. Manning doesn’t pummel us with period detail for the sake of displaying her knowledge, nor does she rely on it in place of narrative. Descriptions of Axie and Charlie’s homes on Liberty Street and then Fifth Avenue might inspire independent research to see what New York City looked like before indoor plumbing and electricity. (Some Google searching reveals that Axie’s mansion might have been modeled on one owned by the Vanderbilt family.) Axie is a firebrand for the ages, afraid only of being left alone. She sees herself as an angel of mercy, helping women in their most perilous time of need. But she is at the mercy of an unforgiving media culture, when the press was allowed to print fallacious and malicious speculation in place of verifiable truth, and a man like Comstock could manipulate the law for his personal agenda. — Jennifer Levin

SubtextS Passing the torch: Tony Hillerman Writers Conference Five years after his death, Tony Hillerman continues to cast a sizable shadow on New Mexico literature. Hillerman, who taught journalism at the University of New Mexico for two decades, is best known for his mysteries set in the Navajo Nation and featuring Navajo police officers Joe Leaphorn and Jim Chee, but he also wrote children’s’ stories, a memoir, and other nonfiction works. Naming a writers conference after him seems a natural. This year’s Tony Hillerman Writers Conference, held Thursday through Saturday, Nov. 7 to Nov. 9, at the Hilton Santa Fe Historic Plaza, addresses the changes and strategies authors need to know and use to make it in the e-reader-and-socialmedia-infused world. But it won’t ignore the traditional basics of the writing craft. In the first “preconference workshop,” you can learn about “Waltzing Your Characters Into Life” (no actual dancing required) from Margaret Coel, author of The Spirit Woman and Buffalo Bill’s Dead Now, both part of her Wind River mystery series, set among the Arapahos on Wyoming’s Wind River Reservation. “Great Openings and Endings” are the focus of another preconference session led by James McGrath Morris, author of Pulitzer: A Life in Politics, Print, and Power. On the conference’s first full day, Sheriff Walt Longmire series originator Craig Johnson — whose work inspired the A&E channel’s popular drama Longmire — will discuss “Writing Great Dialogue,” and Coel returns to explain “Perfect Plotting.” Hillerman’s daughter, Anne, who recently took up the torch with Spider Woman’s Daughter, a continuation of her father’s Navajo detective series, joins others in a panel discussion of “A Sense of Place.” The final day’s topics include “Eat Your Veggies and Do Social Media: Necessities for Authors in the Digital Age” from social media strategist and writer Ashley M. Biggers, a panel discussion on “The Always Changing World of Publishing,” and an exploration of “Adventures in Television,” also led by Johnson. And St. Martin’s Press editor Peter Joseph announces the annual Tony Hillerman Prize for Best First Mystery. Expect a gaggle of other conference presenters as well as the usual writing critiques and book signings — what would a writers conference be without them? — as well as the chance to meet other scribes looking for the same thing you are: the big score! Visit www.wordharvest.com to register; call 505-471-1565.


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Two of Aaron McKinney’s defense attorneys and an investigator; top left, Matthew Shepard and former boyfriend Lewis Macenze; bottom left, Russell Henderson and McKinney at their arraignment. This photo and photo bottom left, AP/Ed Andrieski

ABOUT MATT

A N E W LOOK AT L A RA M I E Casey Sanchez I For The New Mexican

ifteen years have passed since Matthew Shepard was found dead, strung on a buck fence in Laramie, Wyoming, his 105-pound-body pistolwhipped till comatose and left to twirl in the wind. Before he was legally pronounced dead a week later, the brutalization of the 21-year-old gay college student had already become legend, fomenting candlelight vigils, front-page stories across the world, and impassioned calls for hate-crimes legislation even from President Bill Clinton — all predicated on the notion that Shepard was scoped out, robbed, and murdered by strangers because he happened to be gay in small-town America. As a Vanity Fair article of the same name would describe it, the fall of 1998 was given over to “the crucifixion of Matthew Shepard.” Today, Aaron McKinney and Russell Henderson are serving life sentences for committing what many believe to be the gay-bashing crime of the century. But what if Shepard’s killing was not a violent act of homophobia 14

PASATIEMPO I November 1-7, 2013

but the violent end to a botched drug robbery? What if during the courtroom case, the defense skirted evidence that Shepard and his primary assailant were not strangers caught up in a gay panic but longtime acquaintances who more than once had swapped spit and smoked meth together and had even shared a reputation in Laramie as drug dealers? That’s the provocative conclusion of investigative journalist Stephen Jimenez in the newly released The Book of Matt: Hidden Truths About the Murder of Matthew Shepard. The product of 13 years of investigation, Jimenez’s excavation of Shepard’s death in Laramie is essentially “the story of how Matthew had become trapped in an underworld where Aaron was first his friend and occasional sex partner, then his competitor and adversary, and finally his killer.” The author, a longtime seasonal resident of Santa Fe, will discuss his book on Thursday, Nov. 7, at Collected Works Bookstore. Jimenez first came to Laramie in 2000 to write a Hollywood screenplay based on the events of Shepard’s

killing as presented during his assailants’ trial. But after intercepting an anonymous letter claiming that one of Shepard’s killers was bisexual, Jimenez ditched his fictional treatment to reinvestigate the case, airing the first of his reporting forays on a November 2004 segment he produced for 20/20. Jimenez’s picking apart of a heinous American crime, particularly one that has passed into legend and helped spur much of the gay-rights revolution of the 2000s, is both disturbing and fearless. A gay man himself, Jimenez wrote the book not to cast aspersions on Shepard but to explore the underpinnings of the crime and to examine the real human being behind a figure who “has now entered national mythology.” “We miss a large part of the story in favor of a singular narrative. We lose a lot when we don’t examine the complexity of the entire person that was Matt,” Jimenez told Pasatiempo. Understandably, the book has been savaged in some quarters of the left. Media Matters for America slammed the book as an “effort to de-gay Matthew Shepard’s murder,” while Think Progress dubbed his investigation “an exceptionally shoddy attempt to prove that Shepard was killed because he was a major methamphetamine distributor who Aaron McKinney, one of the two men convicted in his death, intended to rob to pay drug debts and to feed his own habit.” One activist attempted to get the Politics and Prose bookstore in Washington, D.C., to cancel his scheduled reading. Jimenez did not come by his conclusions lightly, interviewing more than 140 sources, most of them named. He also includes a small number of anonymously sourced interviews with figures in Laramie’s drug-trafficking subculture. The picture that emerges of Shepard is that of a young man, still figuring out his identity, lured by the power and pleasure of drugs but convinced they are also destroying his life; a confidant whom female friends turned to for relationship advice, trusted their children with, and often regarded as a surrogate little brother they called Matty. Tina Labrie, a friend and fellow college student, fretted over Shepard’s drug involvement: “He said everywhere I move, it seems like I get sucked into the drug scene. ... He just said he left ... Denver to come up to Laramie to get away from the drugs ... he sounded really frustrated.” Elaine Baker and Stephanie Herrington, both friends of Shepard, describe the same mix of friendliness and existential confusion in a young man who didn’t quite know how to handle the drug business that Jimenez alleges he was involved with. Herrington claimed that both McKinney and Henderson knew Shepard for months. On the night of his killing the pair was attempting to collect drugs that Matthew either did not want to sell or did not want to release to them. Of Shepard, she stated, “He was an easygoing, loving guy, easy to get along with. ... But it wasn’t a hate crime.” She also claimed that McKinney and Shepard paired off sexually at a party, with McKinney being no stranger to gay sex, either for pleasure or as prostitution in exchange for drugs. A high-ranking official from the Albany County Sheriff’s Office, on condition of anonymity, also confirmed that McKinney had been observed engaged in gay sexual activity. Dissenting from the court verdict, Ben Fritzen, a former homicide detective with the Laramie Police Department, told Jimenez, “Shepard’s sexual prefer-


ence or sexual orientation certainly wasn’t the motive in the homicide. ... What it came down to really is drugs and money.” As for what drove McKinney to stalk out Shepard and kill him, Jimenez is prudent enough to never register a final motivation. He lays out McKinney’s tendency to buy drugs on credit, his financial struggle to support his infant son and young girlfriend, and his days-long meth binge in the days leading up to Oct. 6, 1998. He also cites McKinney’s other drug-fueled outbursts preceding his brutalization of Shepard to portray a young man who had become violently unhinged. “Including Matt Shepard’s killing on Tuesday, Aaron McKinney assaulted four males in a 24-hour period, three of them straight. He lunged at Monty Durand on Monday night. He takes the same murder weapon and strikes Russell Henderson. Then he attacks two Hispanic males with the same weapon and finally then uses it against Matt,” Jimenez said.

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Jimenez’s picking apart of a heinous American crime, particularly one that has passed into legend and helped spur much of the gay-rights revolution of the 2000s, is both disturbing and fearless. As for why none of this material surfaced during the trial, Jimenez concludes that McKinney and Henderson had already been tried in an unprecedented media frenzy, begun before Shepard died. Laramie’s small law enforcement and court personnel were ill prepared for a global media entourage relentlessly filming and questioning them about gay bashing. As for McKinney, he had good reason to avoid mentioning his acquaintance with Shepard, his possible bisexuality, or his involvement in the meth scene. “Standing all of five foot six and weighting about 130 pounds, for him to admit otherwise would have been an open invitation to predators,” Jimenez writes. “But it was a couple of Aaron’s former drug cohorts who helped me understand that Aaron had no choice but to protect the suppliers that he — and they — had worked for.” While Jimenez’s work posits some very convincing arguments for rethinking the motives of Shepard’s killers and clearly rebuts the notion that they were random strangers, it does little to address the larger cultural context. Jimenez spends a lot of time detailing Shepard’s meth habit, his social disconnection, and the wave of meth addiction going through the gay community, but he never really links the three to assert that the young gay man’s death may have had as much to do with methamphetamines as with homophobia. We might never know what motivated Shepard’s killers. But thanks to Jimenez’s book, we do have an authentic record of a young man who desperately wanted out of the drug scene, even as he foolishly kept being drawn further into it. “[Matt] was naive to the extent that, regardless of the wrongs people did to him, he still had faith they would change and become ‘nice,’ ” said Dennis Shepard, Matt’s father. “They would hurt him and he would give them another chance.” ◀

details ▼ Author Stephen Jimenez reads from & discusses The Book of Matt ▼ 6 p.m. Thursday, Nov. 7

Stephen Jimenez

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

SANTA FE METROPOLITAN

PEDESTRIAN MASTER PLAN Public Input Meeting #1 (Open House) Nov 5

Ramirez Thomas Elementary School 3200 Calle Po Ae Pi

4:30 - 6:30 pm 4:30 - 6:30 pm

Nov 7

Gonzales Community School 851 W Alameda

Nov 9

Genoveva Chavez Community Center 3221 W Rodeo Rd

1:00 - 4:00 pm

Nov 12

El Dorado Community School 2 Avenida Torreon

4:30 - 6:30 pm

Nov 14

Acequia Madre Elementary School 700 Acequia Madre St

4:30 - 6:30 pm

Nov 20

Amy Biehl Community School 310 Avenida del Sur

4:30 - 6:30 pm

Nov 21

Capshaw Middle School 351 W Zia Rd

4:30 - 6:30 pm

Nov 23

Southside Library 6599 Jaguar Dr

10:30 - 1:30 pm

information: design office 505.983.1415 santafepmp@do-designoffice.com santafempo.org/pedestrian-master-plan/ english survey: https://www.surveymonkey.com/s/27GB3HL encuesta en español: https://www.surveymonkey.com/s/9RNWC2B

Persons with disabilities in need of accommodations, contact the MPO office at 955-6625 five (5) working days prior to the meeting date.

PASATIEMPOMAGAZINE.COM

15


Valerie Plame

Sarah Lovett

Bill Kohlhaase I The New Mexican

LOST ASSETS

VALERIE PLAME AND SARAH LOVETT’S BLOWBACK

alerie Plame, the former CIA covert-operations officer, will tell you she never lost an asset (the CIA term for a human information source). Vanessa Pierson, Plame’s fictional counterpart (notice the initials) loses one to an assassin’s bullet in the first chapter of Plame and Sarah Lovett’s spy thriller, Blowback. More killings follow. Pierson is a covert-operations officer who’s tracking a man named Bhut — “the world’s most dangerous international nuclear arms dealer,” according to Blowback’s jacket copy. How much of Plame can be found in Pierson’s character? “Vanessa is definitely a younger, smarter version of me,” Plame said in a phone call from Phoenix, one stop in a not-so-secret mission to promote the new book (Lovett was not on this leg of the tour). “Both Sarah and I wanted Vanessa to be a real human. So many times in this type of book, the male and female characters are lone wolves and often almost superhuman in their powers and abili16

PASATIEMPO I November 1-7, 2013

ties. We wanted her to be someone who people can relate to. And hopefully, she’ll grow as the series goes on.” The human side of Pierson is well apparent in Blowback (recently published by Blue Rider Press/Penguin). She questions her motives and tactics. She suffers from a lack of confidence as much as she suffers from overconfidence. She keeps a lover secret from her employers and keeps secrets from her lover, even as she divulges way too much to him. She gains strength from her childhood and from memories of her father. She suffers the judgment of her male co-workers and a female one as well. “She’s very different from Valerie,” Lovett said. “But still there’s some of Valerie in her. And of course, what they do is different. I think it was a huge relief for Valerie she could find a way in the book to create these different circumstances, that there would be actions in it that she never had to take.” What we know of Plame’s CIA career comes from her 2007 book Fair Game: My Life as a Spy, My Betrayal by the White House. Plame’s position in the CIA was famously disclosed by conservative columnist Robert Novak after her husband, former ambassador Joseph Wilson, published an opinion piece in The New York Times questioning President George W. Bush’s claim that the UK had found evidence that the African

country of Niger had supplied yellow-cake uranium to Iraq. Novak’s disclosure led to a federal investigation and the conviction of Vice President Cheney’s Chief of staff, Scooter Libby, for obstructing justice in the investigation (his sentence was later commuted by the president). While Fair Game sketches out Plame’s career with the CIA, many of the details have been redacted and are blacked out in the text — a word here, a line there, and at one point, four whole pages. Plame’s background, Lovett said, brings a level of realism to their fiction that not all espionage fiction can claim. “Valerie’s depth of knowledge, her perspective and intelligence, really make the story true to life and believable. And then there’s her wit. But it was really a pleasure to have the access to the kind of knowledge she has when working on the book from day one.” The two also had to consider just how many specifics they could include. “There were some legal issues around the complexities of being in the CIA that we had to consider. It made the whole process a little complicated to talk about. Valerie was always extremely careful about those kinds of things. She wouldn’t violate any trust or break any oath she’s taken. There were times researching open source information on the internet where I discovered things that she was shocked to find were available.”


Kohnami

Lovett, like Plame, is a resident of Santa Fe. She is a veteran of the crimethriller genre, with five novels that feature forensic psychologist Dr. Sylvia Strange. One of them, Dark Alchemy, opens with the death of a scientist as he commutes to work at the Los Alamos National Laboratory. Like Vanessa Pierson, Strange is a strong-willed, intelligent woman who operates in a world mostly populated by men. Despite these similarities, Lovett said Pierson and Strange have their differences. “Sylvia has this very considered internal referencing of things and how they work. Vanessa is much more an alpha female, very much in the moment. She doesn’t have the introspection that Dr. Strange has. She doesn’t have time for it. She has to put her thoughts and beliefs into immediate action.”

I think it’s a fact of life, whether it’s the CIA or across the board. Your gender does sometimes determine people’s perception of you. It’s reality. The trick is how to sidestep it and be successful on your own terms. — Valerie Plame Plame and Lovett hadn’t met prior to the Blowback project. Their previous books had both been published by Simon & Schuster, and they were brought together by their agents. When former Simon & Schuster editor David Rosenthal started his own imprint, Blue Rider, he encouraged the authors to join forces. “There wasn’t any arm-twisting required to get me to try this,” Plame said. “I’d never written anything before Fair Game except intel reports. I wanted to write a book with a strong protagonist who was realistic. That’s not typical of a genre whose women are portrayed as mostly just paper dolls.” Both writers said the collaboration involved a lot of back-and-forth. “Valerie and I both wanted to bring our strengths to the project,” Lovett said. “In one of the first meetings we had as we were getting to know each other, I could see the possibilities as I got to know Valerie’s character, what it took to do what she had done. We didn’t have a pre-developed plot; we both participated in the story process. We asked ourselves ‘What if this’ and ‘What if that,’ as it happens in the fictional realm. The element of truth that Valerie brings to the world we were creating was really wonderful.” Plame said, “I contributed a lot to the thoughts of the character and what went on in the CIA world. The characters are based on a lot of different people I’ve met along the way in that world. Sarah really knows how to make something a page-turner. She knows what to cut and what to leave in.” The sexist judgment that Vanessa faces is subtle yet a definite presence in the story. That kind of thing, Plame said, is apparent in the world in general. “I think it’s a fact of life, whether it’s the CIA or across the board. Your gender does sometimes determine people’s perception of you. It’s reality. The trick is how to sidestep it and be successful on your own terms. But the CIA is still an old boys club.” Another facet of Vanessa’s character is her age. Still in her 20s, she’s learning as she goes along. “The CIA goes to great lengths to find and recruit and train promising young people. As a result, they’re given tremendous responsibility at a young age. But, as it is in doing anything, experience is a great teacher. You become more comfortable with yourself as you rise in the ranks. You’re bound to make bad mistakes at first — how could you not? It’s called growing up and getting better at your job.” Vanessa Pierson will face such opportunities in the next novel in the series, tentatively scheduled for release in the fall of 2014. “She’ll get closer to Bhut and find out why she’s losing her assets,” Lovett said. “She has some growing to do.” ◀

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AlAn Webber will discuss his new book

life reimAgined: discovering Your neW life Possibilites saturday, november 2nd at 2:00

▼ Valerie Plame & Sarah Lovett read from Blowback ▼ 6 p.m. Wednesday, Nov. 6 ▼ Collected Works Bookstore, 202 Galisteo St., 505-988-4226

376 Garcia Street • Santa Fe, NM 87501 • 505-986-0151 www.garciastreetbooks.com PASATIEMPOMAGAZINE.COM

17


Paul Weideman I The New Mexican

Digits in a Digital age

W

orks in architecture, video, furniture, textiles, graphic design, lighting, and performance art are featured in Design Lab: Next Nest, which opens on Saturday, Nov. 2, at SITE Santa Fe. The juried exhibition is presented by the museum in partnership with Design Santa Fe 2013. Twenty-one finalists were chosen from 109 entries, according to Design Santa Fe chairman Thomas Lehn. Design Lab is a seven-state competition, and the final judging will be on Friday, Nov. 1. There will be two professional awards with prizes of $1,500 and $1,000 and two college-student awards of $1,000 and $500. “Design Lab is in its second year. I created the first one at Zane Bennett Gallery; then SITE Santa Fe director Irene Hofmann approached me and asked me if I’d be interested in having the show there,” Lehn said. Cooking, work, study, health, fitness, centering (spiritual and mental care), and gardening were among the categories for entries. “All of this is about new ways of thinking about domestic living,” Lehn said. “The 2012 show was pretty general, but this year I tried to come up with a structure that people could enter within that topic or zone. The intention is to create a potpourri of idea generation that deals with domestic rituals and different types of objects — large and small-scale.” In evaluating the varied entries, the jury considered innovative use of materials, conceptual strength, sustainable resourcing, creative functionality, new rituals for domestic use, innovative technology, and intriguing innovations of form. The jurors were Hofmann; Janet Dees, SITE’s assistant curator; Laura Carpenter, LCProjects; Ellen Berkovitch, Adobe Airstream CEO; Michelle Moser, owner of Grace Communications; Erin Elder, visual arts director at the Center for Contemporary Arts; James Horn, Spears Architects; and Thomas Lehn, Thomas Lehn Designs. Another invitational design exhibition, Life Support: Art <—> Design Sustenance, opens on Friday, Nov. 1, at David Richard Gallery. An adjunct of Design Santa Fe activities, the show was curated by the gallery’s David Eichholtz and Lehn. “Part of the theme is how each of the 17 designers relate to the theme ‘Making in a Digital Age,’ ” Lehn said. “I am a furniture designer and maker, but I also think digital technology has the capability of freeing us up with the mundanity of process that we get ourselves involved with. We thought computers would take our brains away, but it doesn’t work that way. The beauty and the danger of all these gadgets is that they are helping us to be more efficient with our time, although” — he added after

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PASATIEMPO I November 1-7, 2013

Design Santa Fe 2013 both his and his interviewer’s cellphones interrupted the conversation — “I’m beginning to wonder if that in fact is the case.” Lehn hand-draws the designs for his furniture. He considers each piece “a merger of art and design.” The works in the David Richard Gallery show are from his Shadow series. “I spent five months in Japan and was really interested in reductive objects. Nobody in this world can do them like the Japanese. So I’ve done these high-contrast forms of bleached maple and ash with blackened wood. I have floating shelves and side tables, and my last piece is a 9-foot burnt-wood bench with a white-ash contrast.” Also promised to catch your eye at David Richard Gallery is a trio of beautifully dumpy-looking sculptures. Collectively titled Three Stools (Samples), they perfectly exemplify the art-craft and handmadedigital straddling you will notice throughout this year’s Design Santa Fe program. Three Stools was created by Peter Tolkin Architecture, South Pasadena, California. “In some ways, where the hand meets the digital or the body meets the digital is that the original forms were made by hand out of modeling clay, then they were digitized,” Tolkin said. “We built 3-D models, and the forms were basically cut out of aluminum with a computer-controlled water-jet cutter, then they were assembled into molds. We filled the molds with recycled-cardboard pulp, which is packed by hand — it’s pretty labor-intensive — and then they were put in a kiln that we made and air-dried, and finally they were finished with oil and beeswax.”

The first iterations of the stools were made with cardboard that Tolkin and his associates collected in the neighborhood, but now he gets the material from a recycling company. The architect and designer likes to think of the pieces — some of which are dyed with kale, beet juice, or coffee — as along the same evolutionary line that saw a set of walnut stools created by Charles and Ray Eames and the Wiggle Stool by Frank Gehry. “These are meant to look like they’re unique, one-off objects, but obviously since we’re molding them we could make thousands. The goal is to produce them en masse, but so far we’re just doing them in our little architectural studio.” Tolkin likes the visceral nature of the Three Stools project. “Most of us as architects draw plans, but we don’t build them. With these you’re more involved directly with the production; it’s more intimate.” Tolkin’s firm is primarily involved in designing buildings, but he was a photographer and earned a master of fine arts degree before he entered architecture. He has long been interested in fabrication and digital technology. “We like the interface between the digital and the hand and the eye. This kind of project came out of that: we got interested in what we could do with recycled cardboard. My training and interest as a photographer are more documentary and narrative, and I think in some ways the back story on the stools is kind of connected to that. A lot of the architecture I do has a story behind it, with interesting clients and different ethnicities. We’re also thinking about using waste cardboard to make cast walls. We always try to work in an authentic way with materials.” ◀

Peter Tolkin Architecture: Three Stools (Samples), 2013, recycled cardboard Opposite page, Tamie Glass, Igor Siddiqui, and Kendra Locklear Ordea: Mas Moss, 2013, digital renderings


Design Santa Fe 2013 Friday, Nov. 1 For the peripatetically inclined, Design Santa Fe offers its annual Design Crawl. Twenty - one businesses open their studios and gallery spaces with food, drink, and a raffle, all to benefit Architecture for Humanity. The crawl takes place from 11 a.m. to 5 p.m. There is no charge. Works by Peter Tolkin, Thomas Lehn, and other artists and craftsmen are featured in Life Support: Art <—> Design Sustenance at David Richard Gallery (544 S. Guadalupe St.; 505-983-9555). The exhibition opens with a 5 p.m. reception and continues through Nov. 29. Saturday, Nov. 2 Saturday is a busy day for Design Santa Fe participants. First is a breakfast reception at 8:15 a.m. at the New Mexico History Museum (113 Lincoln Ave.). This is followed by a 9:30 a.m. panel discussion titled “Making Things in a Digital Age: The Exploration of Craft and Technology.” The dialogue ($40; $20 students; includes reception), at the New Mexico History Museum, features Billie Tsien of Tod Williams Billie Tsien Architects, New York; Jason Pilarski and Steven Joyner of Machine Histories, Los Angeles; and Matilda McQuaid, textile

director at the Cooper-Hewitt Museum, New York. The event is moderated by Susan Szensasy, editor-in-chief of Metropolis magazine. Then there are three afternoon workshops: 1. Hands-on Textiles ($30; students $15), led by McQuaid, is at the Lannan Foundation (313 Read St.) and begins at 2 p.m.; 2. User-Driven Design ($45; students $20), with Pilarski and Joyner, is at Zane Bennett Contemporary Art (435 S. Guadalupe St.); it starts at 2:30 p.m. 3. Material Shift ($30; students $15), led by Tsien, starts at 3:30 p.m. and is at the Lannan Foundation. An opening and award ceremony for the juried exhibition Design Lab: Next Nest at SITE Santa Fe (1606 Paseo de Peralta, 505-989-1199), takes place from 5 to 7 p.m. The show continues through Dec. 1. Tickets for the discussion and workshops are available from Tickets Santa Fe at the Lensic (988-1234, www. ticketssantafe.org). There is no charge for admission to the exhibit throughout its run. For a complete schedule visit www.designsantafe.org.

PASATIEMPOMAGAZINE.COM

19


SOUND WAVES Loren Bienvenu

Mayhem memories

Alex Neville

Sometimes people don’t want to leave their houses to hear live music. They’d rather sit on the couch in their pajamas, scratch their hairy bellies, and eat ice cream. Carlos Santistevan (who described the scene to Pasatiempo) understands and accepts this as a reality. One of the founding members of the long-running arts and music collective High Mayhem, Santistevan is willing to work hard to accommodate this particular demographic — without making judgments about the hypothetical misanthropes, social lepers, and Johnny lie-abeds who compose it. He and fellow collective members are gearing up for High Mayhem’s Fall Series, which presents four Saturday nights of sometimes-experimental and often raucous music from Saturday, Nov. 2, to Nov. 23. In the spirit of community building, the members have been working on a high-quality system for live streaming video and audio. “When you’ve been doing it as long as we have,” Santistevan said, “a lot of evolution results with people moving to other cities, people marrying and having kids, divorces. We haven’t seen it all, because you never know what’s going to happen with life, but we’ve seen a lot. Now we live in a different age, so we can bring [the shows] to you.” This year marks the fourth iteration of the series in its current format as a monthlong event. In prior years, the series was squeezed into a long weekend, which Santistevan described as “taxing” for musicians and audiences alike. “Because of the fact that we are now in our 13th year, we really saw this year’s series as a bit of a retrospective — sort of a tribute to the artists and individuals who have been pillars in the High Mayhem musical movement over time.” Looking back, the long-time organizer and musician (he performs Nov. 16 in the hard-hitting drums, bass, and electronics duo Ink on Paper) outlined High Mayhem’s history as a progression of three distinct phases, each one incorporating different musical acts and atmospheres. It all started in 2001, when a diffuse squadron of like-minded musicians decided to act on what Santistevan labeled as a sort-of punk rock DIY mentality. “The first part of it I would really consider more of an explosion ... a convergence ... a connection ... that carried with it quite a bit of momentum. It was a recognition that there was this large opportunity, but the only way it would come into existence is if we were the engine behind it.” Right at the beginning of this phase, High Mayhem acquired space on Lena Street to showcase its own experimental music and that of touring bands.

Kate Russell

Milton Villarrubia III of Ink on Paper

Johnny Bell

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PASATIEMPO I November 1-7, 2013

The space was not an official venue but rather a headquarters for house shows. “Getting people to go to a show is way harder than getting people to go to a party, so we did both. It was a party, but you could go and really listen to some music. Even if you just sat outside by the fire, you were getting exposure to the art and music, however you chose to ingest it.” But as the years passed, the collective could not keep pace with the momentum it continued to generate. Beginning around 2005, Santistevan said that “we probably started trying to do too much, as far as the amount of shows we were trying to put on and the number of artists we were bringing in. We converted our space to an art gallery and were doing visual shows as well as music shows.” As a result of this increased demand on their energy, many of the members began to neglect their individual projects and burned out on the presenting and organizing aspects of hosting music.

Getting people to go to a show is way harder than getting people to go to a party. — Carlos Santistevan, a founding member of High Mayhem Even more problematic was that the space began attracting unwanted visitors. In 2008, the doors closed because of a variety of legal reasons. “More so than the authorities, it had to do with us becoming so large that people came who had absolutely no business being there. They weren’t interested at all in music or art; they were just basically causing trouble that led the authorities to come check out what was going on. In any situation, it only takes a couple of [characters] to ruin things for everyone else.” What resulted was a year of venue — and soul — searching. Like a band of wandering minstrels, the remaining members spent that period putting on shows in other people’s homes. “Then, in the early spring of ’09, we found our current space [a warehouse off Siler Road]. It was kind of a make or break thing — we got it and had absolutely no financial way to pay for it. Fortunately, after about two months of being in the space, we were invited by Kindle Project to submit a grant.” Kindle Project is a local philanthropic organization that supports socially active and unconventionally creative groups and individuals. “They’ve been our lifeline since.” As High Mayhem rebooted and entered its third and current phase, the collective focused on the idea of balance. Though the open front room of the warehouse is set up for periodic performances, the remainder of the group’s facility “serves first and foremost as a laboratory and creative space, a place where we can really record and document art.” By recording the fall series for live streaming purposes, High Mayhem is preserving sets by the likes of SoloDino (the project of live electronics innovator Dino J.A. Deane), The Brilliant Dullards (a quartet reuniting to perform aggressive “Southern martial alt-folk”), Out of Context Guitar Choir (six electric guitars and two electronic percussionists), and We Drew Lightning (a wall-ofsound drums/guitar/synth trio) — as well as making these performances available for free, to couch potatoes and belly-scratchers across the globe. ◀ High Mayhem’s Fall Series lineup — Saturday, Nov. 2: SoloDino, Aunt Cackle and the Coleslaw King, Grove of Baal, and The Product Division; Nov. 9: Johnny Bell, Baba, Marisa Anderson, and The Brilliant Dullards; Nov. 16: Out of Context Guitar Choir, Angelo Harmsworth, The QT, the Starlit Mire, Ink on Paper; Nov. 23: Al Faaet’s Elemental Orchestra, Alchemical Burn, We Drew Lightning, Disasterman. Doors open at 7 p.m. High Mayhem Studio is at 2811 Siler Lane. There is a $10 suggested donation. Visit www.highmayhem.org.


THE SANTA FE OPERA sings thanks to THESE BUSINESSES whose generosity and support helped make our 2013 season a success!!

La Traviata, 2013, photo by Ken Howard

Corporate Founders Synch Agency* Corporate Producers Four Seasons Resort Rancho Encantado* Corporate Benefactors Eldorado Hotel & Spa* Garcia Hyundai Santa Fe & Garcia Nissan Santa Fe The Hacienda at Hotel Santa Fe* Inn & Spa at Loretto* La Posada de Santa Fe Resort & Spa* Nedra Matteucci Galleries* Microsoft Corporation Niman Fine Art/Dan Namingha Rosemont Realty LLC Upper Hudson Valley Dermatology, P.C. Business Patrons Act 1 Tours* AV Systems, Inc.* Enterprise Holdings Foundation First National Bank of Santa Fe* Kleinfeld Commercial Brokerage, LLC* Manuel Lujan Agencies* Patina Gallery Payday-Unique Payroll Solutions* Sage Inn Santa Fe Thornburg Investment Management Van Duzer Vineyards Wells Fargo Bank* Business Leaders Jill C. Bee/Bee Charitable Trust Casas de Santa Fe*

Century Bank* Constellation Home Electronics A. Charles Forte/Morgan Stanley* La Fonda on the Plaza* MAC Cosmetics The Owings Gallery, Inc.* Paper Tiger* Michael Trujillo Ventures* Business Partners Aon Risk Solutions* Bank of Albuquerque Brewer Oil Company Catron, Catron, Pottow & Glassman, P.A.* Dahl of Santa Fe The Dunn Group* El Rey Inn* Enterprise Rent A Car Bernard Ewell Art Appraisal* Furry’s Buick GMC The Grand Tour Travel Company Great Performance Tours* Hilton Santa Fe Buffalo Thunder Ink & Images, Inc.* Inn of the Five Graces Inn of the Governors Inn on the Alameda Las Palomas* Los Alamos National Bank* Maria’s New Mexican Kitchen* Mescall Law Firm, P.C.* Modrall, Sperling, Roehl, Harris & Sisk, P.A.* Montgomery & Andrews, P.A.* National Distributing Company of New Mexico

Learn more about the 2014 season at www.SantaFeOpera.org

New Mexico Bank & Trust* Oil & Gas Law And Mineral Management Ortega’s Weaving Shop, Inc.* Osteria D’Assisi/Le Pizzeria da Lino* R. L. Phillips Consulting, Inc.* Private Ride* Prull & Associates, Inc. Theo Raven* The Santa Fe New Mexican* The Shed/La Choza* Southwest Care Center Southwestern Title & Escrow Stein & Brockmann, P.A.* Ten Thousand Waves Japanese Spa & Resort* The Urban Hot Dog Company Vazquez Portfolio Group, Manuel Monasterio Eight Skin Care/Richard Yates* Business Supporter Blumen Kenner* Cuddy & McCarthy, LLP* Dougherty Real Estate Co., LLC* First Citizens Bank* House of Ancestors Antiques J & L Storage Vans* Marisa’s Millefiori* Morning Star Gallery, Ltd.* Pinnacle Financial Group LLC Rothstein, Donatelli, Hughes, Dahlstrom, Schoenburg & Bienvenu, LLP* James H. Russell Agency, Inc.* Tecolote Cafe* Troutstalker Ranch LLC Elizabeth Van Arsdel*

505-986-5900

Mary E. Walta, P.C.* Woods Design Builders, Inc. Business Contributor Page Allen Studio AutoRight Collision Repair Black Bear Gallery LLC Cisneros Design, Inc. Creative Travel Arrangers El Centro de Santa Fe* Gusterman Silversmiths* Roy Honstein Oil Company* International Seminar Design, Inc. J P Stone Community Bank* Osher Marin JCC Nicholas Potter - Bookseller* Taos Opera Institute LLC White & Luff Financial Wilson Transfer & Storage* Business Donor Aegis Capital Management Citizens State Bank of Ouray* Kaune’s Neighborhood Market* Leverick & Associates, P.C. Madison Opera Trips Meridian Services, Inc. Sage Business Consulting, Inc. San Jose Institute of Contemporary Art Sign of the Pampered Maiden* Southwest Medical Associates/ Diane K. Combs, M.D.* Sutin Thayer & Browne, APC Betsy Taylor Reflexology The Feed Bin Ventana Fine Art

Matching Gifts Applied Materials Ball Corporation* The Boeing Company* CA Technologies Chevron ConAgra Foods ConocoPhillips* ExxonMobil Foundation* IBM International Foundation* Johnson & Johnson Family of Companies* Levi Strauss Foundation Macy’s Foundation* Qualcomm Incorporated *ENCORE CLUB — The Santa Fe Opera extends a special thanks to the loyal contributors who have made gifts to the Business Fund for the past four or more consecutive years. BUSINESS COUNCIL COMMITTEE David Kleinfeld, Chair; Beth Van Arsdel, CoChair; Committee: Chip Chippeaux, Paul Margetson, Nedra Matteucci, Max Myers, Dan Perry, Randy Randall, Ben Saiz, David Stone, Michael Trujillo, Mary Walta. Business Campaign Manager: Paula Hunter PLEASE SUPPORT THE OPERA’S 2014 SEASON! To learn how your business can support the Opera and enjoy the benefits of Business Council Membership, visit: SantaFeOpera.org or contact Paula Hunter: 505-986-5929 or phunter@santafeopera.org

Visit THE BACK DECK, the Opera’s blog.

PASATIEMPOMAGAZINE.COM

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PASA REVIEWS Apollo’s Fire: The Cleveland Baroque Orchestra Duane Smith Auditorium, Los Alamos; Oct. 27

Take five

J

ohann Sebastian Bach’s Brandenburg Concertos are the ne plus ultra of musical job applications. The composer assembled the pieces in 1721 and submitted them to the margrave of Brandenburg, a Prussian noble, hoping to gain an appointment at his court. No offer was forthcoming, and the margrave tucked them away in his library to await rediscovery and veneration in a future era. The period-instrument group Apollo’s Fire: The Cleveland Baroque Orchestra dusted off the Brandenburg Concertos for its current seven-concert tour, which made its first stop on Sunday afternoon, Oct. 27, at Duane Smith Auditorium in Los Alamos, courtesy of the Los Alamos Concert Association. The program included five of the six concertos that make up Bach’s set. Each of the Brandenburgs uses a different instrumentation, but since the Concerto No. 1 requires five players beyond those needed in any of the other five, it was sacrificed to the economic practicality of a touring budget. One regretted its absence. The set as a whole serves as an encyclopedic survey of the possibilities of late-Baroque secular instrumental music (as Bach envisioned it), from solo playing up through such chamber formulations as trio sonata and sonata à quattro and on to larger groupings that are fully orchestral. Omitting the First Concerto deprived the set of what was intended to be its overture and its most extreme example of orchestral grandeur. The group’s director, Jeannette Sorrell, placed the remaining five pieces in an order she liked: 3, 6, 2, 5, and 4. In a program essay, she maintained that “the fact that these concertos were composed at different times for different occasions ... demonstrates that the six concerti were

never intended to be performed as a set” and that “the structural coherence that Bach always instilled in pieces that he composed as a set ... does not exist between the six Brandenburgs.” I am less certain than she is about those ideas, but I certainly concur with her observation that “each one is an individual gem — a sparkling and perfectly structured entity on its own.” The ensemble played throughout with engaging élan, expressive articulation, glistening tone, and, for the most part, technical finesse. Its finest work fell at the beginning and the end, which is to say in the Third and Fourth Concertos. The Third Brandenburg, for strings and basso continuo (here realized by harpsichord, cello, and double bass), is especially fun to experience in performance, as one sees the musical lines being passed around the group in an animated music-induced choreography. Sorrell imposed some unanticipated rhythmic emphases here and there, prolonging a few notes to increase their tension before allowing them to tumble down in descending scales. These blessedly did not add up to a mannerism (though the technique resurfaced a couple of times in Concerto No. 5, as well), but they did put the audience on notice that anything might happen, that these would not necessarily be the Brandenburgs “as usual.” The cryptic second movement of the Third Concerto, a cipher consisting of just two chords, here gave rise to an extended improvisation from Sorrell at the harpsichord, with violin and cello adding their comments in a few phrases. In the third movement, the cello section (three players) aced a marvelous moment in which they interpolated a trill coordinated in perfect unison — a passing detail, but a clever one unusually well executed. The Sixth Concerto opens with a tour de force of canonic writing, easily discerned here since the two solo violas had very different tones (an odd, honking sound in the case of the second viola). Its slow movement is one of Bach’s most transcendent achievements, a point undermined

in this performance by some wayward intonation. The Second Concerto received a robust reading, with fine contributions coming from the solo group of violin, recorder, oboe, and trumpet. I cannot imagine how Baroque trumpet players achieve what they do, basically just blowing into a metal pipe, unassisted by keys, valves, or anything apart from their breath, lips, and facial muscles. Trumpeter Josh Cohen did remarkably well given the cruel difficulty of his part, and his stratospheric trills set the auditorium a-tingling. The Fifth Concerto is also immensely demanding, focusing its pressures on the harpsichord, which here assumes a virtuosic solo role. Sorrell did not conquer it to the degree she did on the group’s 2010 recording of the piece, and she sounded rattled during the first-movement cadenza, never building the momentum one assumes she would have liked. Still, the piece held ample pleasures and surprises, one of which was the rustic vigor with which the orchestral violins and violas let loose their variant on the principal theme halfway through the third movement. Bach marks their part cantabile at that spot in the score, but in this vigorous context I think he must have been trying to convey the concept of “sing out” rather than “sing gracefully” — or at least Apollo’s Fire made a winning case that such was his intent. The Fourth Concerto proved spot on. The principal soloist in this work, violinist Olivier Brault, offered dashing virtuosity; indeed, through the entire concert, his work as concertmaster added much to the overall spirit of delight. He was balanced by Francis Colpron and Kathie Stewart, the impressive pair of recorder players. Bach harnesses them as a team, and the two of them worked hand in glove as a “joint soloist.” Although you don’t usually want to be anywhere nearby when recorders ostensibly play in unison, these two were so in tune that their occasionally doubled lines consistently boosted the instruments’ dynamic impact without any downside. — James M. Keller

Heather Roan Robbins Astrologer, Intuitive, and Ceremonialist Author of Pasatiempo’s “Starcodes.” Readings by phone and Skype. 30-plus years experience in NM, MN, NYC.

www.roanrobbins.com 22

PASATIEMPO I November 1-7, 2013

© Jennifer Esperanza

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Stitching Memories, Saving Lives: Santa Fe Stories of the AIDS Memorial Quilt Sunday, november 3, 1– 4 pm

Community slide show and moderated discussion, in Meem Auditorium, Laboratory of Anthropology on Museum Hill. For more information please call 505-690-7380. By museum admission. Sundays are free for New Mexico residents with I.D.; youth 16 and under and Foundation members always free. Funded by the International Folk Art Foundation. A program of the Gallery of Conscience. AIDS Memorial Quilt Block 3561, ca. 1994. Image courtesy of the NAMES Project Foundation.

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PASATIEMPOMAGAZINE.COM

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TERRELL’S TUNE-UP Steve Terrell

Sounds from La La land

You might not be familiar with the name La La Brooks, but you’ve probably heard her sing. As a member of the Phil Spector-produced girl group The Crystals, a teen-age Brooks sang lead on the 1963 hits “Then He Kissed Me” and “Da Doo Ron Ron.” Like many performers of that era, Brooks faded into obscurity. She had some other music gigs. She did backup vocals for The Neville Brothers, Isaac Hayes, and Bobby Womack, and she collaborated with her then-husband, jazz drummer Idris Muhammad. But she’s stayed well below the radar for decades. She did a solo album in the mid-’90s, but it was only released in Europe, where she and her family were living at the time. Now Brooks is back with a tasty album on Norton Records called All or Nothing, featuring a feisty little band led by Mick Collins of The Dirtbombs and The Gories and Matt Verta-Ray of Madder Rose and Heavy Trash. Collins produced the album, while Verta-Ray served as recording engineer. The first single Norton is releasing from the album is “What’s Mine Is Yours,” written by the crazy garage/doo-wop duo King Khan & BBQ (Arish Khan and Mark Sultan). It has a catchy melody and lyrics like “Pretty baby, give me a chance/You can’t go out with that hole in your pants/I just want to mend your heart for you.” This is the type of song The Crystals might have recorded back in their day. The tracklist is peppered with tunes by Collins and Verta-Ray, including a version of “Crazy for You,” which was on The Dirtbombs’ recent bubblegum album, Ooey Gooey, Chewy Ka-blooey. I like La La’s version better. The title song is a Small Faces tunes, while the most recognizable song is “To Love Somebody,” which just might be the best Bee Gees cover since The Dirtbombs did “I Started a Joke.” Another highlight is “I Broke That Promise,” written by Willy DeVille. It has a sad, pretty melody with folk-rock guitars and a spoken-word passage in Spanish. Even prettier is “You Gave Me Love,” written by Brooks. It’s a slow, solemn tune with an old-fashioned roller-rink organ. My current album favorite is “Mind Made Up,” which Brooks co-wrote with Collins and Verta-Ray. Here, she and the band get bluesy and funky. I wouldn’t be surprised to see this one on some future Mavis Staples record. All or Nothing reminds me of another Norton Records project a few years ago starring a talented but nearly forgotten singer of a venerated ’60s girl group. I’m talking about Dangerous Game by Mary Weiss of The Shangri-Las. Like Brooks on All or Nothing, Weiss was backed by younger indie rockers; she was assisted by The Reigning Sound, whose leader Greg Cartwright served as producer. Call it the Norton treatment, call it magic. What I love about both these albums is that

Both‘All or Nothing’ and‘Dangerous Games’ are full of good, honest music with an abundance of sweet soul.

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PASATIEMPO I November 1-7, 2013

the producers and backing musicians clearly appreciate and respect the singers — their history and their strengths. The music might sound a little retro, but there is no hint of self-consciousness or cutesy nostalgia. And, unlike, say, Jack White’s contribution to Wanda Jackson’s The Party Ain’t Over, which he produced a couple of years ago, there is no attempt to do a modern makeover. Both All or Nothing and Dangerous Games are full of good, honest music with an abundance of sweet soul. See the Norton universe at www.nortonrecords.com. Also recommended: ▼ Wolfmoon (self-titled) and Too Many People in One Bed by Sandra Phillips. These artifacts-from-the-Swamp-Dogg archives (newly released by Alive/Natural Sound) are excellent, if not essential, snapshots of Southern soul music in the late ’60s and early ’70s. Both are produced by Jerry Williams Jr., aka Swamp Dogg, who wrote or co-wrote most of the songs. And the albums include liner notes from Mr. Dogg that are just as entertaining as the music on the CDs — maybe even more so. In the liner notes for the Wolfmoon album, recorded in 1969, Swamp Dogg wrote, “What can I say about Wolfmoon that hasn’t already been said about Idi Amin? He’s a treacherous, lying, two-faced song thief with possible cannibal tendencies. With all that said, he was and still may be one of the greatest singers and entertainers that I’ve ever known in my career.” He is much kinder to Phillips. In the notes for her 1979 album, Swamp Dogg wrote that he signed Phillips not only because he appreciated her voice and her work ethic, but also because Doris Duke — not the tobacco heiress but a female singer he’d previously produced — “had gone crazy, missing gigs, avoiding my phone calls, and getting the Buick Estate Wagon that I’d bought for her shot up by some [one] that she had just appointed as her manager. ... I booked Sandra throughout the Midwest, pretending she was Doris. ... I encouraged Sandra to talk to DJs on the phone periodically as a promo ploy, and one DJ in Kansas ended up wanting to marry her.” Getting back to Wolfmoon, whose real name is Tyrone Thomas, Swamp Dogg might be exaggerating slightly by saying he is a great singer. He’s got a slightly gruff voice without a lot of range, though he gets the job done. Many of his album’s tracks have gospel or spiritual themes and/or social commentary. One of the best is “If He Walked Today,” written by Swamp Dogg. It’s about Jesus. “If he walked today on the streets of Harlem, what would he say?” There are a handful of versions of well-known songs like “Proud Mary” and “If I Had a Hammer.” The best of these is the eight-minute-plus rendition of “People Get Ready,” which opens and closes with a funky/psychedelic instrumental and a spoken-word interlude featuring Swamp Dogg in the middle. Phillips is an expressive singer who shines on songs such as “To the Other Woman (I’m the Other Woman),” which was previously recorded by Duke. Many of the songs here are about unhealthy relationships and romantic rivalries and have an underlying touch of humor. These include numbers like the upbeat “Please Don’t Send Him Back to Me,” “If You Get Him (He Was Never Mine),” and “Now That I’m Gone (When Are You Leaving?).” She also does a punchy version of The Supremes’ hit “Someday We’ll Be Together,” which is tougher and more down-home than the original. Because of business reasons, Wolfmoon didn’t get released until 1973 (by a tiny label named Fungus). The Phillips album didn’t get released until now, because the record company it was intended for went bankrupt. Would Phillips and Wolfmoon have become big soul stars had the gods of the Music Biz been more kind? Maybe not. Phillips was no Aretha, and Wolfmoon was no Al Green. But they were talented, and every one of the songs on these albums are enjoyable, so give them a listen. Check out www.alive-totalenergy. com and take a gander at other Swamp Dogg-produced albums by the likes of Irma Thomas and Doris Duke while you’re there. ◀


‘tis beer to give AND receive!

What’s cooking?

do your holiday shopping at the Waves and receive a taste of our new

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

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click “november/december specials”

Explore New Mexico’s sensational cuisine with 27 award-winning chefs, authors, and historians at the inaugural FUZE.SW conference.

· Delight your taste buds with Southwest inspired food and drink

at the Santa Fe School of Cooking’s opening night party with singer Nacha Mendez, a Saturday New World Cuisine lunch and a Santa Fe Spirits / Santa Fe Culinary Academy evening tasting event, and the Four Seasons / Dr. Field Goods Sunday brunch.

· Enjoy evening dine-arounds with FUZE.SW restaurant partners

La Boca, Taberna La Boca, Anasazi Restaurant, and Restaurant Martín.

· Become an inside expert on New Mexico’s food and folklore! Limited ticket availability — get yours now! $250 / $200 Museum of New Mexico Foundation Members. For tickets, call (505) 476-1126 or email Shirley.Lujan @ state.nm.us

2013 Food+Folklore Festival · November 8–10 On Museum Hill in Santa Fe · (505) 476-1200 · InternationalFolk Art.org · FUZESW.MuseumOfNewMexico.org PASATIEMPOMAGAZINE.COM

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PASA TEMPOS

album reviews

INON BARNATAN OMAR SOULEYMAN Schubert: Piano Sonatas Wenu Wenu (Ribbon Music) It’s unlikely that dabke will ever D.958 & D.959 (Avie) One of break the twin grip of hip-hop and death the most memorable performances from metal as the global sound of adolescent musithe 2012 season of the Santa Fe Chamber cal rebellion. The infectious Syrian groove Music Festival was Inon Barnatan’s that mixes the sound of ancient instruments rendition of Schubert’s Piano Sonata in with dubstep-style electric frills sounds like A Major (D.959). This is the middle joy and war mixed together. For the young entry in Schubert’s final triptych of piano Americans and Europeans who routinely sonatas, which were written in the same help make Omar Souleyman shows sold-out affairs, the fasttwo-month span (August and September 1828) that also gave paced Arabic melodies carry a whiff of the turmoil abroad, while rise to his String Quintet and Schwanengesang — after which he their traditional instrumentation is made more accessible with the died, on Nov. 19, at the age of 31. In his thoughtful booklet essay, addition of all the techno wizardry of American-style EDM. On this Barnatan acknowledges that “it is often a dangerous endeavor to album, produced by British electronic musician Four Tet, Souleyman’s ascribe biographical or historical meaning to music which is, essentially, tendency to make quick one-off tracks (in the Middle East, dabke is a mixnot programmatic.” But Schubert knew he was nearing his end, having tape, wedding-party genre) is replaced by a tighter focus on creating thick, lived with incurable syphilis about as long as medical science could imagine evocative atmospheres. For instance, “Ya Yumma” starts off with Souleyman possible. The A-Major Sonata is mostly “an open-hearted, lyrical piece,” but in traditional form, lutes plucking away at a line-dance number. But its second movement erupts with panic and “allows us a glimpse the high-pitched flute sounds of the mijwiz are tweaked and into his unfiltered inner world.” Barnatan seems born to this transfigured into pulsating bass lines and sensual, synthesized music, proving technically assured while infusing Schubert’s rhythms. Souleyman’s vocals are drenched in longing on pages with relaxed geniality or escalating terror or what“Wenu Wenu,” while a sampled chorus midway through ever emotional terrain they pass through as they unroll If it weren’t for the raw the song lends an element of Bollywood party music to the discursively. The A-Major Sonata here follows its sibling whole affair. Similar, subtle digital makeovers can be heard sense of chill beneath ‘Aventine’ sonata in C Minor (D.958), which Barnatan describes as a on “Khattaba” and “Mawal Jamar.” This is when dabke got Schubertian reaction to the recently departed Beethoven, its Giorgio Moroder moment. I feel love. — Casey Sanchez and he plays up the connection in his dramatically it could almost be labeled compelling interpretation. The celestial Impromptu in AGNES OBEL Aventine (Play It Again Sam) Danish G-flat makes a comforting encore. — James M. Keller pop, but the prevailing sense of musician and singer Agnes Obel was unknown three years ago but has since achieved huge popularity across CASS MCCOMBS Big Wheel and Others (Domino the urgency of survival Europe. Last year she won a European Border Breakers Records) The term “the next Bob Dylan” has been used Award for creating music with an international reach. to describe songwriters since at least the mid-1960s, and keeps down the buoyancy. (Adele and Mumford and Sons are previous winners.) while there won’t be a “next Dylan,” it’s fairly common to Her second album, Aventine, proves that her music has see songwriters who own one particular aspect of his music. developed. It contains 12 emotional, piano-driven folk fusion Cass McCombs is one: he’s a storyteller who can make his songs sound tossed-off even when there is clearly much thought behind songs with Baroque and orchestral inflections. If it weren’t for the them. In 2011, McCombs released a pair of imaginative albums with raw sense of chill beneath the album it could almost be labeled pop rambling stories that recall Dylan’s Blood on the Tracks. On Big Wheel and (like her last album, Philarmonica), but a prevailing sense of the urgency of survival keeps down the buoyancy. The singer-songwriter calls Berlin Others, McCombs trims down the scope of his songs, circling his lyrics around home and sings in English, the lyrics often veering into cryptic territory. one theme or phrase and drenching them with dense yet colorful production, This album’s third song, “Dorian,” contains the words: “As the sad-eyed similar to Dylan’s Oh Mercy. Or perhaps Dylan and the Dead is the better woman spoke we missed our chance/The final dying joke caught comparison: McCombs recruited members of the jam-band circuit to in our hands/And the rugged wheel is turning another round.” perform here, giving the album a fluid, often bouncy feel. Phish’s Mike Gordon supplies bass that is as soulful and melodic as ever, This song and most others are propelled by a dark wistfulness, grounding songs like “There Can Be Only One” with deep notes with Obel’s layered vocal harmonies and surprising inflecbefore elevating the song skyward. Two vertions sometimes evoking Imogen Heap or sions of “Brighter!” — one for each of the even Björk. “Words Are Dead” is a dirge two discs, one sung hauntingly by the late mourning the loss of speech’s power, with the background humming serving as a powactress Karen Black — mark high points, as erful manifestation of the song’s message. does the rambling, Western-tinged “Sooner The insistent style of Lana del Rey comes Cheat Death Than Fool Love.” Big Wheel is to mind here and elsewhere, but in the an easygoing affair, and the relaxed vibe also case of Obel, there is depth beneath makes it the rare double album that the charismatic execution. isn’t weighed down with filler. — Loren Bienvenu — Robert Ker

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PASATIEMPO I November 1-7, 2013


2013 Writing Contest for All Seasons Tell Us a Story in Poetry or Prose Storytelling is an honored New Mexico pastime. Here is your chance to be part of that tradition. Write about a memory, a special place, or a person who has had an impact on your life. Fiction, nonfiction, parody, or fantasy; in the style of Thurber or Ferber, Sedaris or Seuss, Hillerman or Cather — it’s up to you. Prose: 1,000 word limit for adults (ages 19 and over) and for teens (13-18) 500 word limit for children (5-12) Poetry: Up to two pages Prizes to the winners

Rules: Entries must be received by 4 p.m. Monday, Dec. 2. No exceptions. We reserve the right to edit work for publication. Submissions must include name, address, telephone number, email address, and age; entries from schools should also include grade and teacher’s name. No previously published material. One submission only per entrant. Submissions cannot be returned.

Winning entries will be published in Pasatiempo on Friday, Dec. 27

Email entries to: writingcontest@sfnewmexican.com Email submissions are highly recommended. Mail entries to: 2013 Writing Contest c/o The Santa Fe New Mexican, 202 E. Marcy St., Santa Fe, N.M. 87501

PASATIEMPOMAGAZINE.COM

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L I F E I S W H AT Y O U M A K E I T A Co n cer t a n d Co nvers at io n wi th Pete r Bu ffett A multi-media presentation that takes the audience on a journey with Peter from his discovery of the piano, to writing music for commercials and film and then on to how his current philanthropic work with the NoVo Foundation has ultimately influenced his songs and life.

THUR, NOV 7 7:00pm - 8:30pm The Lensic performing Arts Center, Santa Fe Buy Tickets online at ticketssantafe.org A benefit for the Academy’s Institute for Teachers

Learn more about what lives behind

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PASATIEMPO I November 1 - 7, 2013


ON STAGE

.. . i t

wi l

ser” alled “fusion,” a l “ e c g h n t i e h fl ire this t d they shall b called... an do o EPPER. t P D N A T L A S . ..

Well-seasoned theater: Salt and Pepper

Robert Benjamin is probably one of the few playwrights to have worked in the field of laser fusion. The former Los Alamos National Laboratory Ph.D has written a number of well-received full-length, one-act, and 10-minute plays since retiring from the lab in 2004. Earlier this year he premiered his newest work, Salt and Pepper, described as “a tightly interwoven collection of upbeat tales about maturing with grace, courage, and humor.” Presented by Santa Fe Rep and Teatro Paraguas, the play opens Friday, Nov. 1, and runs through Nov. 10. Show times are 7:30 p.m. Friday and Saturday evenings, and 2 p.m. for Saturday and Sunday matinees. Teatro Paraguas Studio is at 3205 Calle Marie. Tickets are $18, $15 for seniors and students. Call 505-424-1601 for reservations. Visit www.teatroparaguas.org.— L.B.

The sound of math: Santa Fe Symphony

There’s music the entertaining noisemaker, and then there’s music the intellectual inquiry. Through much of history the latter has been viewed as essentially allied to mathematics. In the sixth century BCE, Pythagoras was discussing music as the audible form of the geometric and quantitative relationships that reigned over everything. About the same time, disciplines of the liberal arts were divided into the two sectors that would continue to define learning through the Middle Ages: the trivium (the expressive arts of grammar, logic, and rhetoric) and the quadrivium (the mathematical arts, which tellingly embraced arithmetic, geometry, astronomy, and music). Mathematician and computer scientist Cris Moore of the Santa Fe Institute assists the Santa Fe Symphony (conducted by David Felberg) in a performance-with-commentary that explores the intersections of mathematics and music. Short works by many composers will be presented, including items by Bach, Brahms, and Holst. This fourth installment in the “Voyages of Discovery” collaboration between the symphony and SFI takes place at 7:30 p.m. on Saturday, Nov. 2, at the Lensic Performing Arts Center (211 W. San Francisco. St.). Tickets ($22 to $76) are available by calling 505-988-1234 and from www.ticketssantafe.org. — J.M.K.

THIS WEEK

Staged schadenfreude: What Happened Was ...

Watching two people attempt to make small talk during an awkward first date can be a guilty pleasure of the squirm-in-your-seat variety. This is the subject of Tom Noonan’s 1993 play What Happened Was ...,

hi

hi

i’m lonely...

yeah

and desperate

yeah

which was adapted into a film that won big at the Sundance Film Festival the following year. Much of the script’s success is thanks to the development in dialogue between the two characters: co-workers at a New York law firm whose shared awkwardness turns to shared loneliness, desperation, and more. On Saturday, Nov. 2, director Michael Graves presents a staged reading of the script starring local actors Aaron Leventman and Mary Beth Lindsey. The show takes place at 7:30 p.m. at Santa Fe Playhouse (142 E. De Vargas St., 505-988-4262). There is a $10 suggested donation. — L.B.

PASATIEMPOMAGAZINE.COM

29


Holier tHan tHou Hollis Walker I For The New Mexican

iF

you were reading this on Nov. 1 in Europe in, say, A.D. 850, you would be well advised to put it aside and hie thee to the nearest church, where you would participate in a lengthy liturgy venerating all the saints you’d forgotten to honor over the course of the year. Why? Because by then, the number of Christian saints in the West had grown to about 9,000, necessitating the birth of All Saints’ Day, a sort of “makeup” holy day for the devout with hopes of making it to heaven. And just as in contemporary times, you might find the holiday church services bearable, even enjoyable, as you anticipated what was to come: a big whopping party. “As early as the fourth century there were protests that people went straight from the service commemorating a martyr to the pub,” where they might “damn themselves and others by getting drunk, dancing, and singing disgraceful songs,” Robert Bartlett tells us in Why Can the Dead Do Such Great Things? Saints and Worshippers From the Martyrs to the Reformation. These and other curious bits of Christian history and hagiography will keep readers hooked on Bartlett’s 733-page tome. Its title taken from a question posed by St. Augustine, the work focuses on the Middle Ages, and it offers a comprehensive narrative of the Christian cult of saints, answering questions about contemporary religion as well. The author is the Bishop Wardlaw Professor of Medieval History at the University of St. Andrews in Scotland and a fellow of the British Academy. His other books cover similarly lightweight topics such as The Making of Europe. He’s also written and presented BBC television documentaries. Bartlett asks that we join in his fascination for how the saints’ tales came about, how they

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impacted and were impacted by the Church, and how they affected and continue to affect individuals and nations. The earliest Christian saints were martyrs, people who died for their beliefs, often in gruesome public events. Later saints were Christians who lived “in a heroic and resolute way,’’ often adopting ascetic lifestyles. Recognition of early saints arose spontaneously in communities, with perhaps the affirmation of the local bishop. It wasn’t until about 1200 that the papacy gained control of canonization. Saints were a populist phenomenon of the Middle Ages. “The cult of the saints met needs, in particular ticular the need for the hope of a cure in a sick and suffering world without effective medicine, but it also suffused the imagination of worshippers,’’ Bartlett explains. From the beginning, saints (living and dead) were believed to wield miraculous powers, especially to heal the sick, raise the dead, and intercede with God on an individual’s behalf. Veneration of the saints — through prayer, gifts, dedication of life or work, naming of churches or children — was thought to curry their favor, and the greater blessings of God. Bartlett systematically analyzes the cult of sainthood, including types of saints, miracles, pilgrimages, literature, imagery, and so on. His chapter


Saints & Martyrs Trivia Quiz 1. A saint with a square or rectangular halo in a medieval painting: a. was dead b. was alive c. cured the sick d. had not yet been canonized 2. What animal was most helpful to saints of the Middle Ages? a. lion b. crocodile c. raven d. otter

Skull of St. Yves; opposite page, the crypt of Sant’Ambrogio Basilica displaying the skeletons of saints Ambrose, Gervase, and Protase

on relics and shrines is perhaps the most fascinating and fantastic. “The cult of the saints began with the veneration of the dead bodies of the martyrs,’’ Bartlett explains, which initially meant the entire remains of a saint. But soon pieces of saints’ skeletons were being disseminated — or their barely cold bodies were cut up, sometimes by clerics. The parts, or “relics” (whole limbs, bones, hair), began to circulate, along with “contact relics” — objects the saint had touched or used, such as clothing or a staff, or objects from the tomb. As early as the fourth century, relics were being trafficked — bought and sold by bishops, monks, and lay people with a keen sense of the marketable. These events are documented in the surviving literature and imagery of the era. “The severed head was particularly potent,’’ Bartlett writes, and none more so than that of John the Baptist, whose beheading is documented in the New Testament Gospels. “The existence of multiple supposed heads of this saint in the medieval period was one of the more notorious scandals concerning relics, cited both by medieval critics and Protestant reformers.’’ There are in fact multiple tales of the travels of John’s head. Sometimes relics were taken on tour as a fundraiser for a church. In 1445 relics of St. Quentin were carried around and a scale set up. Parishioners would be weighed on the scale and then (presumably in exchange for the saint’s consideration) would “ransom themselves in corn or money.’’ Relics also were exchanged among royalty as gifts, and clerics were known to steal relics from one another’s churches and monasteries. One could swear an oath on a relic, use a relic to ease childbirth, or take a relic into battle as a talisman. Small reliquaries, elaborate shrines, and entire churches were built to house relics, and large churches acquired enormous collections of them, just as museums collect art today. Why Can the Dead Do Such Great Things? is well written and meticulously researched, and it’s a great reference for anyone — believer or not — interested in Christian theology. Plus it’s engaging, witty, and stimulating. How else would one learn that the first-ever travel guides were tours of saints’ shrines, that demons preferred to possess women over men, and that an effective means of stealing from a saint’s tomb was to lick the gold and silver from its ornamentation? Besides, the reader of this book who makes it onto Jeopardy would win the category of “saints and martyrs” hands-down. ◀ “Why Can the Dead Do Such Great Things? Saints and Worshippers From the Martyrs to the Reformation” by Robert Bartlett was published by Princeton University Press.

3. What part of St. Nicholas’ body did a monk steal by hiding it in his sleeve? a. his head b. his hand c. his nose d. his rib 4. Saints have been known to cause “miracles of provision” with which foods? a. beer b. wine c. fish d. beans e. all of the above 5. What breed of dog was St. Guinefort, the only animal named as a saint? a. Saint Bernard b. German shepherd c. mutt d. greyhound

7. Supplicants took what item to a shrine to honor the saint? a. a penny, bent to show it was votive b. a candle as long as the sick person they hoped would be healed c. a blanket, to sleep on when staying overnight (“incubation”) d. food e. all of the above 8. What was St. Fiacre’s medical specialty? a. curing mental illness b. casting out demons c. curing hemorrhoids d. curing paralysis 9. A pilgrim to a saint’s tomb could be expected to have (and was commonly depicted with) all but one of these: a. a beard b. bare feet c. a shoulder bag d. a walking staff 10. Saints and martyrs include: a. the apostles (excepting Judas) b. popes, priests, bishops, monks, and nuns c. merchants d. royalty e. soldiers f. all of the above

6. Who was the most popular saint of the Middle Ages? a. Mary b. St. Patrick c. St. Barbara d. St. Kevin Answers 1. b (alive) 2. c (raven) 3. d (rib) 4. e (all) 5. d (greyhound) 6. a (Mary) 7. e (all) 8. c (hemorrhoids) 9. b (bare feet) 10. f (all)

Relics of Saint Edmund

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1913, at the age of 38, Carl Gustav Jung, the founder of analytic psychology, lost his mind. He began to hear voices, suffer terrible dreams and hallucinations, and endure the resulting physical consequences. He later wrote that he was “menaced by psychosis.” Had it been 2013, Jung most likely would have been given antipsychotic drugs to silence his condition, just as some 3 million Americans were in 2011. That option wasn’t available to him; nor did he want to ignore or mask his condition. He took the opposite tactic, embracing what might poetically be called his descent into madness. He began to engage the voices

“Then turn to the dead, listen to their lament and accept them with love.” — C.G. Jung, “The Red Book”

that spoke to him in exercises that employed what he called “active imagination.” He recorded his experiences in a series of “Black Books.” These he would later compile into a single volume, what’s come to be called The Red Book. Written in exacting calligraphy and illustrated with mandalas, archetypal scenes from his visions, and intricate, colorful initials leading each section, the tome looks and reads more like a work of art than a memoir. Both confusing and fascinating, it has little to do with science and much to do with myth and mysticism. It’s a glimpse into Jung’s concept of the collective subconscious, the shared knowledge of spiritual and literate archetypes held just below the surface of our conscious thoughts. Read literally, it’s an acknowledgment of the dead who live within us.

Jung worked on The Red Book until 1930. He wasn’t anxious to publish it, fearing that its strange, fantasylike contents would call his scholarship into question. But he always honored its relevance to his life and work. “The years, of which I’ve spoken to you, when I pursued the inner images, were the most important time of my life,” he wrote in 1957. “All my works, all my creative activity has come from those initial fantasies and dreams.” The large leather-bound volume, shown to a very few, was kept in a locked cupboard in his home near Zurich. Some 23 years after his death in 1961, his family had the book moved to a bank lock box, only intensifying the rumors of its contents. But in the late 1990s, after years of attempts to convince Jung’s heirs that the book should see the light of day, Sonu

continued on Page 34

Shamdasani, a Jung specialist and professor of psychology at University College London, was given permission to translate and seek publication for the book. Released in 2009, the oversized and expensive volume became something of a sensation, surprising its publisher with its sales, especially over the holidays. Embraced by Jung followers and New Age practitioners (often the same people), it was the ultimate coffee-table book, something that could be both browsed and studied. Shamdasani’s long preface to the book includes a thoughtful introduction to Jung’s life and body of work. Extensively footnoted, his translation makes the mythological and archetypal connections

MYTH AND MYSTICISM IN C.G. JUNG’S THE RED BOOK

Bill Kohlhaase I The New Mexican


The Red Book, continued from Page 33

Both confusing and fascinating, The Red Book has little to do with science and much to do with myth and mysticism. It’s a glimpse into Jung’s concept of the collective subconscious, the shared knowledge of spiritual and literate archetypes held just below the surface of our conscious thoughts. Read literally, it’s an acknowledgement of the dead who live within us.

Artwork this and preceding pages from The Red Book, courtesy the Foundation of the Works of C.G. Jung and W.W. Norton & Company; used with permission 34

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between the products of Jung’s active imagination and his concept of the collective unconscious. Earlier this year, Norton, the publisher of The Red Book, released Lament of the Dead: Psychology After Jung’s Red Book, a collection of 15 conversations between Shamdasani and the late Jungian psychologist James Hillman. The book, like the text that inspired it, underscores the levels of meaning that can be taken from Jung’s creation. It also suggests that any attempt at practical application of Jung’s experiences can make for confusion and disappointment. Hillman and Shamdasani see The Red Book as having little impact on psychology. Its central value is philosophical, even spiritual. Their discussions focus on the book’s relationship to art, literature, Christianity, and history. They revolve around a central tenet: to be fully alive we must learn from the past. In symbolic terms, this means giving voice to the dead. Lament of the Dead has limited value to readers unfamiliar with The Red Book. This is apparent from the very first page, when Hillman recalls an ancient Egyptian ritual of opening the mouth of the dead and compares that act to opening The Red Book. Shamdasani’s reply? “It takes blood.” This response might be totally unclear without the knowledge that the female shade who haunts Jung’s work is constantly calling for blood so she can speak. And in one of Shamdasani’s many footnotes, he quotes from Book II of The Odyssey, “Come here and drink blood, so that you can speak.” Simply understood, the dead can speak only through the living. Those familiar with popular culture will make the obvious connection with our vampire-obsessed entertainment media. It’s not much of a leap to wonder if our fascination with blood sucking speaks to a shared desire to animate the dead who populate our subconscious. When Jung answers the female apparition’s demand for blood in The Red Book, he offers it from his heart. At one point in The Red Book, Jung asks, “What is this that I am doing, it certainly is not science, what is it?” A voice quickly answers: “That is art.” Jung immediately disagrees with that answering voice. This, Shamdasani says in Lament, connects Jung to the European avant-garde of his time and its rebellion against traditional notions of defining art. Jung’s paintings in The Red Book are hardly avant-garde. They’re almost medieval in form and subject, primitive in their execution, and fixated on religious design and interpretation as characterized by the mandalas. Shamdasani says that Jung’s art is “His soul’s revelation to him.” Making contact with that soul, through conversations with the subconscious, is The Red Book’s inspiration. But it takes more than inspiration to make art. Jung rewrote and revised his text. He made pencil sketches of his drawings (some sketches are included in the publication) and carefully colored them. The narrative is constructed in classic Socratic dialogue style, with Jung conversing with his visions. In tone and construction, it most resembles Friedrich Nietzsche’s Thus Spake Zarathustra, a work Jung was known to admire.

In that, the book is as much craft as revelation. Jung’s background in mythology, religion, literature, and archetype surfaces in both his visionary visitors and the contents of their discussions. He deals with Elijah, Egyptian deities, Christ, Salome, and a guide, Philemon, whose role suggests Virgil in Dante’s Inferno. The drama of the narrative, rewritten and edited by Jung, often colors its meaning, and readers can’t help but wonder how much of this subconscious revelation was consciously manipulated. That question hardly matters to the understanding of Jung’s themes. Just before his bout with psychosis, he’d broken with his mentor Sigmund Freud over matters of the subconscious. This may have given Jung a desire to descend there, to a place he saw as more fluid, knowable, and engaged with the conscious mind than did Freud. As Shamdasani says in his introduction to The Red Book, Jung was also looking for relief from the spiritual alienation of the times. Nietzsche had declared God dead. Jung saw him residing in a place where men were afraid to look: their own subconscious. Sharing this idea of the God within embraced by certain Eastern religions, Jung suggested that God doesn’t exist externally but only in the place known as the soul. As Hillman says, Jung didn’t want to let go of Christianity. He wanted to reimagine it. His descent, his psychosis, was an attempt to overcome the spiritual alienation of the times and to rediscover God by discovering the self. How is this self discovered? “What is required is to be alone with one’s dead and to recognize them. ... In his sense, [Jung] sees it as the redemption of the dead.” “Not one item of the Christian law is abrogated,” Jung wrote in The Red Book, “but instead we are adding a new one: accepting the lament of the dead.” This means all the dead of human history, not just the followers of Christ. They must all be made alive so that we can regain, as Shamdasani says “the richness of symbolic expression.” The implication for art, for spirituality, and for our daily lives is to understand that, as Shamdasani points out, hearing the dead is to understand history and the richness of human culture.” Alienation, both spiritual and cultural, was an ongoing theme in Jung’s work, thoroughly discussed in his 1957 book The Undiscovered Self, a text that seems a dogmatic expression of The Red Book’s fantasies. “The Plight of the Individual in Modern Society,” the title of the first chapter in The Undiscovered Self, results from a separation from the past. That seems even more true in the high-tech, instant-gratification world of today, 100 years after Jung’s descent into psychosis. Have we forgotten how to listen to the dead? Not if we’re listening to Jung. ◀ “The Red Book” by C.G. Jung, edited by Sonu Shamdasani and translated by Sonu Shamdasani, Mark Kyburz, and John Peck, was published by Norton in 2009. “Lament of the Dead: Psychology After Jung’s Red Book” by James Hillman and Sonu Shamdasani was published by Norton in 2013.


Santa Fe Institute Community Lecture

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

The two most powerful technologies of the 20th century – the nuclear bomb and the computer – were developed in New Mexico at the same time and by the same group of young people. But while the history of the Manhattan Project has been well told, the origin of the computer is relatively unknown. Historian George Dyson tells the story of how Alan Turing, John von Neumann, and a small band of other geniuses not only built the computer but foresaw the new world it would create.

www.santafe.edu George Dyson is the author of Turing’s Cathedral and a historian of technology whose writing covers the evolution of technology in relation to the physical environment and the direction of society.

Support for SFI’s 2013 lecture series is provided by Los Alamos National Bank.

LIV san & E M ta fe NI U GH SIC TL IFE

GO

STUART DAVIS (1894–1964), NEW MEXICAN PEAK, 1923, OIL ON CANVAS.MUSEUM PURCHASE, 2005 (2005.15.1).

what’s happening

Wednesday, November 6, 7:30 p.m.

Turing’s Cathedral: The Origins of the Digital Universe

This Weekend

PUBLIC SYMPOSIUM: RETHINKING NEW MEXICO ART Free and open to the public.

Friday, November 1, 5:30–6:30 pm. Keynote address: “Why It’s Time to Rethink New Mexico Art,” by Dr. Cody Hartley, Director of Curatorial Affairs, Georgia O’Keeffe Museum. Reception to follow. Saturday, November 2, 9:30 am–5 pm. Curators and artists from across New Mexico discuss new perspectives on the art of the region. 9:30–10 am: Welcome coffee. 10–11:30 am: “Artistic Fusions.” 1:30–3 pm: “Artistic Inclusion and Exclusion.” 3:30–5 pm: “The Artist’s Perspective.” Visit www.nmartmuseum.org for details.

Coming Up FILM SCREENING

Friday, November 8, 6–9 pm. “Little Big Man,” Arthur Penn’s iconic antiestablishment film of the ’70s, starring Dustin Hoffman, Chief Dan George and Faye Dunaway. Introduction by Chris Eyre, Cheyenne-Arapaho film director, producer and actor.

NEW MEXICO: THE ARTISTS’ CENTURY

Mondays, 10–11:30 am. The museum’s popular weekly lecture series continues. November 4: “The University of New Mexico and Albuquerque.” Retired curator Dr. Joseph Traugott will discuss important moments in New Mexico’s art history. November 18: “Photography and the Growth of the Galleries.” Curator Katherine Ware will chronicle the impact that photography has had on New Mexico art. Free for Museum of New Mexico Foundation members, $5 donation for nonmembers.

Visit one more time. Last chance to see the exhibition It’s About Time: 14,000 Years of Art in New Mexico, closing November 20.

NEW LISTINGS DAILY

santafenewmexican.com/calendar

NEW MEXICO MUSEUM OF ART 107 W. PALACE AVE | ON THE PLAZA IN SANTA FE | 505.476.5072 | NMARTMUSEUM.ORG |

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Michael Abatemarco I The New Mexican

A sense of realism Spanish colonial artist Bernardo Miera y Pacheco

Bernardo Miera y Pacheco: Virgin of the Immaculate Conception, circa 1754-1785, wood, gesso, and oil paint; Museum of International Folk Art

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PASATIEMPO I November 1-7, 2013

Bernardo Miera y Pacheco was born in 1713 in the Spanish village of Santibáñez north of Burgos. Little is known about his early life. He married in Mexico in 1741 and emigrated to colonial New Mexico, then a part of New Spain, in the 1750s, finding work as an engineer and official cartographer under Gov. Marín del Valle. In addition to cartography and a military career, Miera y Pacheco was an explorer, a mathematician, a rancher, a farmer, and a consummate artist. In The Art & Legacy of Bernardo Miera y Pacheco, Josef Díaz, curator of Southwest and Mexican Colonial Art and History Collections at the New Mexico History Museum, has assembled a group of essays that examine the significance of Miera y Pacheco to the lasting santero tradition and his importance to the history of New Mexico. “There has been mention of him in various books — history books and art history, but no book dedicated only to Miera y Pacheco,” Díaz told Pasatiempo. “[Historian] John Kessell just came out with a book, as well, but his is more of a biography. Ours is more an art historical approach and documents most of his works.” The Art & Legacy of Bernardo Miera y Pacheco is published by the Museum of New Mexico Press. On Friday, Nov. 1, the publisher launches the book with a signing and panel discussion featuring Díaz and historians Tom Chávez and Dennis Reinhartz, Museum of Spanish Colonial Art curator Robin Farwell Gavin, art historian William Wroth, and santero Charles Carrillo — all contributors to the book. “Charlie Carrillo talks about Miera being one of the earlier ethnographers in the Southwest,” Díaz said. Miera y Pacheco illustrated his maps with depictions of indigenous peoples such as Commanches and Hopi women. One map in the New Mexico History Museum’s exhibit Santa Fe Found: Fragments of Time also shows representations of pueblos and settlements along the Río Grande. Reinhartz, whose essay in the book also discusses Miera y Pacheco’s cartography, writes on the importance of detailed descriptions in the maps that offer insight into colonial life in New Mexico. According to Díaz, Miera y Pacheco introduced a lot of the iconography of the saints to Northern New Mexico. His depiction of Santa Barbara, now

in the New Mexico History Museum’s collection, shows the saint in the flowing robes common to the Baroque style. The painting, dated to around 1760, was the impetus for the book. “It was in the personal collection of E. [Elizabeth] Boyd and featured in her book Popular Arts of Spanish New Mexico,” Díaz said. “It was willed to someone in California and then disappeared. It’s an amazing piece. We got a call from a picker. A picker goes home to home asking if they have anything to sell. I think he picked it up at an estate sale. He brought it to our attention, and I said we’d look at it. Sure enough, it was that Santa Barbara that had been missing for years and years. We were fortunate to add it to our collection.” In his renderings of Spanish colonists and Native Americans and in his religious iconography, Miera y Pacheco tried to portray his subjects in their contemporary dress. “The goal is realism,” Gavin said. “In both his retablos and his sculptures, he’s really attempting naturalism and making the figures three-dimensional, making the drapery feel like real drapery. He’s painting in oils for one, but he’s using the dark, somber colors that are characteristic of late Mexican Baroque work. He really introduced the whole Baroque style to New Mexico. At least, he’s one of the people. There are a couple of other artists working in that time period whose names we don’t know that are also introducing the Baroque style to New Mexico.” It’s significant that so many pieces can now be attributed to Miera y Pacheco. Other artists working in the santero tradition during the colonial period are not known by name. The “Eighteenthcentury Novice,” as one such santero is known, adopted the Baroque style, possibly from Miera y Pacheco’s direct influence, but crafted his paintings with less skill. Miera y Pacheco’s other artworks, including bultos and retablos and massive altar screens, have been attributed posthumously based, in part, on comparisons between them and the artistry displayed in his maps. Among the most remarkable of these pieces is a weighty stone altar screen, a monumental work originally commissioned for a military chapel — La Castrense — on the Santa Fe continued on Page 38


“Plan der Tierra …,” 1779, Archivo General de La Nación, Mexico City Above, Santa Barbara, circa 1760, oil on wood, New Mexico History Museum Right, altar screen, 1761, volcanic stone and paint, Cristo Rey Church. Santa Fe Images from The Art & Legacy of Bernardo Miera y Pacheco; courtesy Museum of New Mexico Press

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Bernardo Miera y Pacheco, continued from Page 36

Map of Nuevo México (detail), circa 1758, oil on canvas; New Mexico History Museum

Plaza but now housed in Santa Fe’s Cristo Rey Church. “Most of the artists in the colonial period did not sign their works,” Gavin said. “The way the altar screen at Cristo Rey was finally identified was through the research that Donna Pierce and Felipe Maribal did.” Pierce, a curator at the Denver Art Museum, contributed to the book as well. “People started finding references to a document on the stone quarry in Jacona, where the pieces for the altar screen were quarried,” Gavin said. “Before, it had been attributed to Mexican artisans because of the border on the altar screen and the little putti, cherubim-like figures that looked Mayan or Aztec. But they hadn’t really looked at the figures of the saints, and the saints are what really indicates the artist of the work, and those bear a lot of similarity to other pieces that were then being identified as the work of Miera y Pacheco. “E. Boyd did some of that. Hers is still the pioneering work on the colonial art of New Mexico. She identified his San Raphael through some of his retablos. When you compare them to the altar screen, you can immediately begin to see some similarities in the poses, in the rendering of the figures, and in the perspective.” According to Gavin, the altar screen at Cristo Rey is a rare example of stone screens dating to the 18th century. “It’s the only stone altar screen from the colonial period that we know of in the continental U.S.,” she said. “There’s only a handful of them in Mexico that have been documented.” The altar screen still bears traces of its original colors, but most have worn away. “Angélico Chavez did a watercolor drawing to show what it may have looked like,” Díaz said. “I’m not sure how accurate the colors are, but it gives you an idea of how bright it was.” Few works by Miera y Pacheco have survived. The Art & Legacy of Bernardo Miera y Pacheco makes the case for further research and adds weight to the theory that he was not just influential but also the first, or among the first, santeros who were active in the region. No complete survey of his known works has existed until now. ◀

Celebrating the lives of Santa Feans for over 47 years.

Rick Berardinelli, C.F.S.P. Managing Partner and Director

Berardinelli – A Santa Fe family for over 145 years A professional staff with over 230 years experience Santa Fe’s only in-house cremation facilities Large chapels and public gathering spaces Learn more at www.berardinellifuneralhome.com (505) 984-8600 38

PASATIEMPO I November 1-7, 2013

details ▼ Josef Díaz, editor of The Art & Legacy of Bernardo Miera y Pacheco: book signing & panel discussion ▼ 6 p.m. Friday, Nov. 1 ▼ New Mexico History Museum, 113 Lincoln Ave. ▼ No charge; 505-476-5200


Market Fresh Cooking Thanksgiving Series

At the Santa Fe Farmers Market Every Tuesday in November, the Santa Fe Farmers Market brings you a cooking demonstration to enhance your holiday feast.

• Tuesday, Nov. 5th

Lensic Presents

BROADCAST IN HD Adrian Lester

Judi Dench

Maggie Smith

Michael Gambon

Derek Jacobi

Val Alarcon - Winter Squash Soup

• Tuesday, Nov. 12th

Santa Fe Culinary Academy - Turkey Trickster

• Tuesday, Nov. 19th

Thanksgiving ramp up!! All classes begin at 10 am in the Farmers Market Pavilion. Free and open to the public.

We accept WIC & EBT

1607 Paseo de Peralta | 505-983-4098 | santafefarmersmarket.com

Rory Kinnear

With more actors to be announced Ralph Fiennes

Frances de la Tour

November 12, 7 pm

$22/$15 Lensic members & students

Santa Fe Culinary Academy - All About Sides

• Tuesday, Nov. 26th

Britain’s greatest actors. Five decades of plays. One unforgettable night.

SPONSORED BY

Penelope Wilton

Simon Russell Beale

Tickets: 505-988-1234 www.TicketsSantaFe.org S E R V I C E C H A R G E S A P P LY A T A L L P O I N T S O F P U R C H A S E

t h e l e n s i c i s a n o n p r o f it, m e m b e r- s u p p o rt e d o rga n i zat i o n

DEAD

THE DAY OF THE

5th Annual Día de los Muertos Public Reception 5 to 9 p.m., Friday, November 1, 2013 Exhibition Dates Nov. 1 through Nov. 22, 2013 Red Dot Gallery is pleased to present the works of well-known Northern New Mexico artists whose work has enchanted viewers with their artistry, surreal imagination and humor in portraying death. Artist’s Talk: Saturday, Nov. 9, 1 -2:30 p.m. Jim Vogel, Nikki Bustos, Diego López and Gene Ortega, Toby Morfin. Artist’s Talk: Saturday, Nov. 16, 1 -2:30 p.m. Joseph Ascensión López, Diego López, Byron Martinez, Thomas Vigil. Participating artists include Nikki Bustos, Patricio Chavez, Matthew Duran, El Moisés, Benjamin López, Cruz López, Diego López, Leroy López, Joseph Ascensión López, Byron Martinez, Russell Martinez, Arturo Montaño, Rachael Montoya, Toby Morfin, Gene Ortega, Bryan Romero, Gabriel Vigil, Gilbert Vigil, Thomas Vigil, Jim Vogel.

Learn more. Call 505-820-7338 www.red-dot-gallery.com

820 Canyon Road Santa Fe, NM 87501 The Red Dot Gallery is made possible through the generous support of Zane Bennett Contemporary Art

Red Dot Gallery AN SFCC ART LABORATORY

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Hollis Walker I For The New Mexican

david and matt repsher common to hear of a child who follows in his father’s footsteps, and sometimes a young person consciously or unconsciously tries to fulfill a parent’s unrealized dream. Matt and David Repsher’s story offers an unusual variation on those narratives, one in which a son’s passion for work that his father once loved has rekindled that passion in his father. Matt Repsher became a potter in large part because his father, David, had worked in clay. Until recently, the elder Repsher made ceramics only very occasionally. Last summer, Matt traveled back home to central Pennsylvania and, with his father, fired up the longcold kiln at their Lucas Hill Pottery, and the two went to work. Santa Fe Clay exhibits the results of the men’s four-week “residency” in Repsher & Repsher, opening Friday, Nov. 1. David was an architecture major at Penn State when, in his last semester, he took a clay class and fell in love with the material. “That term I spent every waking hour in the pottery. I almost didn’t graduate because of it,’’ he said. He did graduate and was soon invited back as a graduate fellow, earning a master of fine arts in ceramics in 1971. During his years at Penn State, he met and studied with many of the heavyweight ceramists of the era, including Rudy Autio, David Shaner, Peter Voulkos, and Robert C. Turner. He went on to develop a career as a designer and builder of homes and very rarely visited the wheel. Pots he had made but never sold took up permanent residence with his wife and growing family in their rural home near State College, Pennsylvania. Those pots were far from a passive presence. Matt grew up surrounded by them, taking in his father’s occasional stories about them, about clay and its chemistry. In high school, the younger Repsher took a clay class but planned to major in forestry management in college; growing up in the woods of central Pennsylvania had affected him deeply. “I wouldn’t say there was an aha moment,’’ he said, but even before he registered for his first semester, he decided to major in art, with an emphasis in ceramics. He discovered that his father’s pots had taught him quite a bit about clay. “I had a reference point, a language of form, that started with him — it gave me a really good foundation. I had a huge advantage — and a garage full of stuff to play with.’’ 40

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


Like his father, Matt attended Penn State, where his work leaned toward the sculptural and away from the functional, as was typical of students coming out of academic ceramics programs at the time. During college, he and a friend rebuilt his father’s pottery on the family property, constructing a wood-fired, Japanese anagama-styled kiln with a smaller back chamber for salt firing, which is a technique that has historically been popular among the German settlers of the region. Matt graduated in 1999. A fellowship at Indiana University took him away from home and the pottery. At Indiana, he earned a master of fine arts in ceramics. In 2004 he migrated to Santa Fe, where he met Avra

Leodas, owner of Santa Fe Clay, and went to work for four years as her studio manager in charge of the ceramics school. He has shown his work at the Santa Fe Clay gallery since then, attracting the attention of Ceramics Monthly, which recently published a cover story about him. That article and his father’s cancer diagnosis earlier this year inspired him to propose a joint show, he said. “I realized I did not want to let the opportunity go by to do stuff with him.’’ So last summer, Matt went home to Pennsylvania for a month, threw pots, and fired in the salt kiln with his father. In recent years the younger Repsher’s work has continued on Page 42

S A N TA F E C L AY E X PA N S I O N After many years of uncertainty, Santa Fe Clay, which has been a resident of the Railyard area since 1974, recently negotiated a long-term lease with the Santa Fe Railyard Community Corporation, according to owner Avra Leodas. The new lease will allow the 10,000-square-foot retail ceramics supply, gallery, and studio to expand. An 80by-20-foot metal addition will be constructed on the east side of the building. It will house new kilns and additional classroom space. The company launched a Kickstarter campaign to raise $50,000 to help finance the expansion, and by Oct. 29 Santa Fe Clay had reached it goal.“I’ve been moved to tears by our community’s generosity,“ Leodas said. The campaign ends at 9:38 a.m. on Wednesday, Nov. 6. Funds rased in excess of the original goal will help pay for cost overruns and/or improvements, Leodas said. Santa Fe Clay is investing $50,000 of its own in the project. Leodas said construction may begin within a month and will take as little as a few months to complete. Visit www.santafeclay.com.

Matt Repsher grew up surrounded by his father’s pots.They were far from a passive presence. David and Matt Repsher unloading the kiln; right, Bottle by David Repsher; far right, Bottle by Matt Repsher; opposite page, a collection of the artists’ work

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“kind of come full circle,’’ he said. “I left grad school doing sculpture and have moved back to making vessels — I’ve been working from the bottle forms that I remember from my dad’s works at home.’’ The time with his father was rich, he said. David agreed, though he wasn’t aware that his cancer was part of his son’s impetus for the project. His prognosis is good, he said, “and I wasn’t thinking about my cancer, or I was trying not to. ... The last two firings were spectacular, as far as I’m concerned. I hope we get to do this again next summer. It really got my juices flowing. I did a whole other load of pots after he left; I’ve never done that in my life.’’ The father’s influence on his son — and vice versa — is evident mostly in the form and palette of their works. Both are working in vessel forms: bottles, jars, and crocks — functional shapes reminiscent of historical pottery from Pennsylvania. Each relies primarily on clay and slip colors that evoke the natural world: reds, browns, creams, and blues. David uses clays and slips he has dug himself, sometimes with his son. “The clay I use came from a strip mine in Clearfield County that we discovered while motorcycling in the strippings. It’s a light yellow-grey-colored clay, and there’s a lot of junk in it, so it gets good spots’’ when fired. He favors two slips — a dark brown and a black — that he discovered when excavating house foundations — and a cobalt blue. The surfaces of his works are illustrative, typically including simplified tree forms, which he said are based on those he uses in architectural rendering, and rectangular and square repeating shapes that represent the landscape. Matt tends to use a red clay and has two somewhat distinct styles. In one, he draws elaborate repeating patterns of arches, circles, and other graphic forms, and then cuts out the clay, evoking ancient architecture of the Middle East. He paints in earthen-colored slips over the designs. His other style features fewer and more delicate areas of cutouts and larger geometric forms, as if he has blown up the archways and portals of the other style so that only their basic shapes are expressed. These pieces have a modernist feel and sometimes have lighter or more vibrant colors. The surfaces of both styles feature a regular sgraffito, sometimes crosshatching, that adds a textural element. He scrapes away some of the color to reveal the clay underneath. The two Repshers, both masters of understatement, admire each other’s work. “I think he makes really nice pots,’’ the younger Repsher said. The father demurred. “Matt is way better at it than I am.” The elder Repsher has recently been teaching his young granddaughter about clay. “I make tile blanks for her, and she draws on them and decorates them, and she’s pretty good at it.’’ The legacy continues. ◀

details ▼ Repsher & Repsher ▼ Opening reception 5 p.m. Friday, Nov. 1, artists talk 5:30 p.m.; through Dec. 14 ▼ Santa Fe Clay, 545 Camino de la Familia, 505--984-1122


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FATALIST ATTRACTION Confronting the darkness within The Counselor, the reader or viewer wonders if there’s a morality tale embedded somewhere beneath the sex and violence. But, as in the vast majority of Cormac McCarthy’s preceding work, the message seems to be that humanity’s self-inflicted ruination is both eternal and meaningless.

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Loren Bienvenu I For The New Mexican arly in Cormac McCarthy’s screenplay for The Counselor, a diamond jeweler quotes Friedrich Schiller: “When gods were more human, men were more divine.” The scene, truncated in Ridley Scott’s film adaptation (the Schiller reference and other lines are eliminated), is emblematic of much of McCarthy’s work, where well-researched, worldly exchanges give birth to impromptu and often cryptic prophecy. In this case, the protagonist (played by Michael Fassbender and known only as “the Counselor”) and the jeweler (Bruno Ganz) are engaged in a transaction that draws heavily on the professional lexicon of diamond dealing. Then the jeweler adopts the role of seer and the dialogue abruptly shifts away from culets, pavilions, and girdles. His remarks on Schiller form just part of an extended reflection culminating in the observation that humanity struggles to resist nihilism: “At our noblest we announce to the darkness that we will not be diminished by the brevity of our lives.” Talk about foreshadowing. Confronting the darkness within The Counselor, the reader or viewer wonders if there’s a morality tale embedded somewhere beneath the sex and violence. But, as in the vast majority of McCarthy’s preceding work, the message seems to be that humanity’s self-inflicted ruination is both eternal and meaningless. Focusing on the present-day interplay between Mexican drug cartels and the avaricious American sophisticates who round out the symbiotic relationship, the story is a relatively familiar and simple one, though embellished with complexity of detail. While Scott’s adaptation is vivid, the most intriguing aspect of the screenplay ends up undermining the emotional impact of the film. This is a narrative in which few of the protagonists are particularly likable, and the ruthless drug assassins who behead and torture without discrimination come across as more “real” than the glamorous power players on the fringe of their world. If that’s not the point, it’s hard to imagine what is. The Counselor is particularly flat, both as a written character (perhaps intentionally) and as portrayed by Fassbender (perhaps unintentionally). What we know about him is that he cares enough about sex, money, and luxury to make a naive gamble on a large-scale drug deal, the particulars of which are never fully fleshed out. Though he is a lawyer by trade, the characters he interacts with do most, if not all, of the counseling. Westray, a more experienced drug trade middleman (well played by Brad Pitt), most frequently counsels him, at one point even incorporating “Scots law” for the benefit of the lawyer. The Counselor also receives counsel from his jeweler, a drug cartel jefe, another lawyer from across the border, and a Mexican café proprietor in a scene reminiscent of the Hemingway story “A Clean, Well-Lighted Place.” Clearly this man is out of his element, his fate all but sealed and no cause for sympathy. The film is most interesting in comparison to its more successful screenplay, published in October by Vintage

Books. Several of McCarthy’s novels have been adapted for film, and some of them started out as screenplays, but this is the first time that one of his stories has come directly to the screen in his own words (though he wrote a screenplay for the 1976 television drama The Gardener’s Son and a 2006 play, The Sunset Limited, which was adapted into an HBO movie in 2011). There is much of interest on the page that does not appear in the film, in part due to editorial decisions, but also because some of McCarthy’s extended descriptions cannot be transferred directly on-screen. The cuts to the screenplay, though, are most often judicious: no major revisions are made, but a number of lines of dialogue, particularly when they appear as anecdotes or extended philosophical meanderings, have been excised. This is not to say that they should likewise have been edited out of the published screenplay; these lines are just more interesting to read than to hear recited. Other lines are best left to the attractive actors than to the imagination. In the first scene of the film, the Counselor and his innocent soon-to-be fiancée, Laura (Penélope Cruz), engage in some highly sexualized pillow talk under the sheets. Though Fassbender’s stiff apathy prevents the interplay from being as engaging as it could be, it is one of a few examples where visual and audio elements help give the script a jolt. Overall, Scott’s rendering leans toward upping the action and muting the philosophy, to its detriment. There are the high-budget gun battles, kidnappings, and chase scenes requisite to the cartel film genre, often shot with an eerie, stylized beauty, yet somehow the action is more thrilling in the screenplay. Even when certain episodes are extended, as is one chase scene involving Reiner (the Counselor’s lavish friend, client, and business partner, eccentrically imagined by Javier Bardem), not enough is at stake to merit the extension. It is the brevity and efficiency with which violence is accomplished in McCarthy’s script that gives it its power. As a result, the anonymous, well-trained cartel enforcers (to call them thugs would belie their professionalism) are more provocative than the greedy Americans who get all the screen time. And that’s how it should be. Consider the Counselor, who comes across as an anonymous type in the screenplay, a cautionary nobody fulfilling the role of live bait for the predators who are the tale’s real, if peripheral, stars. This characterization proves incompatible with the film’s eagerness to settle into the familiar Hollywood groove of employing tried and true plot lines and well-known actors to generate maximum audience reverence or revulsion. One character alone manages to remain as elusive in the adaptation as the original: the feline and rapacious Malkina (Cameron Diaz), who is capable of unsettling even her most intimate companion. In a scene sure to continue generating sustained critical reaction, Malkina

makes love to a Ferrari. In another, she sends a priest scrambling from the confessional, putting another one of the jeweler’s prophetical lines to the test (“Who is that man who is revered? In the classical world it is the warrior. But in the western world it is the man of God.”). Malkina challenges the warrior and the man of God with an archetype of her own: the huntress. Reflecting on why she enjoys watching her pet cheetahs hunt down jack rabbits, she says, “To see quarry killed with elegance is very moving to me. ... A thing like that is always sexual.” Despite her own skill at taking down quarry, she ends the movie much as she started it, “famished.” The audience is also left craving more by film’s end (whereas the reader of the screenplay is left with an emptiness that does not require additional satisfaction). Perhaps this is because more questions are raised than answered, the primary one being: is there a deeper message beneath the twin ideas of violence as absolute and violence as entertainment? One character implies so. Discussing the cartel’s use of snuff films (the practice of recording actual executions), Westray comes close to moralizing: “The consumer of the product is necessary to its production. You can’t watch without being implicated in a murder.” Then he draws a parallel to another type of consumer: “You might want to think about that the next time you do a line.”

Brad Pitt and Michael Fassbender; opposite page, Fassbender and Javier Bardem, inset Penélope Cruz

If one furthers Westray’s own analogy to The Counselor itself, viewers and readers alike become implicated as consumers. (And what does that say about the film’s creators?) But it’s too easy to read the story as an indictment, be it of American drug culture, the lawless carnage that it fosters, or its desensitizing portrayal in popular media. Any such reading is undermined by the persistent fatalism of McCarthy’s vision — a fatalism that undercuts our ability to be thoroughly drawn into the characters’ lives and world. ◀

“The Counselor: A Screenplay” by Cormac McCarthy is published by Vintage Books/Random House. The film (2.5 chiles) is rated R and plays at Regal Stadium 14. drama, rated R, Regal Stadium 14. PASATIEMPOMAGAZINE.COM

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movIng Images film reviews

Ticket to ride Laurel Gladden I For The New Mexican Wadjda, dramedy, rated PG-13, Center for Contemporary Arts, in Arabic with subtitles, 3 chiles Young Wadjda is a lot like any other 10-year-old you might meet: she just wants a bike so she can ride to school with her best friend. It’s too bad, then, that she lives in Riyadh, Saudi Arabia, where conservative Muslim clerics call the shots. The lives of women are closely governed, and mothers there remind their daughters that “girls don’t ride bikes. You won’t be able to have children if you ride a bike.” In Saudi Arabia girls must cover their heads and are told from a young age that they shouldn’t speak at a level audible to men, because “a woman’s voice is her nakedness.” That sort of restriction didn’t deter writer-director Haifaa Al-Mansour from making Wadjda, though. Not only is this the first feature filmed entirely in the kingdom of Saudi Arabia (where cinemas are, for the most part, banned), but it’s also the first to be made by a Saudi woman. Al-Mansour reportedly oversaw the project from the back of a van, via walkie-talkie, so that she wouldn’t cause a stir by telling men what to do in public. The story is sweet and utterly simple. Wadjda (Waad Mohammed) wants to bike race with a boy from the neighborhood named Abdullah (Abdullrahman Al Gohani), who seems to have a bit of a crush on her. Wadjda is sassy (she can roll her eyes as well as any American teenager) and enterprising. She makes bracelets, sells them to her

Abdullrahman Al Gohani and Waad Mohammed

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PASATIEMPO I November 1-7, 2013

Stoked for spokes: Waad Mohammed

schoolmates, and spends her hard-earned cash on pop music and the black Converse sneakers she wears beneath her abaya. Naturally, Wadjda’s mother doesn’t approve of most of this, but she’s also worried about her marriage to Wadjda’s father (Sultan Al Assaf ), who only pops in occasionally and may be looking for a second wife — one who can bear him a son. When Wadjda spies a bright green bike — the fancy kind with tassels on the handlebars — for sale at a local toy store, she resolves to raise the 800 riyals (a little more than $200) to buy it. To that end, she

convinces her hard-line headmistress (Ahd), who worries that Wadjda is a hopeless troublemaker, that she wants to join the school’s religious club and enter the upcoming Koran-recitation contest. First prize is 1,000 riyals. It’s a simple story — almost too much so. “Will Wadjda win the competition and be able to buy the bike?” seems like the premise for an after-school special, not a feature-length film. But that’s easy for me to say, sitting at my desk in the United States. According to Saudi cultural mandates, women are best neither seen (unless covered by a niqab) nor heard. As one of Wadjda’s classmates says, “Respectable girls go inside. The rest stay where the men can see them.” They’re not allowed to drive. Allowing a 20-year-old man to marry your 12-year-old daughter is de rigueur, but a girl riding a bicycle is considered the height of impropriety. Al-Mansour’s film isn’t overtly rebellious. It doesn’t demonize traditionalists, men, or the government. It offers Western audiences a revealing, captivating glimpse into day-to-day existence in Saudi Arabia; and simply, cleverly, it uses a young girl to point out injustices in the lives of modern-day Saudi women. Making a point is one thing, but succeeding as a nar rative film is another, and Wadjda owes its success largely to natural, unforced performances from the cast and a spunky, charismatic lead with a winning smile and excellent timing. Although the conclusion veers toward predictability, the film is still enjoyable and engaging — by the time Wadjda stands on the stage and begins her recitation, you’ll be on the edge of your seat. Here’s hoping her determination and freedom of thought are harbingers of good things to come. ◀


moving images film reviews

An ocean runs through it: Robert Redford, or his stunt double

The old man and the sea Robert Nott I The New Mexican All Is Lost, one man’s aquatic odyssey, rated PG-13, The Screen, 3 chiles Seventy-seven-year-old Robert Redford’s face suggests an emotional landscape that has weathered a lot of personal and professional storms. This stoic visage drives filmmaker J.C. Chandor’s one-man adventure drama, All Is Lost. It’s the story of a character known as Our Man (Redford), stranded at sea in a crippled vessel without any means of communication or help. The script is reportedly about 30 pages long, and by my count the film doesn’t even have 20 lines of dialogue. It’s basically Redford against the sea, and that’s enough to make it an enthralling tale — most of the time. Don’t expect a back story. There are few hints as to who Our Man really is. A couple of lines of opening narration by this character give the impression that he sees himself as a failure. Within seconds, his craft is involved in a freak collision with a unmanned cargo container of sneakers, a crash that knocks out his boat’s technological capacity and leaves Our Man adrift somewhere in the Indian Ocean. It is never clear what inner monsters haunt Our Man’s psyche, but the monster outside is Mother Nature, and she is not forgiving. When the initial sound of distant thunder resembles the roar of cannon fire, Our Man prioritizes real fast: he wants to live. Redford maintains the magnetism of a star, and that keeps his performance anchored. But the script and direction don’t allow Our Man much emotional variety, save for the occasional anguished cry or a rare burst of profanity as he rallies against the watery fates. His generally impassive facial features remind me of Buster Keaton — not an actor you would associate with multilayered expressionism but someone who can still convey deep feelings with the twitch of an eyebrow. Good old-fashioned storytelling wins the day here, despite the impressive CGI influence, and Robert Munroe’s visual effects are so realistic at times that you will probably forget that the picture was mostly shot in studio tanks in and around Baja California. Alex Ebert’s score is beautiful, but frankly the film is more effective when it’s not playing. All Is Lost is a gutsy project that trusts its audience to trust back. It doesn’t really need a back story, but given the hell this mariner goes through, you can’t help but think that what got him into this mess was the killing of an albatross long before the opening credits. Still, for all its merit, by the time the third storm hits Our Man, you may wish you had your own life vest to weather the tempest. ◀ PASATIEMPOMAGAZINE.COM

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movIng Images film reviews

Parallel lives Jonathan Richards I For The New Mexican Mr. Nobody, drama, not rated, Jean Cocteau Cinema, 2.5 chiles According to Dante, over the gates of hell hangs a sign: Abandon all hope, ye who enter here. There’s something kind of liberating about that warning, and applied to Jaco Van Dormael’s sprawling, insanely over-the-top fantasy based in the many-worlds theory of quantum mechanics, it may give you license: abandon yourself to this movie’s gaudy absurdities, and you just might have a good time. But leave your critical faculties in place, and you can expect to spend two hours and 20 minutes in a hell Dante never could have imagined. Nemo Nobody (mostly Jared Leto, with a backup team of actors for his teenage and childhood years) is the “last living mortal” in the year 2092, telling his life story on the eve of his 118th birthday. The world has come a long way since the early years of the century, as you can imagine. We get glimpses of a futuristic cityscape and learn that mortality and sex are things of the past. “We screwed, we fell in love,” the ancient curiosity tells an eager magazine reporter who sneaks into his hospital room for an interview. Reproduction is no longer necessary, because the secret of perpetual rejuvenation has been discovered, and recreational sex seems not to be part of the new paradigm. The many-worlds theory, reduced to the simplistic, has it that we live in a world of infinite possibilities, all of which are true. What can happen, does happen, in a never-ending spectrum of possible outcomes in parallel universes. It’s Frost’s “The Road Not Taken” writ large. Until we make a choice, everything is possible. And each possible choice can and does lead one down its own and separate path.

If you’re happy and you know it clasp your hands: Natasha Little and Rhys Ifans

The first choice we make is our parents, the film explains. Before we are born we exist in a white, milky place where we seem to be toddlers and are free to examine and manipulate possible pairings of adult humans to bring us into the world. But the major choice that affects the world of Nemo happens when he is 9. His parents are splitting up, and poor little Nemo (Thomas Byrne) finds himself on a railroad platform, forced to decide on the spot whether to stay with his father (Rhys Ifans) or get on the train with his departing mother (Natasha Little). The scene is explored in various possible outcomes, and from that point Nemo’s life proceeds along a variety of possible threads. The movie is forced to limit the alternatives, otherwise we would be trapped forever in the movie theater. Or, alternatively, we could have not gone in in the first place. The paths we follow pair Nemo with three different girls. His truest love is Anna ( Juno Temple as a teenager, Diane Kruger as an adult). Nemo’s mother marries Anna’s father, but she doesn’t seem to have a gift for lasting relationships, and when the grown-ups part, the teenage lovers (Toby Regbo is the teenage Nemo) are parted as well. Life’s infinite

If you’re not happy and you know it: Sarah Polley and Jared Leto

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PASATIEMPO I November 1-7, 2013

variety of complications conspires to keep them apart, with occasional brief respites for reunion (the butterfly effect figures into this equation). Another of Nemo’s alternate-universe pairings finds him marrying the bipolar Elise (Clare Stone in the teen years, Sarah Polley as an adult). He loves her, but she makes life hell for him (and for Polley, who is forced to spend most of her screen time crying). In another rendering, Elise is killed, and Nemo is badly burned in an explosion right after their wedding. And then he has a third romantic possibility, Jean (first Audrey Giacomini, and then Linh-Dan Pham), with whom he lives a prosperous and empty life and who barely registers as wallpaper in the movie’s scheme of things. All of these possible lives lead Nemo into a variety of guises and occupations, from hirsute derelict to suburban success. In one of them, he’s even the host of a TV pop-science program, explaining string theory and quantum mechanics to us. From time to time, we check back in on the 118-year-old Nemo, either in a session with his tattooed psychiatrist, or confined to his hospital bed, severely afflicted with a terminal case of latex old-age makeup. And another even stranger malady has beset him at the end of his long life: as a boy and a young man he spoke with an English accent, but he now drawls in the Southwestern locutions of a last survivor recalling the Alamo. Belgian filmmaker Van Dormael explored some of the same themes in his modest 1991 fantasy Toto the Hero. In Mr. Nobody, which actually premiered in 2009 at the Venice Film Festival, armed with a big budget and a Canadian-based international coproduction, he pulls out all the stops, and wallows in an orgy of cliché, originality, excess, silliness, and absurdly provoking nuggets of ideas. The production values are great, there is some bad dialogue and fine acting, and, with the caveat expressed at the top of this review, there is the possibility of a good time to be had. Or not. Or both. ◀


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SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com

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

Fri Nov 1

12:30p - The Summit 2:00p - Capital* 2:45p - Wadjda 4:15p - Inequality* 5:00p - Wadjda 6:15p - The Summit* 7:15p - Wadjda 8:30p - French Film Salon: Capital*

Sat Nov 2

12:00p - Rebels with a Cause* 12:30p - The Summit 2:00p - Capital* 2:45p - Wadjda 4:15p - Inequality* 5:00p - Wadjda 6:15p - Capital* 7:15p - Wadjda 8:30p - The Summit*

Sun Nov 3

12:30p - The Summit 1:30p - Capital* 2:45p - Wadjda 3:45p - Inequality* 5:00p - Wadjda 5:45p - Capital* 7:15p - Wadjda 8:00p - Rebels with a Cause*

Mon-Thurs Nov 4-7

2:45p - Wadjda 3:45p - Inequality* 5:00p - Wadjda 5:45p - The Summit* 7:15p - Wadjda 8:00p - Capital*

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

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ensues. Rated PG. 91 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) KING OF HEARTS This WWI fantasy from French director Philippe de Broca came out in 1966 and won a passionate cult following among the opponents to the Vietnam War with its story of a British sapper (Alan Bates) ordered to dismantle a bomb rigged by the retreating Germans to blow up a town. The evacuated town has been taken over by the liberated inmates of its insane asylum. They don’t seem much crazier than any troupe of colorful actors, and one of them is an adorable waif (a very young Geneviève Bujold) with whom the soldier falls in love. Cult films by definition appeal to a particular swath of moviegoers, and while this one will still warm some hearts, its mannered hijinks will leave plenty of others in straitjackets. The lighthearted moral of the tale suggests that the people on the outside waging war are a lot crazier than the loonies behind the walls of institutions. Not rated. 101 minutes. Jean Cocteau Cinema, Santa Fe. ( Jonathan Richards) The penitent man shall drop and give me 20: Harrison Ford and Asa Butterfield in Ender’s Game, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week ABOUT TIME British filmmaker Richard Curtis (Notting Hill, Love Actually) wrote and directed this film about a time-traveling man named Tim (Domhnall Gleeson) who tries to give himself a second chance at love. Tim meets a woman (Rachel McAdams), but soon realizes it will take multiple tries to get the courtship right. Bill Nighy plays Tim’s father, and Groundhog Day is apparently this film’s spiritual father. Rated R. 124 minutes. Regal DeVargas, Santa Fe. (Not reviewed) ALL IS LOST A man (Robert Redford) is stranded on a crippled vessel somewhere in the Indian Ocean in this often-enthralling drama from writer and director J.C. Chandor (Margin Call). All Is Lost is basically Robert Redford against the sea, and it relies on good old-fashioned storytelling to keep you involved. It’s a gutsy project that trusts its audience to trust it back, but be warned: the final third of the film gets a bit repetitious — in a most soggy manner. Rated PG-13. 106 minutes. The Screen, Santa Fe. (Robert Nott) See review, Page 47.

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CAPITAL Films that look at the world of high-stakes finance are nothing new, but this one is set closer to the Champs-Élysées than Wall Street. Gad Elmaleh plays an ambitious young bank executive who is named CEO of France’s Fenix Bank — but only if he can hold off an overzealous American hedge-fund manager (Gabriel Byrne). Rated R. 114 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. (Not reviewed) ENDER’S GAME The 1985 Hugo Award-winning magnum opus by science fiction writer and famed homophobe Orson Scott Card gets the blockbuster treatment. Asa Butterfield plays Ender Wiggin, a teenager who is called upon to save Earth from aliens. Fortunately, he’s led by a colonel played by Harrison Ford — an actor who has saved his share of planets and countries on the big screen. Ben Kingsley and Viola Davis co-star. Rated PG-13. 114 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) FREE BIRDS Gobble gobble! The holiday-season family films are beginning to roost, as evidenced by the arrival of this animated adventure about two turkeys (voiced by Owen Wilson and Woody Harrelson) who travel back in time to take their species off of the Thanksgiving menu. Fowl play

LAST VEGAS Michael Douglas, Robert De Niro, Kevin Kline, and Morgan Freeman play four men who travel to Las Vegas for a wild bachelor party, just to prove that the AARP crowd can get just as hung over as The Hangover’s Zach Galifianakis and his “wolf pack.” Rated PG-13. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) MR. NOBODY Nemo Nobody (mostly Jared Leto, with a backup team of actors for his teenage and childhood years) is the “last living mortal” in the year 2092, on the eve of his 118th birthday. As he tells his long and convoluted tale to an eager interviewer, we come to realize that he is recounting several alternative lives. In his 1991 hit Toto the Hero, Belgian filmmaker Jaco Van Dormael explored similar themes, but here, armed with a big budget and a slick Canadian-based international coproduction, he pulls out all the stops and wallows in an orgy of cliché, originality, excess, silliness, and absurdly provoking nuggets of ideas. It’s all based in the many-worlds theory of quantum mechanics, which posits an infinite possibility of parallel universes. In one of these, you’ll enjoy yourself. In another, you’ll wish you had stayed home. Not rated. 139 minutes. Jean Cocteau Cinema, Santa Fe. ( Jonathan Richards) See review, Page 48. NATIONAL THEATRE LIVE: MACBETH Kenneth Branagh tackles his first Shakespeare performance in more than a decade in the title role of this staging of The Bard’s great tragedy. Branagh and Rob Ashford direct. Alex Kingston plays Lady


Macbeth. 7 p.m. Tuesday, Nov. 5, only. Lensic Performing Arts Center, Santa Fe. (Not reviewed) NEBRASKA Would you like to see an advance screening of Nebraska, the new film by Alexander Payne (Sideways), in which a father and son who trek from Montana to Nebraska on a fool’s errand and bond along the way? This screening, the first in “The New York Film Critics” series, offers an opportunity, along with a live-broadcast discussion with Bruce Dern and Will Forte (who play the father and son, respectively) that is hosted by Rolling Stone film critic Peter Travers. 6 p.m. Tuesday, Nov. 5, only. Rated R. 115 minutes. The Screen, Santa Fe. (Not reviewed) ROCKY HORROR PICTURE SHOW If you haven’t seen this 1975 underground hit, a cult film so classic that it practically invented the concept of the raucous “midnight movie,” then you may wonder what the fuss is about. If you saw it at age 18, loved it, and haven’t seen it since, you may wonder what you were thinking. But the transgressive and transsexual rock-comedy from Transylvania still retains its charms — none greater than Tim Curry strutting his stuff as Dr. Frank N. Furter. It’s a fun B movie, but at the risk of offending the gods of trash cinema, one wishes the songs were better. 11 p.m. Friday and Saturday, Nov. 1 and 2, only. Rated R. 98 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) WADJDA Young Wadjda (Waad Mohammed) is a lot like any other 10-year-old: she just wants a bike so she can ride to school with her best friend. It’s too bad, then, that she lives in Riyadh, Saudi Arabia, where conservative Muslim clerics call the shots, women aren’t allowed to drive, and girls are told they shouldn’t ride bikes. This first feature filmed entirely in Saudi Arabia — and the first to be made by a Saudi woman (writer-director Haifaa Al-Mansour) — offers Western audiences a glimpse of day-to-day life in Saudi Arabia while simply, cleverly using a young girl to point out cultural injustices. That Wadjda succeeds is due largely to natural, unforced performances and a spunky, charismatic lead with a winning smile and

spicy

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mild

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excellent timing. Rated PG. 98 minutes. In Arabic with subtitles. Center for Contemporary Arts, Santa Fe. (Laurel Gladden) See review, Page 46.

now in theaters ABBOTT & COSTELLO MEET FRANKENSTEIN This 1948 horrorcomedy puts the bumbling heroes up against a veritable army of monsters, with the final chase scene in Dracula’s castle still tense and humorous. The picture revived Abbott and Costello’s career and didn’t hurt Dracula’s either, though it’s unclear how it will play to a contemporary audience of 8-yearolds. 1 p.m. Saturday and Sunday, Nov. 2 and 3, only. Not rated. 82 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Nott) BLUE JASMINE Woody Allen’s latest mixes comedy and tragedy in an inspired symphony of social criticism. Cate Blanchett is Jasmine, a Park Avenue socialite who lost everything when her husband (Alec Baldwin) went to jail for financial fraud. She goes to San Francisco and moves in with her blue-collar sister Ginger (a perfect Sally Hawkins). The cast, which also includes Bobby Cannavale, Andrew Dice Clay, and Peter Sarsgaard, is flawless. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE BUTLER At times overblown and unwieldy, an occupational hazard for a movie that covers 80 years of the civil rights movement in America, this is still a major accomplishment. We see it through the eyes of Cecil Gaines (Forest Whitaker), a man who rises from the cotton fields of Georgia to a tenure as White House butler that extends from Eisenhower through Obama’s election. The fine cast includes Oprah Winfrey as his wife and star cameos as the presidents. Rated PG-13. 132 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) CAPTAIN PHILLIPS Director Paul Greengrass knows how to turn newspaper headlines into white-knuckle thrillers, having earned accolades with 2006’s United 93. This time he tells the story of Captain Richard Phillips (Tom Hanks), whose freighter was hijacked by Somali pirates in 2009. Rated PG-13. 133 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) CARRIE It’s 2013, but life isn’t any easier for high school girls than it was in 1976. Brian De Palma’s

horror film about the worst prom experience ever gets a modern face-lift courtesy of director Kimberly Peirce (Boys Don’t Cry) and stars Chloë Grace Moretz (Kick-Ass) and Julianne Moore. Stephen King’s novel remains the source material. Rated R. 99 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) CLOUDY WITH A CHANCE OF MEATBALLS 2 Who would have thought that Judi and Ronald Barrett’s children’s book would yield not one feature film but two? This sequel pits Flint (voiced by Bill Hader) against foodanimal hybrids (tacodiles, etc.). The jokes are lame — expect corny puns and puns about corn — but the movie is colorful and imaginative, and it even sneaks in some satire about our technology-obsessed culture. Kids will dig it, which is fortunate, because there aren’t many other family films due before the holidays. Rated PG. 95 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) THE COUNSELOR Focusing on the interplay between Mexican drug cartels and their avaricious American customers, The Counselor tells a relatively simple tale that’s embroidered with complexity of detail and Cormac McCarthyian dialogue (the No Country for Old Men author wrote the script here). While Ridley Scott’s adaptation is vivid, as are performances by some Hollywood A-listers (with the notable exception of a flat Michael Fassbender in the lead role), the most intriguing aspect is that the ruthless cartel assassins appear more “real” than the glamorous power players on the fringe of their world. If that’s not the point, it’s hard to imagine what is. Rated R. 111 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Loren Bienvenu) See story, Page 44. DON JON Actor Joseph Gordon-Levitt makes his feature-length debut as writer and director with this romantic comedy. He stars as Don, a guy who loves bringing home a different woman each night or staying home with pornography. Then he meets a woman (Scarlett Johansson) so perfect that he attempts to give up both habits. Rated R. 89 minutes. Regal DeVargas, Santa Fe. (Not reviewed) ENOUGH SAID Fans of Woody Allen’s rom-coms for adult audiences should embrace this charmer about two divorced empty-nesters ( Julia Louis-Dreyfus and, in his final performance, James Gandolfini) who fall for each other and then find that middle-age continued on Page 52

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The film asks whether it’s good for a country for only a tiny percentage of the people to have almost all of the money. Rated PG. 85 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) INSIDIOUS: CHAPTER 2 Director James Wan brings us his second horror film this year, after the summer hit The Conjuring. This story follows the family of the first Insidious film as they take advantage of the rebounding housing market to buy a new home, only to once more encounter ghosts that were not mentioned in the listing. Rated PG-13. 105 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) JACKASS PRESENTS: BAD GRANDPA Johnny Knoxville dons a old-man costume to go out into public and act like a jerk — once a jackass, always a jackass — toward his unsuspecting “victims.” Rated R. 92 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

About Time

relationships come fraught with baggage and defense mechanisms. Louis-Dreyfus shows more depth and Gandolfini more softness than either one’s iconic TV roles would suggest; the two head a terrific cast that includes Catherine Keener and Toni Collette. Nicole Holofcener directs them all with a generous spirit. The results are moving, honest, and often very funny. Rated PG-13. 93 minutes. Regal DeVargas, Santa Fe. (Robert Ker) ESCAPE PLAN Sylvester Stallone went to prison in 1989’s Lock Up, and now he’s going back. Here, he plays a security expert who’s hired to attempt to break out of a new high-tech prison. When he realizes he’s been set up and is now stuck in the slammer, he teams up with a fellow inmate (Stallone’s ’80s actionfilm contemporary Arnold Schwarzenegger) to break out for real. Rated R. 116 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) THE FIFTH ESTATE The story of WikiLeaks is an important one, but director Bill Condon spins it like a clothes dryer, with an excess of tumbling action and not a lot of clarity. It’s the story of the meteoric rise of the truth-telling website and its controversial founder, Julian Assange (Benedict Cumberbatch), and when it’s over you won’t have a much better idea of what it was all about. WikiLeaks started creating headlines 52

PASATIEMPO I November 1-7, 2013

in 2007, but it was its release of a huge trove of classified U.S. government documents in 2010 that made it a household word. The picture starts at the climax, backtracks to the early days, and ends with a Guardian editor intoning, “A good story always starts at the beginning.” And then it ends — and ends some more. Rated R. 128 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) GRAVITY You’ve never seen a movie like this before. Tense and gripping but also tranquil and meditative, this thriller from director Alfonso Cuarón centers on two astronauts (George Clooney and Sandra Bullock) whose shuttle is destroyed while they are on a space walk. The resulting struggle to survive — like the special effects of the film itself — showcases humankind’s vast resourcefulness and potential. Cuarón’s story also celebrates how small, yet still important, we all are. To see one character’s globelike teardrops in zero gravity, as her possible fate and her profound loneliness weigh down on her, is to be deeply moved. Rated PG-13. 91 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) INEQUALITY FOR ALL Jacob Kornbluth’s documentary looks at wealth inequality in America as explained by former secretary of labor Robert Reich.

THE SUMMIT Filmmaker Nick Ryan’s account of the 2008 tragedy on K2, the world’s second-highest mountain, is part documentary footage, part interviews, and part recreation. Bad choices in the “death zone” over 8,000 meters coupled with ice falls and the consequences of having too many climbers on the precarious route resulted in the deaths of 11 of the 25 climbers who set off on the morning of Aug. 1. Conflicting accounts leave the specifics of those deaths unclear. Human nature can’t be suppressed, even when the decision to aid a fellow climber almost certainly means death. The film’s most memorable scenes are of the terrain: stark, snow-covered, and steep. Rated R. 95 minutes. Center for Contemporary Arts, Santa Fe. (Bill Kohlhaase)

other screenings Center for Contemporary Arts Noon Saturday and 8 p.m. Sunday, Nov. 2 and 3, only: Rebels With a Cause. Director Nancy Kelly in person. Regal Stadium 14 2 p.m. Sunday, Nov. 3, and 2 p.m. and 7 p.m. Wednesday, Nov. 6: Dirty Harry. 3 p.m. Thursday, Nov. 7: Marvel marathon featuring Thor, The Avengers, and Thor: The Dark World, in that order. All films screen in 3-D. 8 p.m. and 9 p.m. Thursday, Nov. 7: Thor: The Dark World in 3-D. Screens in 2-D at 8:05 p.m. and 10 p.m.. ◀


A Must-see Movie!

– RogeR Hickey,

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From Robert Reich, former US Secretary of Labor, comes a humorous and enlightening exposé on America’s widening income gap.

Call theaters or check websites to confirm screening times.

1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Capital (R) Fri. 2 p.m., 8:30 p.m. Sat. 2 p.m., 6:15 p.m. Sun. 1:30 p.m., 5:45 p.m. Mon. to Thurs. 8 p.m. Inequality for All (PG) Fri. and Sat. 4:15 p.m. Sun. to Thurs. 3:45 p.m. Rebels With a Cause (NR) Sat. 12 p.m. Sun. 8 p.m. ; The Summit (R) Fri. 12:30 p.m., 6:15 p.m. Sat. 12:30 p.m., 8:30 p.m. Sun. 12:30 p.m. Mon. to Thurs. 5:45 p.m. Wadjda (PG) Fri. to Thurs. 2:45 p.m., 5 p.m., 7:45 p.m.

418 Montezuma, 505-466-5528 Abbott and Costello Meet Frankenstein (PG)

Sat. and Sun. 1 p.m. King of Hearts (NR) Fri. 1 p.m., 6 p.m. Sat. to Tue. 6 p.m. Wed. 1 p.m. Thurs. 6 p.m. Mr. Nobody (R) Fri. 3 p.m., 8 p.m. Sat. to Tue. 8 p.m. Wed. and Thurs. 3 p.m., 8 p.m. The Rocky Horror Picture Show (R) Fri. and Sat. 11 p.m. regAl deVArgAS

562 N. Guadalupe St., 505-988-2775, www.fandango.com About Time (R) Fri. and Sat. 1:15 p.m., 4:15 p.m., 7:15 p.m., 10 p.m. Sun. to Thurs. 1:15 p.m., 4:15 p.m., 7:15 p.m. Blue Jasmine (PG-13) Fri. and Sat. 1:25 p.m., 4:25 p.m., 7:25 p.m., 9:45 p.m. Sun. to Thurs. 1:25 p.m., 4:25 p.m., 7:25 p.m. Don Jon (R) Fri. and Sat. 1:45 p.m., 4:40 p.m., 7:40 p.m., 9:55 p.m. Sun. to Thurs. 1:45 p.m., 4:40 p.m., 7:40 p.m. Enough Said (PG-13) Fri. and Sat. 1:35 p.m., 4:35 p.m., 7:35 p.m., 9:50 p.m. Sun. to Thurs. 1:35 p.m., 4:35 p.m., 7:35 p.m. The Fifth Estate (R) Fri. and Sat. 1:05 p.m., 4:05 p.m., 7:05 p.m., 9:55 p.m. Sun. to Thurs. 1:05 p.m., 4:05 p.m., 7:05 p.m. The Butler (PG-13) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:40 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m. regAl StAdium 14

3474 Zafarano Drive, 505-424-6296, www.fandango.com Call theater or consult website for days not listed. Captain Phillips (PG-13) Fri. to Wed. 12:35 p.m., 4:10 p.m., 7:15 p.m., 10:15 p.m. Carrie (R) Fri. and Sat. 12:05 p.m., 2:30 p.m., 5:05 p.m., 7:45 p.m., 10:15 p.m. Sun. 5:05 p.m., 7:45 p.m., 10:15 p.m. Mon. and Tue. 12:05 p.m., 2:30 p.m., 5:05 p.m., 7:45 p.m., 10:15 p.m. Wed. 4:30 p.m., 10:15 p.m. Cloudy With a Chance of Meatballs 2 (PG) Fri. to Wed. 12:10 p.m., 2:35 p.m., 5:10 p.m., 7:35 p.m., 10 p.m. The Counselor (R) Fri. to Wed. 1 p.m., 4:05 p.m., 7:25 p.m., 10:05 p.m. Dirty Harry (NR) Sun. 2 p.m. Wed. 2 p.m., 7 p.m. Ender’s Game (PG-13) Fri. to Wed. 1:30 p.m., 3:30 p.m., 4:30 p.m., 7 p.m., 7:30 p.m., 9:55 p.m., 10:15 p.m. Escape Plan (R) Fri. to Wed. 12:40 p.m. Free Birds 3D (PG) Fri. to Wed. 12:15 p.m., 2:40 p.m., 5 p.m., 7:20 p.m., 9:45 p.m.

5:20 p.m., 7:40 p.m., 10:05 p.m. Gravity 3D (PG-13) Fri. to Wed. 12 p.m., 12:20 p.m., 2:45 p.m., 4:55 p.m., 5:15 p.m., 7:10 p.m., 7:40 p.m., 10:10 p.m. Gravity (PG-13) Fri. to Wed. 2:30 p.m., 9:50 p.m. Insidious: Chapter 2 (PG-13) Fri. to Wed. 1:10 p.m. Jackass Presents: Bad Grandpa (R) Fri. to Wed. 12:10 p.m., 12:25 p.m., 2:40 p.m., 2:50 p.m., 5:05 p.m., 5:25 p.m., 7:30 p.m., 7:50 p.m., 9:55 p.m., 10:15 p.m. Last Vegas (PG-13) Fri. to Wed. 1:30 p.m., 4 p.m., 4:40 p.m., 7:05 p.m., 7:35 p.m., 9:40 p.m., 10:10 p.m. Marvel Marathon (NR) Thurs. 3 p.m. Thor:The Dark World 3D (PG-13) Thurs. 8 p.m., 9 p.m. Thor:The Dark World (PG-13) Thurs. 8:05 p.m., 10 p.m.

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Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com All Is Lost (PG-13) Fri. to Mon. 12 p.m., 2:30 p.m., 5 p.m., 7:30 p.m. Tue. 11:20 a.m., 1:30 p.m., 3:45 p.m., 9 p.m. Wed. and Thurs. 12 p.m., 2:30 p.m., 5 p.m., 7:30 p.m. Nebraska (R) Tue. 6 p.m.

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15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com Captain Phillips (PG-13) Fri. 4:30 p.m., 7:15 p.m. Sat. and Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m. Carrie (R) Fri. 5 p.m., 7:35 p.m., 10 p.m. Sat. 2:20 p.m., 5 p.m., 7:35 p.m., 10 p.m. Sun. 2:20 p.m., 5 p.m., 7:35 p.m. Mon. to Thurs. 5 p.m., 7:35 p.m. Cloudy With a Chance of Meatballs 2 (PG) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. The Counselor (R) Fri. 4:25 p.m., 6:55 p.m., 9:25 p.m. Sat. 1:55 p.m., 4:25 p.m., 6:55 p.m., 9:25 p.m. Sun. 1:55 p.m., 4:25 p.m., 6:55 p.m. Mon. to Thurs. 4:25 p.m., 6:55 p.m. Ender’s Game (PG-13) Fri. 4:40 p.m., 7:10 p.m., 9:45 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:10 p.m., 9:45 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m. Mon. to Thurs. 4:40 p.m., 7:10 p.m. Free Birds 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. Free Birds (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. Gravity 3D (PG-13) Fri. and Sat. 7:20 p.m., 9:40 p.m. Sun. to Thurs. 7:20 p.m. Gravity (PG-13) Fri. 4:45 p.m. Sat. and Sun. 2:15 p.m., 4:45 p.m. Mon. to Thurs. 4:45 p.m. Jackass Presents: Bad Grandpa (R) Fri. 4:55 p.m., 7:30 p.m., 9:55 p.m. Sat. 2:30 p.m., 4:55 p.m., 7:30 p.m., 9:55 p.m. Sun. 2:30 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. Last Vegas (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:50 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:25 p.m., 9:50 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m.

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RESTAURANT REVIEW Bill Kohlhaase I The New Mexican

Night and day The Pink Adobe & The Guadalupe Café 406 Old Santa Fe Trail, 505-983-7712 Breakfast 8-11 a.m.; lunch 11 a.m.-2 p.m.; dinner 5:30-9 p.m Tuesdays-Sundays; closed Mondays Dragon Room open till midnight, Tuesdays-Sundays Vegetarian options Takeout available Patio dining in season Noise level: reserved in The Pink Adobe; moderate to rowdy in the Dragon Room Full bar Credit cards

The Short Order The venerable dinner restaurant The Pink Adobe and the lunch and breakfast spot The Guadalupe Café are now at the same location, with menus little changed from their long and longer histories. The Pink’s classic recipes — steak Dunigan, Poulet Marengo, shrimp Louisianne — deserve to live on, though their preparation isn’t always perfect. Best are the New Mexico dishes served with dark, dusky red chile. Breakfasts here, served in the strangely decorated Dragon Room, are generous and decent. Lunches are filling, if not stellar. It’s a nice place to bring out-of-towners, especially when the patio is open. Recommended: clams Lucifer, Poulet Marengo, fire-roasted poblano chiles, enchilada Pink adobe, blue corn piñon French toast, and Rosalea Murphy’s apple pie with hard rum sauce.

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.

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PASATIEMPO I November 1-7, 2013

Venerable is the word that comes to mind when describing The Pink Adobe, the Old Santa Fe Trail dining establishment that dates back to 1944. The same word applies to some of its dishes. Steak Dunigan, clams Lucifer, and French apple pie with rum sauce have been on the menu since The Pink’s founder, Rosalea Murphy, a New Orleans transplant, first opened the place. Murphy moved on to that great kitchen in the sky 13 years ago, and the restaurant has undergone some changes since. In 2007, the adobe building, around longer than both my grandparents put together, received a touchup. Earlier this year, Guadalupe Café owners Leonard and Isabelle Koomoa bought The Pink and moved The Guad down the street to consolidate the two dining establishments. You might call it a marriage of convenience. A sign outside explains how it works: “Guad by Day, Pink by Night.” Daytimes you can get breakfast and lunch just as you did at the old Guadalupe. At night, the Koomoas serve the Pink Adobe’s signature dishes — steak Dunigan and clams Lucifer among them. The old Guadalupe Café location? It’s now Jalapeño’s. Despite the 2007 improvements, The Pink retains its venerable atmosphere. Tables are tucked away in a series of rooms and alcoves, the art is colorful and food-themed, and the vigas and timbered window frames provide a historic feel. At breakfast and lunch you will probably be shuttled to the neighboring Dragon Room bar, where the Asia-meets-New Mexico theme is carried by hanging kites, tables painted with serpents, and a swinging-woodenmonkey chandelier. A large cutout photo of Murphy with her dog overlooks the room. Not every classic recipe deserves immortality — think turkey à la king — but Murphy’s, now in the hands of Ms. Koomoa, do. Those devilish clams come in a broth of red chile and tequila that’s hot and biting, its initial jolt shocking as sin. The Dunigan, a New York strip topped with green chile, sounded good on paper, but was topped by bland chile and barely sautéed mushrooms. The Poulet Marengo, a half chicken slow-cooked in Madeira wine, tomatoes, and onions and topped with two tiny shrimps, was juicy and tender, the sauce that covered it a subtle reduction of the cooking liquid. The shrimp Louisianne were nicely fried but not particularly spicy. We couldn’t help but suspect that, except for that clam broth, Murphy’s cooking had ventured far from its New Orleans roots in her absence. Side dishes, especially the slightly creamy spinach amandine, were throwbacks to another era. The browned potato was a baker shed of its skin and finished under the broiler so that it was golden and a bit crisp on the outside. A small salad with a sprinkle of pine nuts, served on the same plate as each entrée, was soaked in an oily, not particularly exciting vinaigrette. The kitchen does well with its New Mexican dishes. Plump poblano chiles, served at dinner only, could have

stood a touch more roasting but were stuffed with a wonderful mixture of Montrachet and jack cheese with walnuts. The red chile was outstanding; the green, again, had little personality. Enchilada Pink Adobe, also a dinner-only item, was a mix of cheeses on blue corn tortillas served with decent posole, outstanding beans, and pedestrian rice. At lunchtime, under the Guadalupe moniker, blue-corn turkey enchiladas were filled with deli turkey — not quite the roasted turkey breast we expected — and smothered in the dark, dusky red chile. The same turkey came on a grilled sandwich with avocado, jack cheese, and thick toasted bread. It was good but was smeared with mayonnaise rather than the promised pesto. Breakfast and Sunday brunch dishes are generously proportioned and decent: fluffy omelets swimming in cheese and chile; nicely scrambled migas with plenty of chile, green onion, and cheese; big, thick slices of French toast made from house-baked blue corn and piñon bread or, in honor of the season, pumpkin and cranberry bread. Our choice for a breakfast? The wonderfully textured bread pudding and a strong cup of coffee. With its lovely patio and homey feel, this is a great place to take visitors. The service is cordial and quick, if not exactingly professional. If you’re looking for a livelier, more brightly lit experience, have dinner in the Dragon Room. On a Saturday night, the tight quarters are a fun spot to have a margarita or two with dinner — or maybe a slice of Murphy’s apple pie with its amazing crust and crystallized rum sauce. She’ll be smiling at you from on high when you do. ◀

Check, please Dinner for two at The Pink Adobe: Clams Lucifer ....................................................$ 15.00 Poulet Marengo .................................................$ 24.00 Steak Dunigan ...................................................$ 30.00 Glass, 2009 Rosenblum Cellars zinfandel .........$ 10.00 Apple pie à la mode ...........................................$ 7.00 TOTAL ...............................................................$ 86.00 (before tax and tip) Lunch for two at Guadalupe Café: Salsa, guacamole, and queso with chips ............$ 10.00 Guadalupe special sandwich .............................$ 10.75 Blue-corn turkey enchilada ...............................$ 10.75 TOTAL ...............................................................$ 31.50 (before tax and tip)


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PASATIEMPO I November 1 - 7, 2013


pasa week 1 November

Ernie Pyle’s Final Words New Mexico History Museum’s monthly gallery talk series, 5:30 p.m., 113 Lincoln Ave. by museum admission. Rethinking New Mexico Art: The Great Debates, Fusion/Inclusion/Exclusion Keynote speaker Cody Hartley, Georgia O’Keeffe Museum director of curatorial affairs, 5:306:30 p.m., St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., no charge; symposium starts Saturday.

GALLERY/MUSEUM OPENINGS

David Richard Gallery 544 S. Guadalupe St., 505-983-9555. Life Support: Art, Design, Sustenance, international group show of functional and interior designs, reception 5-7 p.m., through Nov. 29. Eggman & Walrus Art Emporium 130 W. Palace Ave., second floor, 505-660-0048. Fusion, group show of encaustic paintings, reception 7-9 p.m., through Nov. 18. Flying Fish Studio 821 Canyon Rd., 505-577-4747. Arete, drawings by painter Peter Weiss, reception 5-7 p.m. Karan Ruhlen Gallery 225 Canyon Rd., Suite 18, 505-820-0807. Wax Works, works by Martha Rea Baker, Ellen Koment, and Mary Long-Postal, reception 5-7 p.m., through Nov. 8. Manitou Galleries 123 W. Palace Ave., 505-986-0440. Gallery artists Winter Group Show, reception 5-7:30 p.m., through Nov. 15. Marigold Arts 424 Canyon Rd., 505-982-4142. Folk art from the estate of Liselotte Kahn, reception 5-7 p.m., through Nov. 19. Mercedes Isabel Velarde Fine Art 533 Agua Fría St., 505-216-7769. A State of Grace, paintings by Velarde, through Nov. 18. Santa Fe Classic Cars 1091 Siler Rd., Suite B-14. 505-690-2638. Pictures of the Concorso, new work by James T. Baker, reception 4-6 p.m. Santa Fe Clay 545 Camino de la Familia, 505-984-1122. Repsher + Repsher, works by Matt and David Repsher; Small Treasures, group show of gallery artists; reception 5-7 p.m., through Dec. 14. (See story, Page 40.) Santa Fe Public Library Main Branch 145 Washington Ave., 505-955-6780. Representational, geometric abstracts by Joseph A. Regezi, through November.

EVENTS

Design Santa Fe Special events include panel discussions and workshops; design crawl at various businesses, 11 a.m.-5 p.m., visit designsantafe.org. DJ dance party DJ’d music classes and dancing, every first and third Friday of the month, visit dancestationusa.com for full schedule. 7 p.m., Dance Station, 910 W. Alameda, $5. Fall Fiber Fiesta Annual show of works by members of the Española Valley Fiber Arts Center and Art Through the Loom, noon-6 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, 505-747-3577, no charge, continues Saturday. Pueblo of Tesuque Flea Market 9 a.m.-4 p.m Friday-Sunday, 15 Flea Market Rd., pueblooftesuquefleamarket.com. Santa Fe Kirtan Fest Music, yoga, film, and sacred dance, Railyard Performance Center (1611 Paseo de Peralta) and Center for Spiritual Living (505 Camino de Los Marquez), continues Saturday and Sunday, see santafekirtanfest.com for a schedule and ticket information.

NIGHTLIFE

CLASSICAL MUSIC

TGIF recital Organist Eric Fricke performs music of Dupre, Alain, and Messiaen, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations appreciated.

The main branch of the Santa Fe Public Library shows paintings by Joseph A. Regezi, 145 Washington Ave.

IN CONCERT

Alejandro Escovedo and the Sensitive Boys Austin roots-rockers, with Amy Cook, 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $25 in advance, 505-988-1234, ticketssantafe. org, $30 at the door.

THEATER/DANCE

Dead Man’s Cell Phone SFUA&D presents Sarah Ruhl’s play, 7 p.m., Weckesser Studio Theatre, 1600 St. Michael’s Dr., $5 at the door.

Pasa’s Little Black Book......... 58 Elsewhere............................ 60 People Who Need People..... 60 Pasa Kids............................ 60 In the Wings....................... 61

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

Salt and Pepper A comedy by Los Alamos playwright Robert Benjamin, 7:30 p.m., Teatro Paraguas, 3205 Calle Marie, $18, discounts available, continues Saturday and Sunday. Zircus Erotique Burlesque Company Boom Box Burlesque, 9 p.m., The Lodge at Santa Fe, 750 N. St. Francis Dr., $15, VIP seating $20, tickets available in advance at zeburlesque.com, 21+.

At the Galleries.................... 62 Libraries...............................62 Museums & Art Spaces........ 62 Exhibitionism...................... 63

BOOKS/TALKS

The Art & Legacy of Bernardo Miera y Pacheco Museum of New Mexico Press book launch and discussion with Josef Diaz, Tom Chávez, Dennis Reinhartz, and Charles Carrillo, 6 p.m., New Mexico History Museum, 113 Lincoln Ave. (See story, Page 36.) Cyril Christo and Marie Wilkinson The photographers discuss their book In Predatory Light: Lions and Tigers and Polar Bears. 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

(See Page 58 for addresses) ¡Chispa! at El Mesón The Three Faces of Jazz, 7:30-10:30 p.m. weekly, no cover., 7:30 p.m., no cover. Cowgirl BBQ Day of the Dead with Taos band Bone Orchard, 8:30 p.m., no cover. El Farol The Gruve, classic soul and R & B, 9 p.m., no cover. La Casa Sena Cantina Bellatrix and Treats with drag performer Bella Gigante, call for cover, 8:30 p.m., $10. Omira Bar & Grill Guitarist Ramon Bermudez, 6 p.m., no cover. Pranzo Italian Grill Pianist David Geist, 6-9 p.m., Call for cover. Second Street Brewery The Alpha Cats, jazz, 6 p.m., no cover. Second Street Brewery at the Railyard The Attitudes, blues and rock, 7 p.m., no cover. ▶▶▶▶▶▶▶▶

calendar guidelines Please submit information and listings for Pasa Week

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

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Vanessie Kathy Morrow, piano and vocals, 7 p.m., no cover. Warehouse 21 National Stomp Day concert in honor of Mitch Lucker featuring On Believer, Heavensake Jovani, and Silver High, 7 p.m., $5.

2 Saturday GALLERY/MUSEUM OPENINGS

Flying Cow Gallery Warehouse 21, 1614 Paseo de Peralta, 505-989-4423. Group show of Day of the Dead-themed works, reception 5-9 p.m., today only. SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. DesignLAB: Next Nest, group show of furniture, lighting, and interior designs, reception 5-7 p.m., through Dec. 1, no charge. (See story, Page 18.)

CLASSICAL MUSIC

Majesty of Music and Mathematics: Voyages of Discovery IV The Santa Fe Symphony performs works illustrating mathematical concepts; remarks by Santa Fe Institute’s Cris Moore and an overhead media presentation. 7:30 p.m., the Lensic, $22-$76, 505-983-1414 or 505-988-1234, ticketssantafe.org.

IN CONCERT

Alohi and the FreeLife Acoustic island folk-hop, 7 p.m., Railyard Performance Center, 1611-B Paseo de Peralta, $10 at the door. High Mayhem Fall Concert Series 2013 The local arts collective presents SoLoDiNo, Aunt Cackle and the Coleslaw King, Grove of Baal, and the Product Division, 7 p.m., High Mayhem

317 Aztec 20-0150 317 Aztec St., 505-8 the Inn Agoyo Lounge at E. Alameda St., 3 30 a ed on the Alam 21 -21 84 5-9 50 nt Anasazi Restaura Anasazi, the of Inn d oo Rosew e., 505-988-3030 113 Washington Av Betterday Coffee 5-555-1234 50 905 W. Alameda St., nch Resort Ra e Bishop’s Lodg Lodge Rd., ps ho Bis 97 12 a & Sp 77 505-983-63 Café Café 5-466-1391 500 Sandoval St., 50 ó ay Casa Chim 5-428-0391 409 W. Water St., 50 ón es M ¡Chispa! at El 505-983-6756 e., Av ton ing ash 213 W Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. te Café The Den at Coyo 5-983-1615 50 , St. r 132 W. Wate Duel Brewing 5-474-5301 1228 Parkway Dr., 50 lton Hi e El Cañon at th 88-2811 5-9 50 , St. al ov nd 100 Sa

58

PASATIEMPO I November 1-7, 2013

Emerging Arts, 2811 Siler Ln., $10 suggested donation, visit highmayhem.org for a schedule through Nov. 23. (See Sound Waves, Page 20.) Reckless Kelly Americana band, 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $17 in advance, 505-988-1234, ticketssantafe.org, $20 at the door.

THEATER/DANCE

Dead Man’s Cell Phone SFUA&D presents Sarah Ruhl’s play, 7 p.m. Weckesser Studio Theatre, 1600 St. Michael’s Dr., $5 at the door. Hidden Durations, a tree operetta Outdoor community-sourced performance by Molly Sturges, 6:30 p.m., 7:30 p.m., and 8:30 p.m. shows, RSVP to info@axleart.com. Center for Contemporary Arts, 1050 Old Pecos Trail, no charge. Salt and Pepper A comedy by Los Alamos playwright Robert Benjamin, 2 and 7:30 p.m. Teatro Paraguas, 3205 Calle Marie, $18, discounts available, continues Sunday. The Sugar Skull Slideshow An evening of belly dance, flamenco, and live music with Las Brujas Dance Project, and Mosaic Dance Company, 8-10 p.m., Warehouse 21, 1614 Paseo de Peralta, $10 in advance, $12 at the door, 505-699-4486. What Happened Was ... Santa Fe Playhouse presents Tom Noonan’s dark comedy, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St, 505-988-4262, $10 suggested donation.

BOOKS/TALKS

Alan Webber The author reads from and signs copies of Life Reimagined: Discovering Your New Life Possibilities, 2 p.m. Garcia Street Books, 376 Garcia St., no charge.

Pasa’s little black book Spa Eldorado Hotel & St., 505-988-4455 o isc nc Fra 309 W. San El Farol 5-983-9912 808 Canyon Rd., 50 ill Gr & El Paseo Bar 92-2848 5-9 50 , St. teo lis Ga 208 Evangelo’s o St., 505-982-9014 200 W. San Francisc erging Arts High Mayhem Em -2047 38 5-4 50 ., 2811 Siler Ln Hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters Ikonik Coffee Ro -0996 28 5-4 50 , St. na Le 00 16 La Boca 5-982-3433 72 W. Marcy St., 50 ina La Casa Sena Cant 5-988-9232 50 e., Av e 125 E. Palac at La Fonda La Fiesta Lounge , 505-982-5511 St. o isc 100 E. San Franc a Fe Resort nt Sa de La Posada Ave., 505-986-0000 e and Spa 330 E. Palac g Arts Center Lensic Performin St., 505-988-1234 o 211 W. San Francisc e Lodge Th at ge un Lo e Lodg Francis Dr., St. N. 0 75 Fe at Santa 505-992-5800

Design Santa Fe breakfast reception and dialogue Making Things in a Digital Age, 8:15 a.m., panel discussion moderated by Susan Szenasy, editor-in-chief of Metropolis magazine, panelists include designers Jason Pilarski and Steven Joyner of Machine Histories and textile director Matilda McQuaid of the Cooper-Hewitt National Design Museum, New Mexico History Museum, 113 Lincoln Ave. $40, student discounts available, ticketssantafe.org, 505-988-1234. Nigeria & Ghana Slide presentation with Victoria Scott, 5 p.m. Travel Bug Books, 839 Paseo de Peralta, no charge. Rethinking New Mexico Art: The Great Debates, Fusion/Inclusion/Exclusion Symposium hosted by the New Mexico Museum of Art, participants include Janet Dees of SITE Santa Fe, Tony Chavarria of the Museum of Indian Art and Culture, and Merry Scully of the New Mexico Museum of Art, 9:30 a.m.-5 p.m. St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. no charge. Santa Fe Council on International Relations lecture Sunnis and Shi’is: Has the Arab Spring Deepened the Divide?, with Richard Norton of Boston University, 3 p.m. Santa Fe Woman’s Club, 1616 Old Pecos Trail, $20.

EVENTS

Design Santa Fe workshop User-Driven Design, led by Machine Histories designers, 2:30-4:30 p.m., Zane Bennett Contemporary Art, 435 S. Guadalupe St., $45, student discounts available, 505-988-1234, ticketssantafe.org. Design Santa Fe workshop Hands-On Textiles, led by Matilda McQuaid, 2-3:30 p.m., Lannan Foundation, 313 Read St., $30, student discounts available, 505-988-1234, ticketssantafe.org.

Low ’n Slow Lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St., 505-984-5050 The Mine Shaft Tavern 2846 NM 14, Madrid, 505-473-0743 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 Omira Bar & Grill 1005 S. St. Francis St., 505-780-5483. The Palace Restaurant & Saloon 142 W. Palace Ave, 505-428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 505-986-0022 Pranzo Italian Grill 540 Montezuma Ave., 505-984-2645 Rouge Cat 101 W. Marcy St., 505-983-6603 San Francisco Street Bar & Grill 50 E. San Francisco St., 505-982-2044 Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705

Fall Fiber Fiesta Annual show of works by members of the Española Valley Fiber Arts Center and Art Through the Loom, 9 a.m.5 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, 505-747-3577, no charge. Pueblo of Tesuque Flea Market Friday-Sunday through the year, 9 a.m.-4 p.m., Pueblo of Tesuque Flea Market, 15 Flea Market Road, pueblooftesuquefleamarket.com. Santa Fe Artists Market 8 a.m.-1 p.m. Saturdays at Railyard Park across from the Farmers Market, through November, 505-310-1555. Santa Fe Farmers Market 8 a.m.-1 p.m. Santa Fe Railyard Plaza, 1607 Paseo de Peralta. Santa Fe Kirtan Fest Music, yoga, film, and sacred dance, Railyard Performance Center (1611 Paseo de Peralta) and Center for Spiritual Living (505 Camino de Los Marquez), continues Sunday, see santafekirtanfest.com for a schedule and ticket information.

NIGHTLIFE

(See addresses below) Café Café Guitarist Michael Tait Tafoya, 6 p.m., no cover. Cowgirl BBQ Wild Mountain Ramblers, bluegrass and Americana, 2-5 p.m., Drastic Andrew, original progressive rock, 8:30 p.m., no cover. El Farol John Carey Band, funky R & B, 9 p.m., no cover. Evangelo’s Led Zeppelin tribute band Moby Dick., 9 p.m., call for cover. La Casa Sena Cantina Best of Broadway, piano and vocals, 6 p.m., no cover. La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio with vocalist Whitney Carroll Malone, bassist Asher Barreras, and Malone on acoustic guitar., 6-9 p.m., no cover.

Second Street Brewer y 1814 Second St., 505-982-3030 Second Street Brewery at the Railyard 1607 Paseo de Peralta, 505-989-3278 Steaksmith at El Gancho 104-B Old Las Vegas Highway, 505-988-3333 Sweetwater Harvest Kitchen 1512-B Pacheco St., 505-795-7383 Taberna La Boca 125 Lincoln Ave., 505-988-7102 Thunderbird Bar & Grill 50 Lincoln Ave., 505-490-6550 Tiny’s 1005 St. Francis Dr., 505-983-9817 The Underground at Evangelo’s 200 W. San Francisco St., 505-819-1597 Upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Vanessie 427 W. Water St., 505-982-9966 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia Diner 326 S. Guadalupe St., 505-988-7008


Pranzo Italian Grill Pianist David Geist, 6-9 p.m., call for cover. Second Street Brewery The Alto St. Band, irreverent bluegrass, no cover. Second Street Brewery at the Railyard Pollo Frito, New Orleans jazz and funk, 7 p.m., no cover. Sweetwater Harvest Kitchen John Serkin, Hawaiian slack-key guitarist, 6 p.m., no cover.

3 Sunday THEATER/DANCE

Dead Man’s Cell Phone SFUA&D presents Sarah Ruhl’s play, 2 p.m. Weckesser Studio Theatre, 1600 St. Michael’s Dr., $5 at the door. Salt and Pepper A comedy by Los Alamos playwright Robert Benjamin, 2 p.m. Teatro Paraguas, 3205 Calle Marie, 505-424-1601, $18, discounts available.

BOOKS/TALKS

Poet laureate panel Poet laureates from Missouri, Maryland, Kansas, and the Navajo Nation discuss state poetry programs, 1 p.m., Institute for American Indian Arts, 83 Avan Nu Po Rd., call 505-983-7560 for information. The Poetry of Arthur Sze: Gingko Light The local poet reads from his book and speaks about his work and the nuclear legacy, 2 p.m., Center for Contemporary Arts, 1050 Old Pecos Trail, call 505-982-1338 for details. The Understanding Between Foxes and Light Six poets read from Great Weather for Media’s new anthology, 5 p.m., Teatro Paraguas Studio, 3205 Calle Marie, no charge.

EVENTS

Free-form movable art book salon Led by book artist Sally Blakemore, materials supplied, all ages welcome, 1-4 p.m., SITE Santa Fe, 1606 Paseo de Peralta, no charge. Friends of Archaeology holiday party Silent auction, light buffet, and drinks, 3-6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $20 at the door, call 505-992-2715, Ext. 8, for information. Pueblo of Tesuque Flea Market 9 a.m.-4 p.m. Friday-Sunday, 15 Flea Market Rd., pueblooftesuquefleamarket.com. Santa Fe Kirtan Fest Music, yoga, film, and sacred dance, Railyard Performance Center (1611 Paseo de Peralta) and Center for Spiritual Living (505 Camino de Los Marquez), see santafekirtanfest.com for schedule and ticket information. Santa Fe Stories of the AIDS Memorial Quilt The public is invited to share stories of artists, advocates, visionaries, and families whose lives are stitched into the quilt, presented in conjunction with the Museum of International Folk Art exhibit Let’s Talk About This: Folk Artists Respond to HIV/AIDS, 1-4 p.m., Museum of International Folk Art, 706 Camino Lejo, no charge.

NIGHTLIFE

(See Page 58 for addresses) Café Café Guitarist Michael Tait Tafoya, 6 p.m., no cover. Cowgirl BBQ Broomdust Family Revival, noon-3 p.m., Austin Miller, acoustic folk/rock, 8 p.m., no cover. El Farol Nacha Mendez, Latin music, 7 p.m., no cover.

The Secret Gallery shows works by Shelley Horton-Trippe, 920 Baca St.

La Casa Sena Cantina Jazz brunch with the Arlen Asher Trio, 11:30 a.m.-1:30 p.m., no cover. La Fiesta Lounge at La Fonda Classic-movie night, 6-10 p.m., no cover. La Posada de Santa Fe Resort and Spa Cowboy singer and guitarist Wiley Jim., 7 p.m., no cover.

4 Monday BOOKS/TALKS

How Old Is the Grand Canyon A Southwest Seminars lecture with Wayne Ranney, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta. $12 at the door, southwestseminars.org, 505-466-2775. Old Santa Fe Tales A lecture by Bill Field and Joe Valdez, 2-3 p.m., Main Gallery, Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill. $10, 505-982-2226. UNM/Albuquerque New Mexico Museum of Art presents its lecture series The Artists’ Century, 10-11:30 a.m. St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. no charge.

NIGHTLIFE

(See Page 58 for addresses) Cowgirl BBQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. El Farol Jazz night with Trey Keepin, 7 p.m., no cover. Molly’s Kitchen & Lounge Those Darlins, sleek and snarly rock, 8 p.m., call for cover.

5 Tuesday IN CONCERT

Black Lillies Knoxville-based Americana band, 7:30 p.m., Santa Fe Sol Stage & Grill, 37 Fire Pl., $12 in advance, 505-988-1234, ticketssantafe.org, $15 at the door.

THEATER/DANCE

National Theatre Live in HD Macbeth, 7 p.m. the Lensic, $22, discounts available, ticketssantafe.org, 505-988-1234.

BOOKS/TALKS

Jerry Wellman The local artist discusses and signs copies of Emblems of Hidden Durations, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

EVENTS

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

NIGHTLIFE

(See Page 58 for addresses) Cowgirl BBQ Decker, Acoustic-based psychedelic Americana, 8 p.m., no cover. El Farol Canyon Road Blues Jam, 8:30 p.m., no cover.

6 Wednesday BOOKS/TALKS

Bodhidharma’s Zen Dharma talk with Joshin Brian Byrnes, 5:30-6:30 p.m., Upaya Zen Center, 1404 Cerro Gordo Rd., donations appreciated. In the Footsteps of Marco Polo Filmmaker Denis Belliveau presents his Emmywinning PBS documentary and discusses the companion book, 1 p.m.; book signing at 4 p.m., Jemez Room, Santa Fe Community College, 6401 Richards Ave. Museum of Contemporary Native Arts public program Brown-bag lecture with Tatiana Lomahaftewa-Singer, MoCNA curator, noon-1 p.m., second floor conference room, Museum of Contemporary Native Arts, 108 Cathedral Pl., no charge. Richard Stolley Writer James McGrath Morris interviews the preeminent journalist, formerly of Life magazine and founding editor of People magazine, 10 a.m., on the radio at 101.5 FM, KSFR. Santa Fe Institute public lecture Turing’s Cathedral: The Origins of the Digital Universe, 7:30-8:30 p.m., New Mexico School for the Deaf, 1060 Cerrillos Rd., no charge. School for Advanced Research talk Complicating Red Power: A Political History of Mohawk Activist Richard Oakes, 1942-1972, with Kent Blansett, noon-1 p.m., School for Advanced Research, 660 Garcia St., no charge, call 505-954-7203 for more information. Valerie Plame and Sarah Lovett The authors discuss and sign copies of Blowback: A Vanessa Pierson Novel, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226 (See story, Page 16.) Wednesday Spotlight Tour Docent-led discussion of the works of American modernist Marsden Hartley, 12:15 p.m., New Mexico Museum of Art, 107 W. Palace Ave., 505-476-5072, by museum admission.

EVENTS

Los Alamos guided walk Flat-trail walks range from one to two miles, 9:15 a.m., Pajarito Environmental Education Center, 3540 Orange Street, no charge, register at pajaritoeec.org. Los Alamos trail walk, 9:30 a.m., Pajarito Environmental Education Center, 3540 Orange St., meet at the Deer Trap Mesa trailhead, no charge, visit pajaritoeec.org or email programs@pajaritoeec.org for more information. Writing workshop Unleash Your Soul Self, led by Tom Bird, visit bodyofsantafe.com for more information. 6-8:30 p.m., Body of Santa Fe, 333 W. Cordova, $15.

NIGHTLIFE

(See Page 58 for addresses) Cowgirl BBQ Antique pop guitar and ukulele duo Victor & Penny, no cover, 8 p.m., no cover. El Farol Latin fervor with Santastico, 8 p.m., no cover. Ikonic Coffee Roasters Ravensong singer/songwriter showcase, 7 p.m., no cover. La Posada de Santa Fe Resort and Spa Omar Villanueva, Latin fusion., 7 p.m., no cover. The Pantry Restaurant Acoustic guitar and vocals with Gary Vigil, 6 p.m., no cover.

7 Thursday IN CONCERT

Peter Buffett: Life Is What You Make It Concert and conversation with the pianist and cellist Michael Kott, 7 p.m., Lensic Performing Arts Center, 211 W. San Francisco St., $15, reserved seat and signed book $50, 505-988-1234, ticketssantafe.org.

BOOKS/TALKS

The Business of Music Summit New Mexico Lawyers for the Arts and After Hours Alliance present two days of panel discussions and lectures, 2-9 p.m. today and Friday, Nov. 8, Warehouse 21, 1614 Paseo de Peralta, no charge. Stephen Jimenez The author discusses and signs copies of The Book of Matt: Hidden Truth About the Murder of Matthew Shepard, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226 (See story, Page 14.)

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Tom Martin The author presents an illustrated talk on his book Big Water, Little Boats, proceeds benefit Friends of the Santa Fe Public Library, 6:30 p.m., Community Room, Santa Fe Public Library, Main Branch, 145 Washington Ave., no charge.

EVENTS

Planetarium program Killer Comets and Ominous Asteroids, 7-8 p.m., Santa Fe Community College Planetarium, 6401 Richards Ave. 505-428-1744, no charge.

NIGHTLIFE

(See Page 58 for addresses) ¡Chispa at El Mesón Jazz duet with John Gagan on stand-up bass, 7 p.m., no cover. Cowgirl BBQ Gypsy Lumberjacks, Americana, 8 p.m., no cover. Duel Brewing Singer/songwriter duo Stephanie Hatfield and Bill Palmer, 7 p.m., no cover. El Farol Guitarras con Sabor, 9 p.m., no cover. The Matador DJ Inky Inc. spinning soul/punk/ ska., 8:30 p.m., no cover. The Palace Restaurant & Saloon Limelight karaoke, 9:30 p.m.-close, call for cover. Zia Diner Swing Soleil, gypsy jazz and swing, 6:30-8:30 p.m., no cover.

▶ Elsewhere AlbuquErquE Museums/Art Spaces

Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255. Open 9 a.m.-5 p.m. Tuesday-Sunday; adults $4 ($1 discount for NM residents); seniors $2; children ages 4-12 $1; 3 and under no charge; the first Wednesday of the month and 9 a.m.-1 p.m. Sundays no charge. Maxwell Museum of Anthropology UNM campus, 505-277-4405. Prehistoric pottery, hands-on activities for children, and exhibits showcasing early Southwestern peoples. Open 10 a.m.-4 p.m. Tuesday-Saturday; closed Sundays and Mondays; no charge. National Hispanic Cultural Center 1701 Fourth St. S.W., 505-724-4771. En la Cocina With San Pascual, works by New Mexico artists. Open 10 a.m.-5 p.m. Tuesday-Sunday. UNM Art Museum Center for the Arts Building, 505-277-4001. The museum celebrates its 50th anniversary with exhibits of works from the permanent collection, through Dec. 21 • From Raymond Jonson to Kiki Smith • Andy Warhol’s Snapshots and Takes • From Rembrandt to Pollock to Atget • Agnes Martin: The Early Years 1947-1957 • Life’s a Beach, work by Martin Parr, through Dec. 14. Open 10 a.m.-4 p.m. TuesdaySaturday; $5 suggested donation.

Events/Performances

Chatter Sunday Violinist Ruxandra Simionescu-Marquardt performs, poetry reading by V.B. Price follows, 10:30 a.m. Sunday, Nov. 3, The Kosmos, 1715 Fifth St. N.W., $15, discounts available. Iva Bittová Avant-garde vocalist and violinist, 7:30 p.m. Thursday, Nov. 7, Outpost Performance Space, 210 Yale Blvd. S.E., $20, student discounts available, outpostspace.org.

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Northern Cascades, by Judith Vejvoda, shown in the Dixon Studio Tour; group show opening reception Friday, Nov. 1, at The Toolshed performance space; tours run 9 a.m.-5 p.m. Saturday and Sunday, Nov. 2-3.

Lyle Lovett and John Hiatt Singer/songwriters, 8 p.m. Tuesday, Nov. 5, Fine Arts Building, University of New Mexico, 203 Cornell Dr. S.E., $36.50-$66.50, ampconcerts.org and UNM ticket office, 877-664-8661. Yjastros, The American Flamenco Repertory Company Todo Es de Color/Everything Is in Color, 7 p.m. Thursday, Nov. 7, through Nov. 9, National Hispanic Cultural Center, 1701 Fourth St. S.W., $15-$45, discounts available, 505-724-4771, nhccnm.org.

EspAñolA

Bond House Museum 706 Bond St., 505-747-8535. Visions of the Heart, Images From the Road: Three Views From El Rito, works by Susan Guevara, Nicholas Herrera, and David Michael Kennedy, through Dec. 20. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Open noon-3:30 p.m. MondayWednesday, noon-4 p.m. Thursday and Friday, no charge.

Dixon

32nd Annual Dixon Studio Tour The tour encompasses the villages of Dixon, Embudo, Rinconada, Cañoncito, and Apodaca; pretour group exhibit opening 5:30-7:30 p.m. Friday, Nov. 1, at The Toolshed performance space, 68 NM 75, tours run 9 a.m.-5 p.m. Saturday and Sunday, Nov. 2-3, no charge.

los AlAmos Museums/Art Spaces

Bradbury Science Museum 1350 Central Ave., 505-667-4444. Open 10 a.m.5 p.m. Tuesday-Saturday, 1-5 p.m. Sunday-Monday; no charge. Pajarito Environmental Education Center 3540 Orange St., 505-662-0460. Exhibits of flora and fauna of the Pajarito Plateau; an herbarium, live amphibians, and butterfly and xeric gardens.

mADriD

Johnsons of Madrid Group show of photographs, prints, paintings, and textiles, reception, 3-5 p.m. Saturday, Nov. 2, 2843 NM 14, no charge, through November.

TAos Events/Performances

Artist salon Performing Mabel/Writing Mabel, one-woman performance by Leslie Dillen, 5-7 p.m. Saturday, Nov. 2, Mabel Dodge Luhan House, 240 Morada Ln., $20, call the Harwood Museum of Art for tickets, 575-758-9826.

Museums/Art Spaces

Harwood Museum of Art 238 Ledoux St., 575-758-9826. The Harwoods: Burt Harwood • Historic Photographs • Highlights From the Taos Municipal Schools Historic Art Collection. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday. Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson. Open 10 a.m.-5 p.m. daily, $5; seniors $4; teens $3; ages 12 and under no charge. Millicent Rogers Museum Open 10 a.m.-5 p.m. Tuesday-Sunday through March. NM residents $5; nonresidents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge.

▶ people who need people Artists

Children’s Water Conservation Poster Contest Students in grades 1-6 invited to submit posters, call 505-955-4225 or visit santafenm.gov/waterconservation for guidelines, entry deadline Nov. 22.

Filmmakers/Performers/Writers

Reel New Mexico Independent Film Series New Mexico filmmakers may submit shorts, narrative and documentary features, student films, and works-in-progress through 2013; contact reelnewmexico@gmail.com. Santa Fe Bandstand Applications to perform at the 2014 Santa Fe Bandstand are being accepted; Nov. 29 deadline for submissions; visit santafebandstand.org.

Volunteers

Fight Illiteracy Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at lvsf.org, or call 505-428-1353. George O’Keeffe Museum docent training Join the volunteers who work in the galleries, offer tours, and provide interpretations, Thursdays 8:30 am.-noon through March 6, contact szurick@okeeffeemuseum.org, 505-946-1007. Many Mothers Assist new mothers and families, raise funds, plan events, become a board member, and more; requirements and details available online at manymothers.org; call 505-466-3715 for more information or to schedule an interview. Railyard Stewards Yardmasters Develop new project ideas; lead educational training sessions; raise funds; help out in the office; free training and workshops on keeping Railyard Park vibrant; contact Alanna for schedules, 505-316-3596, alanna@railyardpark.org. St. Elizabeth Shelter Help with meal preparation at residential facilities and emergency shelters; other duties also available; contact Rosario, 505-982-6611, Ext. 108, volunteer@steshelter.org. Santa Fe Humane Society and Animal Shelter Dogs desperately need individuals to take them on daily walks; all shifts available, call Katherine at 505-983-4309, Ext. 128. Santa Fe Women’s Ensemble Always in need of ushers for concerts; email info@sfwe.org or call 505-954-4922.

▶ pasa Kids Preschooler’s Story Hour 10:45 a.m. weekly on Wednesdays and Thursdays, Collected Works Bookstore, 202 Galisteo St., 505-988-4226. The Food Depot L.O.V.E. program Child-friendly projects for ages 3 and up (accompanied by an adult), 1-3 p.m. third Friday of each month; contact Viola Lujan, vlujan@ thefooddepot.org, 505-471-1633, Ext. 11. ◀


In the wings MUSIC

Iva Bittová Czech avant-garde vocalist and violinist, 7:30 p.m. Friday, Nov. 8, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com. Arlen Asher Woodwind artist, with Jim Ahrend on piano, Colin Deuble on bass, and John Trentacosta on drums, 7 p.m. Friday, Nov. 8, Milner Plaza, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org. YO: The Spirit of Asia A musical journey into the heart of Japan and the soul of India with Yutaka Oyama, Akihisa Kominato, and Ty Burhoe, 7:30 p.m., Saturday, Nov. 9, Gig Performance Space, 1808-H Second St. $20 at the door, gigsantafe.com. The Met Live in HD The season continues with Puccini’s Tosca, 11 a.m. and 6 p.m. Saturday, Nov. 9, the Lensic, 505-988-1234, ticketssantafe.org. Jasper String Quartet Music of Hayden, Beethoven, and Sarabande, 3 p.m. Sunday, Nov. 10, the Lensic, $20-$65, 505-988-1234, ticketssantafe.org. Robert Cray Band Blues guitarist, 7:30 p.m. Sunday, Nov. 10, the Lensic, $34-$54, ticketssantafe.org, 505-988-1234. Richard Smith Finger-style guitarist, 8 p.m. Thursday, Nov. 14, Gig Performance Space, 1808-H Second St., $20 at the door. Rory Block Delta blues, 7:30 p.m., Saturday, Nov. 16, The Music Room at Garrett’s Desert Inn, 311 Old Santa Fe Trail, $28 in advance at brownpapertickets.com, $30 at the door. Cantu Spiritus Chamber Choir In Love and War, poetry readings by actors Michael and Jennifer Graves, accompanied by the choir, 3 p.m. Sunday, Nov. 17, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd., $20; students no charge, visit cantuspirituschoir.com for details. Santa Fe Concert Association The association’s Family Concert Series launches with music of Bach, Corelli, and Brahms as well as the premiere presentation of March and Fugue by 12-year-old violinist Ezra Shcolnik of Santa Fe, 4 p.m., Sunday, Nov. 17, United Church of Santa Fe, 1804 Arroyo Chamiso, $10, 505-984-8759 or 505-988-1234, ticketssantafe.org. Charles Lloyd & Friends Jazz reedist/composer, with Reuben Rogers on bass, Eric Harland on drums, and Bill Frisell on guitar, 7 p.m. Tuesday, Nov. 19, the Lensic, $20-$45, ticketssantafe.org. Santa Fe Symphony Orchestra & Chorus Handel’s Messiah, preconcert lecture 3 p.m. Sunday, Nov. 24, the Lensic, $20-$70, 505-988-1234, ticketssantafe.org. Sangre de Cristo Chorale The 45-member ensemble presents Deo Gracias, 3 p.m. Sunday, Dec. 8, First Presbyterian Church of Santa Fe, 208 Grant Ave., $20 in advance and at the door, sdcchorale.org. Ian Moore Blues/rock guitarist, 7:30 p.m., Thursday, Dec. 12, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25 in advance at brownpapertickets.com, $29 at the door. Pink Martini Latin, jazz, and classic pop orchestra, 7:30 p.m. Monday, Jan 20, the Lensic, $54-$84, 505-988-1234, ticketssantafe.org.

Ray Wylie Hubbard Country, folk, and blues, 7:30 p.m., Sunday, Jan. 26, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $25 in advance, brownpapertickets.com, $29 at the door.

THEATER/DANCE

Celebrating Survival: Exploration of Courage, Strength, Laughter, and Love Santa Fe Playhouse presents staged readings by local playwrights, including Shebana Coelho, Aaron Leventman, and Erin O’Shaughnessy, 7:30 p.m. Friday and Saturday, 4 p.m. Sunday, Nov. 8-10; Santa Fe Playhouse, 142 E. De Vargas Street, event includes a silent art auction; $15, 505-986-1801, proceeds benefit the Cancer Foundation of New Mexico. WTF! Where’s My Community? Community Learning Collaborative’s social issues theater production, Santa Fe Community Foundation shows 7:30 p.m. Friday and Saturday, Nov. 8-9; Teatro Paraguas shows 7:30 p.m. Saturday and Sunday, Nov. 16-17, $12, discounts available, 505-986-0541. Balé Folclórico da Bahia Brazilian folk dance, 7 p.m. Wednesday, Nov. 13, the Lensic, $25-$45, ticketssantafe.org. 505-988-1234. Our Lady of 121st Street Stephen Adly Guirgis’ comedy about a missing corpse, 7 p.m. FridaySunday, Nov. 15-24, Greer Garson Theatre, 1600 St. Michael’s Dr., $12-$15, discounts available, 505-988-1234, ticketssantafe.org. The Mountaintop Fusion Theater presents Katori Hall’s drama reimagining events the night prior to the assassination of Martin Luther King Jr., 8 p.m. Friday and 2 and 8 p.m. Saturday, Nov. 15-16, the Lensic, $20-$40, discounts available, ticketssantafe.org, 505-988-1234.

Upcoming events The Secret War Monologist Mike Daisey’s new work exploring national security, privacy, and freedom, 7 p.m. Thursday and Saturday, Nov. 21 and 23, the Lensic, $10, ticketssantafe.org. 505-988-1234. Under One Umbrella Festival The public is encouraged to share five- to ten-minute community creativity-themed performances, Friday and Saturday, Nov. 22-23, Capital High School, 4851 Paseo del Sol, visit teatroparaguas.org for full schedule of events, no charge. A Christmas Carol Santa Fe Playhouse presents Charles Dickens’ classic adapted by Doris Baizley, Dec. 6-22, visit santafeplayhouse.org or call 505-988-4262 for details. The Second City Comedy-theater troupe, 7 p.m. Saturday, Dec. 7, the Lensic, $27-$44, 505-988-1234, ticketssantafe.org. Winter Dance SFUA&D Garson Dance Company presents new works, 7 p.m. Wednesday, Dec. 11, Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org. Paula Poundstone Stand-up comedian, 7:30 p.m. Friday, Dec. 13, the Lensic, $27.50 and $35, ticketssantafe.org, 505-988-1234. Annie Presented by Musical Theatre Works Santa Fe, 7 p.m. Friday and Saturday, 2 p.m. Sunday, Dec. 20-29, Greer Garson Theatre, 1600 St. Michael’s Dr., $15 in advance at musicaltheatreworks.net, student discounts available, $20 at the door, 505-946-0488. The Nutcracker Aspen Santa Fe Ballet presents the holiday favorite, 2 and 7:30 p.m. Saturday, Dec. 21; 1 and 5 p.m., Sunday, Dec. 22, the Lensic, $25-$72, aspensantafeballet.com or ticketssantafe.org, 505-988-1234.

HAPPENINGS

FUZE-SW Food + Folklore Festival Food conference with national and local chefs and authors, speakers include James Campbell Caruso and Cordelia Thomas Snow. FridaySunday Nov. 8-10, Museum of International Folk Art, 706 Camino Lejo, $250, 505-476-1146, for updates visit fuzesw.museumofnewmexico.org.

Holiday Pie Mania Auction of pies from local chefs and bakers; 1-5 p.m. Saturday, Nov. 9, Builders Source Appliance Gallery, 1608 Pacheco St., $5 in advance, $7 at the door, proceeds benefit The Food Depot, thefooddepot.org. Second Annual Lunafest Traveling film festival spotlighting women filmmakers; 5-8 p.m. Saturday, Nov. 9, reception featuring silent auction, wine, and hors d’oeuvres $35, short film screenings $25, proceeds benefit Girls Inc. and the Breast Cancer Fund, Santa Fe University of Art & Design, 1600 St. Michael’s Dr. Recycle Santa Fe Art Festival Recycled-art market, juried exhibit, and trash fashion contest, Friday-Sunday, Nov. 15-17, Santa Fe Community Convention Center, recyclesantafe.org. Twenty-fifth AID & Comfort Gala Presented by Southwest CARE Center; featuring theatrical singer Prince Poppycock, a VIP reception, and a silent auction, 6 p.m. Saturday, Nov. 23, Eldorado Hotel & Spa, 309 W. San Francisco St. Eighth Annual SWAIA Winter Indian Market More than 200 participants; artist demonstrations; fashion show; and silent art auction; Saturday and Sunday, Nov. 23-24, Santa Fe Community Convention Center, 201 W. Marcy St., $10 per day, $15 weekend pass, tickets available at the door only, presented by Southwestern Association for Indian Arts, swaia.org. Santa Fe Women’s Ensemble benefit Caroling party and silent auction, 5:30 p.m. Saturday, Dec. 7, Manitou Galleries, 123 W. Palace Ave., $50, 505-988-1234, ticketssantafe.org. MOIFA Winter Celebration Hands-on art making, live music, and refreshments, 1-4 p.m. Sunday, Dec. 8, Museum of International Folk Art, 706 Camino Lejo, by museum admission. Tribute to Sallie Bingham Dinner honoring the author/feminist, 6 p.m. Friday, Dec. 13, La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., $100, 505-988-1234, ticketssantafe.org, proceeds benefit the New Mexico Committee of National Museum of Women in the Arts scholarship fund.

Balé Folclórico da Bahia performs at the Lensic, Wednesday, nov. 13.

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At the GAlleries Argos Studio Gallery & Santa Fe Etching Club 1211 Luisa St., 505-988-1814. Work on Paper, group show of gallery artists, through Nov. 22. Axle Contemporary 505-670-7612 or 505-670-5854. Emblems of Hidden Durations, drawings by Jerry Wellman, visit axle.com for van locations through Nov. 9. Chiaroscuro Contemporary Art 702½ Canyon Rd., 505-992-0711. Fall group show of works by Australian Aboriginal artists and gallery artists, through Nov. 23. Governor’s Gallery State Capitol, fourth floor, Old Santa Fe Trail and Paseo de Peralta, 505-476-5058. Works by recipients of the 2013 Governor’s Awards for Excellence in the Arts. LewAllen Galleries at the Railyard 1613 Paseo de Peralta, 505-988-3250. Beyond Earth’s Rhythms, paintings by Michael Roque Collins, through Nov. 24. Photo-eye Gallery 376-A Garcia St., 505-988-5152. Across the Ravaged Land, Nick Brandt’s photographic study of East Africa, through November. Pippin Contemporary 200 Canyon Rd., 505-795-7476. Meditative Expressions, new work by Cody Hooper, through Wednesday, Nov. 6. Robert Nichols Gallery 419 Canyon Rd., 505-982-2145. Innovative Native American Pottery, works by Diego Romero, Alan E. Lasiloo, and Glen Nipshank; Native Vision, photography by Cara Romero; through Nov. 8. Santa Fe Arts Commission Community Gallery Santa Fe Community Convention Center. 201 W. Marcy St., 505-955-6705. Common Ground, works by local artists, through Nov. 8. Santa Fe Community College — Visual Arts Gallery 6401 Richards Ave., 505-428-1501. From the Inside, Part II, works by faculty members, through Jan. 15. The Secret Gallery 920 Baca St., Motherlode, paintings, assemblage, and video installations by Rebecca Wheeler and Shelley Horton-Trippe, for more information call 505-310-5284. Steven Boone Gallery 714 Canyon Rd., 505-670-0598. Twisted Portraits, work by Boone and Dirk Kortz. Turner Carroll Gallery 725 Canyon Rd., 505-986-9800. New paintings by Igor Melnikov, through November. Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111. WholeInOne, drawings by Emily Cheng; In Case of Emergency, wood assemblages by Roger Atkins, through Nov. 22.

librAries Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, 1600 St. Michael’s Dr., 505-474-5052. Open by appointment only. Catherine McElvain Library School for Advanced Research, 660 Garcia St., 505-954-7205. Open Monday-Friday, call for hours. Chase Art History Library 1600 St. Michael’s Dr., 505-473-6569. Open Monday-Friday, call for hours. Faith and John Meem Library 1160 Camino de Cruz Blanca, 505-984-6041. Visit stjohnscollege.edu for hours of operation. $40 fee to nonstudents and nonfaculty.

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Fray Angélico Chávez History Library 120 Washington Ave., 505-476-5090. Open 1-5 p.m. Tuesday-Friday. Laboratory of Anthropology Library Museum of Indian Arts & Culture, 107 W. Palace Ave., 505-476-1264. Open 1-5 p.m. Monday-Friday, by museum admission. New Mexico State Library 1209 Camino Carlos Rey, 505-476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. MondayFriday. Quimby Memorial Library 3960 San Felipe Rd., 505-467-6825. Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours. Santa Fe Community College Library 6401 Richards Ave., 505-428-1352. Open Monday-Friday, call for hours. Santa Fe Institute 1399 Hyde Park Rd., 505-984-8800. Open 1-5 p.m. Monday-Friday to current students (call for details). Online catalog available at santafe.edu/library. Santa Fe Public Library, Main Branch 145 Washington Ave., 505-955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.-6 p.m. Friday-Saturday, 1-5 p.m. Sunday. Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 505-955-4860. Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.6 p.m. Thursday-Saturday. Closed Sunday. Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 505-955-2810. Open 10 a.m.8 p.m. Monday-Thursday, 10 a.m.-6 p.m. FridaySaturday. Closed Sunday. Supreme Court Law Library 237 Don Gaspar Ave., 505-827-4850. Online catalog available at supremecourtlawlibrary.org. Open 8 a.m.-5 p.m. Monday-Friday.

MuseuMs & Art spAces

Corn, No. 2, 1924, in the exhibit Modern Nature: Georgia O’Keeffe and Lake George, © Georgia O’Keeffe Museum

Center for Contemporary Arts 1050 Old Pecos Trail. 982-1338. Atomic Surplus, multidisciplinary group exhibit surveying the global nuclear legacy • Tony Price and the Black Hole, exhibit of ephemera from the Los Alamos Black Hole salvage yard and works from the estate of artist Tony Price, through Jan. 5. Gallery hours available online at ccasantafe.org or by phone. Georgia O’Keeffe Museum 217 Johnson St., 505-946-1039. Modern Nature: Georgia O’Keeffe and Lake George, through Jan. 26. Open 10 a.m.-5 p.m. SaturdayThursday, 10 a.m.-7 p.m. Friday. $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; no charge for NM residents first Friday of each month. Museum of Contemporary Native Arts 108 Cathedral Pl., 505-983-1666. Changing Hands: Art Without Reservations 3/Contemporary Native North American Art From the Northeast and Southwest, group show • Steven J. Yazzie: The Mountain • Jacob Meders: Divided Lines • Cannupa Hanska Luger: Stereotype: Misconceptions of the Native American; exhibits continue through December. Open 10 a.m.-5 p.m.; noon-5 p.m. Sunday; closed Tuesday. Adults $10; NM residents,

seniors, and students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of Indian Arts & Culture 107 W. Palace Ave., 505-476-5072. What’s New in New: Recent Acquisitions, through December • Woven Identities: Basketry Art From the Collections • Margarete Bagshaw: Breaking the Rules, 20-year retrospective • Here, Now, and Always, artifacts, stories, and songs depicting Southwestern Native American traditions. Let’s Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month. Open 10 a.m.-5 p.m. Tuesday-Sunday. NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents no charge on Sundays; free to NM residents over 60 on Wednesdays. Museum of International Folk Art 706 Camino Lejo, 505-476-1200. Let’s Talk About This: Folk Artists Respond to HIV/AIDS, collaborative exhibit, through May 4 • Tako Kichi: Kite Crazy in Japan, exhibit of Japanese kites, through April 27 • New World Cuisine: The Histories of Chocolate, Mate y Más, through Jan. 5 • Multiple Visions: A Common Bond, international collection of toys and folk art. Open 10 a.m.-5 p.m. Tuesday-Sunday. $6; nonresidents $9; ages 16 and under no charge;

refer to the daily calendar listings for special events. hours subject to change on holidays and during special events.

students with ID $1 discount; no charge for NM residents over 60 on Wednesdays; no charge for NM residents on Sundays; school groups no charge. Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 505-982-2226. Beltrán-Krapp Peruvian Art Collection, exhibit of gift items, including a permanent gift of 60 art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, Peru’s ambassador to the U.S. (1944-45), through May 27 • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late colonial period re-creation. Open 10 a.m.-5 p.m. TuesdaySunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays. New Mexico History Museum/ Palace of the Governors 113 Lincoln Ave., 505-476-5200. Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9., Santa Fe Found: Fragments of Time, the archaeological and historic roots of Santa Fe. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge on Wednesdays for NM residents over 60; NM residents no charge on Sundays; free admission 5-8 p.m. Fridays. New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. Collecting Is Curiosity/Inquiry • A Life in Pictures: Four Photography Collections, through Jan. 19 • 50 Works for 50 States, through April 13 • Back in the Saddle, collection of paintings, prints, photographs, and drawings of the Southwest, through Jan. 12 • It’s About Time: 14,000 Years of Art in New Mexico, through January. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Fridays. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; no charge for NM residents over 60 on Wednesdays; NM residents free on Sundays. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Pl., 505-988-8900. Open 10 a.m.-5 p.m. TuesdaySunday. $10 admission. Poeh Museum Poeh Center Complex, Pueblo of Pojoque, 78 Cities of Gold Rd., 505-455-3334. Fashion designs by Patricia Michaels, through November. Open 8 a.m.-5 p.m. Monday-Friday; 9 a.m.-4 p.m. Saturday; donations accepted. SITE Santa Fe 1606 Paseo de Peralta, 505-989-1199. Design LAB: Next Nest, group show of furniture, lighting, and interior designs, reception 5-7 p.m. Saturday, Nov. 2, through Dec. 1, no charge (see story, Page 18). Open Thursday through Sunday, $10; seniors and students $5; 10 a.m.-noon Saturday, no charge; Friday no charge. Wheelwright Museum of the American Indian 704 Camino Lejo, 505-982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13. Open 10 a.m.-5 p.m., daily. Donations accepted.


exhiBitioNisM

A peek at whatâ&#x20AC;&#x2122;s showing around town

Martin J. Desht: Two youths working salvage. Former industrial workers. Northampton County, Pennsylvania, 1990, silver gelatin print. The Santa Fe Community College presents Faces From an American Dream, an exhibit of photographs by Martin J. Desht. Desht uses photography to explore the impact on skilled and unskilled laborers of the shift from industrial manufacturing to service and information industries. The show is in the Main Hall Gallery of the college (6401 Richards Ave.) through Nov. 22. Call 505-428-1000.

elizabeth schowachert: Beginnings, 2013, encaustic. Eggman & Walrus Art Emporium (130 W. Palace Ave., 2nd floor; 505-660-0048) hosts Fusion, a juried exhibition of more than 50 works in encaustic, a pigmented beeswax medium that is heated before application. It opens with a 7 p.m. reception on Friday, Nov. 1. The show runs in conjunction with the EncaustiCon 2013 conference held at the Eldorado Hotel through Sunday, Nov. 3. To register visit www.encausticon.com.

Nick Brandt: The Two Elephants, 2012, archival pigment print. Photo-eye Gallery (376-A Garcia St.) concludes a three-part exhibition of Nick Brandtâ&#x20AC;&#x2122;s photos of animal life in East Africa with Across the Ravaged Land. Some images explore the impact of the illegal ivory trade on elephant populations, and others are soulful portraits of wildlife. The show runs through November. Call 505-988-5159.

Jennifer McCurdy: Little Butterfly Bottle, 2013, porcelain. Santa Fe Clay (545 Camino de la Familia) presents Small Treasures, a selection of small-sized works in ceramic, including decorative and functional wares and sculpture. There is a 5 p.m. reception on Friday, Nov. 1. Call 505-984-1122. ellen Koment: Floracente, 2013, encaustic, dry pigment on paper. Wax Works is an exhibition of encaustic pieces by Martha Rea Baker, Ellen Koment, and Mary Long-Postal; the show is held in conjunction with EncaustiCon 2013. Wax Works opens at Karan Ruhlen Gallery (225 Canyon Road; 505-820-0807) with a reception at 5 p.m. on Friday, Nov. 1. PASATIEMPOMAGAZINE.COM

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Pasatiempo, November 1, 2013  

Pasatiempo, November 1, 2013

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