Pasatiempo, October 4, 2013

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

Boom Tic Boom with

Allison Miller

October 4, 2013

27th Annual Arts Festival

Lensic Presents

BROADCAST IN HD

October 5 & 6 10 am - 5 pm

Visit over 50 artists at 20 locations in a small traditional village.

Othello

www.elritostudiotour.org (575) 581-0155 Blacksmith Shop Fiber Arts Jewelry Musical Instruments

by William Shakespeare

Painting

Shakespeare’s tragic tale of love, jealousy, and betrayal stars Olivier Award-winning actors Adrian Lester and Rory Kinnear.

Directed by Nicholas Hytner.

Photography Pottery Retablos & Santos

October 15, 7 pm

Sculpture

$22/$15 students

Spanish Colonial Wood Carving

Discounts for Lensic members

Tin Work

SPONSORED BY

Local Food Vendors Mercado

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 AT 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

PHOTO CREDIT: GUY CROSS

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PASATIEMPO I October 4 - 10, 2013

Live Music The El Rito Studio Tour is funded in part by the County of Rio Arriba Lodger’s Tax & is fiscally sponsored by Luciente, Inc., a 501c3

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M u S e u M O F N e w M e x I c O F O u N d At I O N S H O P S

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Saturday, Oct. 5th & Sunday, Oct. 6th 10:00am to 5pm Milner Plaza on Museum Hill near the Museum of International Folk Art For the first time in over a decade, the Museum of New Mexico Foundation Shops will move their discontinued, clearance and slightly damaged merchandise from five museums shops to a big tent on Milner Plaza. Savings will be from 25% to 90% on over 10,000 items including jewelry, crafts, textiles, books, cards, prints, and stationery.

Many items will be sold below cost. Take advantage of this one-time opportunity from the Museum of New Mexico Foundation Shops.

www.newmexicocreates.org For more information: 505.982.3016 x21

Merchandise shown are only representative items that might be offered at the Tent Sale.

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PASATIEMPO I October 4 - 10, 2013

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THE SANTA FE NEW MEXICAN

October 4 - 10, 2013

www.pasatiempomagazine.com

On the cOver 30 the beat goes on Jazz drummers pride themselves on furthering a distinct tradition that is passed down from teacher to student. One of the most exciting leaders of the current generation is Allison Miller. Though she could easily fill her time playing festivals with such musicians as Ani DiFranco and Dr. Lonnie Smith, she prefers performing in intimate, communitybased clubs with her “outside jazz” trio, Boom Tic Boom. She and the band take the stage at Gig Performance Space on Friday, Oct. 4. On the cover is a photo of Miller by Desdemona Burgin.

BOOKS

MOvInG IMAGeS

14 In Other Words Machiavelli’s influence 16 recurring typo George Johnson

58 59 60 62

MuSIc AnD perFOrMAnce 18 20 22 24 26 29

Listen up Screenings from the Met A 21st-century voice Yuja Wang pasa reviews Fusion Theatre Co. Sound Waves Will and the Won’ts pasa tempos CD Reviews Onstage Frightened Rabbit

cALenDAr 68 pasa Week

AnD 11 Mixed Media 13 Star codes 66 restaurant review: tokyo café

Art, ArchItecture & phOtOGrAphy 32 42 44 48 54

Touchy Feely La Camioneta The Patience Stone pasa pics

viajes More orientalism in Santa Fe Art in review Sandia Lewis the Memphis blues again Ernest C. Withers Lake Georgia O’Keeffe in upstate New York elegy/eulogy Nick Brandt in Africa

MAyOr’S AWArDS FOr exceLLence In the ArtS 52 Arts in the city

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

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

by The New Mexican. Our offices are at 202 e. Marcy St. Santa Fe, nM 87501. editorial: 505-986-3019. Fax: 505-820-0803. e-mail: pasa@sfnewmexican.com pASAtIeMpO eDItOr — KrIStInA MeLcher 986-3044, kmelcher@sfnewmexican.com

A scene from The Nose, shown as part of The Met: Live in HD series; photo by Ken howard; courtesy the Metropolitan Opera

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

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

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

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

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

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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

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cOntrIButOrS Loren Bienvenu, Laurel Gladden, peg Goldstein, robert Ker, Jennifer Levin, robert nott, Adele Oliveira, Jonathan richards, heather roan-robbins, casey Sanchez, David J. Salazar, Steve terrell, Khristaan D. villela

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prODuctIOn Dan Gomez Pre-Press Manager

The Santa Fe New Mexican

© 2013 The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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Ginny Sohn publisher

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ADvertISInG DIrectOr Tamara Hand 986-3007

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MArKetInG DIrectOr Monica Taylor 995-3824

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GrAphIc DeSIGnerS Rick Artiaga, Dale Deforest, Elspeth Hilbert

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ADvertISInG SALeS Julee clear 995-3825 Mike Flores 995-3840 cristina Iverson 995-3830 rob newlin 995-3841 Wendy Ortega 995-3892 Art trujillo 995-3852

Ray Rivera editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

New

exHibiTiON

OpeNS

T O d ay

aT

1O:OO

am

modern nature GEORGIA O’KEEFFE AND LAKE GEORGE o C t o B e r

4 ,

2 o 1 3

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J a n u a r Y

2 6 ,

2 o 1 4

Georgia o’Keeffe, Lake George Barns, 1926. oil on canvas, 21 3/16 x 32 1/16 inches, Collection Walker art Center, minneapolis. Gift of the t. B. Walker Foundation, 1954

Between 1918 and 1934, Georgia o’Keeffe created an extraordinary body of work inspired by annual seasonal visits to Lake George, new York. Here, o’Keeffe discovered and refined her ground-breaking approach to nature and abstraction. this exhibition showcases artwork produced during her transformative and prolific years at Lake George.

2 1 7 J O H N S O N S T r e e T, S a N Ta f e , N m 8 7 5 O 1

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505.946.1000

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OKeeffemUSeUm.OrG

Modern Nature: Georgia O’Keeffe and Lake George was organized by the Hyde Collection in association with the Georgia o’Keeffe museum. the national presentation of the exhibition and catalogue have been made possible in part with support from the Henry Luce Foundation and the national endowment for the arts. additional support and related programming were made possible in part by a generous grant from the Burnett Foundation, and partially funded by the City of Santa Fe arts Commission and the 1% Lodgers’ tax and Century Bank. additional support for the catalogue has been provided by Furthermore: a program of the J. m Kaplan Fund.

PASATIEMPOMAGAZINE.COM

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The Pantry Presents

BUILT TOUGH FOR EVERY JOURNEY

Soul Kitchen & hONEyhoUSe

A Benefit Concert SUNDAY, OCTOBER 6TH, 2013 AT 3PM

for THE FRIENDSHIP CLUB & CHILDREN FIRST

THE LENSIC THEATER

Tickets $10 & $25 Available a The Lensic box office & at www.ticketssantafe.org.

Saturday & Sunday

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PASATIEMPO I October 4 - 10, 2013

Wendy McEahern

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PASATIEMPOMAGAZINE.COM

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join us for oPEn HousE Thursday, october 17, 5:30-8:00pm Parents and students welcome

Astrologer, Intuitive, and Ceremonialist Author of Pasatiempo’s “Starcodes.”

Readings by phone and Skype.

30-plus years experience in NM, MN, NYC. Your chart is a map, a brilliant navigational tool.

It’s an honor for me to walk with you into your inner workings, offer you a perspective to help understand the past, open up the future, and make dynamic choices.

© Jennifer Esperanza

0 2

Heather Roan Robbins

www.roanrobbins.com

Don’t FORGET Market Hours Time Change We Accept WIC & EBT

Starting Oct. 1st

spend time in a small group sharing coffee with our Head of school while your child ‘shadows’ a current student.

By appointment on Mondays and fridays, october through December.

For more information and to schedule an appointment, call (505) 992-8284, ext. 14 or email: admissions@desertacademy.org international Baccalaureate World school

College PreParatory grades 6-12 10

PASATIEMPO I October 4 - 10, 2013

7300 old santa fe Trail santa fe, new Mexico 87505 (505) 992-8284, ext. 14 www.DesertAcademy.org

8am-1pm

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

Left, Larry Montoya: Frida, 2013, mixed media; below, Ben Kain: Lost in Space, 2013, acrylic on canvas

Inside Out — a state of mind National Mental Illness Awareness Week runs from Sunday, Oct. 6, to Oct. 13.

According to the National Alliance on Mental Illness (NAMI), nearly 60 million Americans are affected by mental-health conditions annually. Despite the large number of people living with such illnesses, a stigma exists. Sufferers may avoid seeking help out of fear of being labeled crazy or unstable. Because many mental illnesses have no visible physical symptoms, the belief that they are not real diseases persists.

Inside Out, a group art exhibition and fundraiser with sculptures, paintings, video, jewelry, and mixed-media works by local artists living with mental illness, opens on Thursday, Oct. 10, at El Museo Cultural de Santa Fe (555 Camino de la Familia) with a reception at 5 p.m. “People with either physical or mental challenges, many of whom have never had the opportunity to draw, paint or sculpt, now have this chance to do that,” said Michele R. Altenberg, an art teacher for Casa Cerrillos, a supportive-living program run by St. Elizabeth Shelter for homeless adults afflicted by mental illness.

“It’s been life-changing for many of them. It’s given some of the artists such a drive to come to class, be creative, and think about imagery. It opens another way of thinking other than the challenges they deal with day to day.”

Opening night for Inside Out includes a silent auction, light refreshments, and music by Matthew Andrae. Proceeds from the sale of artwork benefit individual artists. The exhibition is part of a collaboration between NAMI of Santa Fe; Santa Fe Doorways; the Grief, Loss, and Trauma program of Southwestern College; the University of New Mexico’s IDEAS in Psychiatry program; Suicide: Finding Hope; El Museo; and Nuevalight Enterprises.

The exhibit is open 1 to 5 p.m. Friday and Sunday, Oct. 11 and 13, and 10 a.m. to 5 p.m. on Saturday, Oct. 12. All events are free. Call El Museo at 505-992-0591.

At 7 p.m. on Wednesday, Oct. 9, NAMI of Santa Fe and the Compassionate Touch Network present Minds Interrupted: Stories of Lives Affected by Mental Illness, an evening of monologues by local residents. The event takes place at the Lensic Performing Arts Center (211 W. San Francisco St.). Tickets are $15 and $50; call 505-988-1234 or see www.ticketssantafe.org.

— Michael Abatemarco

JAMAICA KINCAID with Robert

Faggen

WEDNESDAY 16 OCTOBER AT 7PM LENSIC PERFORMING ARTS CENTER With the intensity of Virginia Woolf, Kincaid creates a palimpsest of time past, time present and time future . . .

Mrs. Sweet in these pages makes a verbal symphony . . .

Kincaid’s attempt to capture living itself may just be, as she puts it, ‘always just out of reach,’ but her talent for trying remains palpable on every page . . . Connoisseurs will find it delicious. — Chicago Tribune on See Now Then

Jamaica Kincaid, whose work has been called loosely autobiographical, has said, “Everything I say is true, and everything I say is not true. You couldn’t admit any of it to a court of law. It would not be good evidence.” Her recent novel, See Now Then, chronicles the death of a marriage like a beautiful elegy, where Mr. and Mrs. Sweet’s final years together are anything but. Kincaid immigrated from the West Indies at 17 to New York, where she eventually joined the staff of The New Yorker. Her books explore themes of colonialism and its legacy, and the complex relationships between mothers and daughters.

TICKETS ON SALE NOW

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

www.lannan.org

PASATIEMPOMAGAZINE.COM

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Santa Fe Community Orchestra Oliver Prezant, Music Director

2013-2014 Concert Season

All American

Fall Concert Sunday, October 13, 2:30pm St. Francis Auditorium New Mexico Museum of Art 107 W. Palace Ave.

Carpenter: Skyscrapers

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W.G. Still: Kaintuck’

Michael Bowen, piano

Copland: Symphony No. 3 Pre-concert folk music by the SFUAD

Acoustic Americana Ensemble

at 1:00 pm in the Courtyard

Free admission - Donations appreciated This concert is sponsored in part by:

Thornburg Investment Management For more information visit our website: sfco.org or call 466-4879

SFCO projects are made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, The National Endowment for the Arts, the Santa Fe Arts Commission, and the 1% Lodger’s Tax.

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PASATIEMPO I October 4 - 10, 2013

Saturday, October 5th 9AM to 2 PM books CDs, DVDs kids’ stuff more books BAKE SALE!

STAR CODES

Heather Roan Robbins

Today’s new moon in Libra asks us to shout this battle cry from the rafters: “That’s not fair.” A minor but potent quincunx between Saturn and Uranus pushes us to discard patterns of behavior that once worked but no longer do.

We may be working hard, working in depth, and ready to work on something important but are stuck in the past. Mental Mercury is now in Scorpio and asks us to think like a well — with deep, still waters reaching into the earth toward our resources — but does not encourage a flexible point of view. Mercury now conjuncts Saturn, which gives us focus and responsibility but can also narrow and calcify our vision.

Mercury is usually in a sign for three weeks but will be here in Scorpio through Dec. 6, so we need to learn to work with it. Mercury retrogrades from Oct. 22 to Nov. 11 and conjuncts Saturn three times.

We have work to do. This aspect gives us tenacity, but we have to add imagination and hope.

Venus and Mars are still square in stubborn fixed signs as the weekend begins. Venus soon moves forward into more flexible and positive Sagittarius.

Our minds are becoming sharp, but our hearts are getting fuzzy. As Mercury conjuncts Saturn we feel like we have to face reality, and we have great concentration for the tasks at hand. Venus soon squares inspiring and escapist Neptune. We need to balance gritty realism with lyrical escapism to create a healthy life.

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Friday, Oct. 4: To bring relationships back into balance we need to walk a few steps in another person’s shoes and find common ground.

Loneliness midday can trigger a desire to acquire things. Under a new moon in Libra, we can create beauty in our surroundings and harmony in the world at large.

Saturday, Oct. 5: It’s a time for new beginnings, so we should look at one another with fresh eyes. Tonight’s mood is sociable, energized, and stubborn.

Sunday, Oct. 6: There is a dark, deep mood as the moon enters Scorpio.

Contact people from the past as Mercury sextiles Pluto. An edgy humor and hope seep in tonight as the moon trines Jupiter.

Monday, Oct. 7: Venus enters Sagittarius and helps us understand the big picture. A new honesty may ask us to clear the air, but it may only set off another’s defenses. Have hope and wait another day or two to talk things out.

Tuesday, Oct. 8: Make hay while the sun shines. Conditions relax as the moon conjuncts Venus in Sagittarius, but Mercury demands that we be decisive. Enjoy delicious solitude.

Wednesday, Oct. 9: Don’t drop the ball. This is a fertile time, but we are easily sidetracked. Help others stay on target.

Thursday, Oct. 10: Our hearts may be sore yet hopeful as Venus squares Neptune. Watch a tendency to get lost in daydreams, but do look for unusual and magical answers. If we can tether our uncommon strong imaginations with practical efforts, magic can happen under this durable Capricorn moon. ◀ www.roanrobbins.com

A multimedia celebration of the music and dance of Argentina

October 11 7:30 pm $20–$40

discounts for Lensic members

Featuring internationally acclaimed tango dancers Miriam Larici and Leonardo Barrionuevo, Latin Grammy Awardwinning cellist Antonio Lysy, and the Capitol Ensemble Tickets: 505-988-1234 www.TicketsSantaFe.org SERVICE CHARGES APPLY AT ALL POINTS OF PURCHASE

th e lensic is a non profit, member-supported organ ization

PASATIEMPOMAGAZINE.COM

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In Other wOrds book reviews The Garments of Court and Palace: Machiavelli and the World That He Made

by Philip Bobbitt, Grove Press, 270 pages

SubtextS

Pity poor Niccolò, brilliant political analyst, perceptive student of history, visionary of a new constitutional order. The way some people have twisted and distorted his message — it’s positively Machiavellian.

This perceived miscarriage of historical justice is at the heart of Philip Bobbitt’s The Garments of Court and Palace: Machiavelli and the World That He Made. The man whose name has become synonymous with amoral manipulation, the man who owns his own adjective ((Machiavellian is defined by Dictionary.com as “characterized by subtle or unscrupulous cunning, deception, expediency, or dishonesty”), is the man whom Bobbitt describes as “an intense moralist” who “is, and always was, committed to the constitution of republican government.” (It must be said, in assessing Bobbitt’s thesis, that his book’s dust jacket features an admiring quote from that epitome of 20th-century Machiavellian statesmanship, Henry Kissinger.)

Where it all began to go wrong for Machiavelli, according to Bobbitt, was in a dissection of The Prince by a French Huguenot theologian named Innocent Gentillet, in 1574, about 60 years after Machiavelli wrote his seminal work. “It should not surprise us,” Bobbitt writes, “that readers often prefer to take their learning from another person’s critique of a classic.” It obviously doesn’t surprise Bobbitt, who is counting on just that preference to sell his book. What Gentillet did was to translate sections of The Prince into French and then attack those translated sections point by point.

But Gentillet, in Bobbitt’s view, had an anti-Florentine agenda and slanted his renditions of Machiavelli to shore up his points. The end, as they say, justifies the means.

Bobbitt’s Machiavelli is a visionary thinker and political opportunist who foresaw and formulated the ordini, or constitutional order, that would define the modern state. As circumstances — and particularly the technological circumstances of warfare — changed, Machiavelli stepped in with a hastily written treatise to promote his thinking at a key moment in history.

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Generous with words The cover of Roswell native Larry Goodell’s collection Firecracker Soup: Poems 1980-1987 (Cinco Puntos Press) shows Goodell joyfully simmering in a cauldron, surrounded by explosions. He sports a denim vest with a couple of pens sticking out of one of the pockets and is gripping a book in one hand. Someone’s built a fire under him, but he’s laughing.

This kind of wacky visual continues inside with a crudely drawn cartoon and a topless woman named Screwy telling a character who appears to be Goodell what’s wrong with Southwest poetry (decorum obliges us not to print the reply). Poets, declaring they’re popular in Brooklyn, don’t like Screwy’s answer, and she ends up, like Goodell, in a pot. A poem from the book, “Times Achangin’,” reads: “The lotus has been cut in half./The cross is a mirror version of itself./Flying saucer visitors are wearing/their underwear inside out.” This is Goodell’s way of making strange things verse.

PASATIEMPO I October 4 -10, 2013

“The reason Machiavelli broke off writing this larger work on republics [the Discourses] and hurriedly began his memorandum on principalities is precisely because he believed he saw an opportunity to create a new principality in the centre of Italy.”

Bobbitt suggests that the key passage that has caused Machiavelli so much trouble in popular perception — “the end justifies the means” — is a “gross mistranslation” of the following passage: “e nelle azione di tutti li uomini, e massime de’ principi, dove non è iudizio da reclamare, si guarda al fine.” Bobbitt cites a translation that reads: “In the actions of all men, and especially of princes, where there is no impartial arbiter, one must consider the final result.”

That last bit, “si guarda al fine,” may be translated as “consider the outcome,” but in context, the author says, it refers to the effect of a prince’s actions on his reputation. Still, Bobbitt has conceded, even if Machiavelli didn’t exactly write the line popularly ascribed to him, “I imagine he did believe something like it.”

What Machiavelli was getting at was that, as Bobbit has explained, “If the end is legitimate — that is, if it advances the common good — then those means that are plainly adapted to that end, and are not prohibited by law, are permitted.”

The ideological distinction Bobbitt advances in defining his subject’s philosophy is between deontological and consequentialist (Machiavellian) ethical theories. The former describes a system based on obligations, duties, or laws (thou shalt not kill). The latter says, well, don’t be so hasty — consider the circumstances. In defense of ourselves, our families, our country, we permit ourselves some flexibility in our actions. The difficulty is that because the value of ends is open to subjective judgment, the means used to secure them are equally open to question.

Machiavelli required that any action taken by a leader be in the interest of the common good. But of course the problem is, who defines the common good, and who determines the most effective road to it? The U.S. Supreme Court, in its Citizens United ruling, found that unlimited money in U.S. politics was in the interest of the common good, and the Bush-Cheney administration decided that an invasion of Iraq was as well. Both concepts have been passionately challenged, before and after the fact, and already history renders a dubious judgment on the extent to which they have promoted the common good. Our current administration seems to believe that a curtailment of civil liberties through pervasive domestic spying is a justifiable means to the end of national security, and the debate on that still rages as we anxiously peer into the murky glass of the future.

Goodell, along with Albuquerque poetimpresario Mitch Rayes, will be awarded New Mexico Literary Arts’ 2013 Gratitude Award at a ceremony that is likely to be as irreverent as Goodell’s poetry. The event, dubbed “Grateful Deeds,” takes place at 6 p.m. on Thursday, Oct. 10, at Collected Works Bookstore (202 Galisteo St., 505-988-4226). It includes the reading of a collaborative poem written by NMLA board members, including J.B. Bryan, Shebana Coelho, Joan Logghe, and others.

Rayes, a Detroit native who spent time bumming around America and guiding wanderers in Chiapas, hit the Albuquerque poetry scene in the ’90s with his nonprofit Flaming Tongues project. Between 1996 and 1999, he produced the Albuquerque Poetry Festival, which drew bards from around the country. In his poems, he finds paradoxes in strange places:

the ocean finds me behind a seven-eleven in Gallup hey man you want some ocean? a guy holds up a plastic jug of hair spray mixed with water so I know it must be Sunday: no liquor sales There is no charge for the event, but donations toward next year’s awards will be gratefully accepted.

— Bill Kohlhaase

LENSIC PRESENTS - WORLD MUSIC

WORLD BLUES

I Wear the Black Hat: Grappling with Villains (Real and Imagined)

by Chuck Klosterman, Scribner/Simon & Schuster, 214 pages What’s the difference between Batman and Bernhard Goetz? O.J. Simpson and Kareem Abdul-Jabbar? More important, how are they similar, and why do we see them differently? In Chuck Klosterman’s latest book, I Wear the Black Hat, the author examines commonly disliked figures and explores how they ended up as villains. He also looks at individuals who probably should have been the villains of their story and explains how they emerged largely unscathed.

Klosterman, the current writer of The New York Times Magazine’s “The Ethicist” column and the author of several essay collections, has made it his specialty to put pop culture under the microscope and see what it says about American culture in general. With I Wear the Black Hat, he boils villainy down to a simple formula: “The villain is the person who knows the most but cares the least.” In the case of Bill Clinton’s infidelity, Klosterman writes that the individual who knew the most and cared the least in that scenario was Linda Tripp, who pretended to befriend Monica Lewinsky, recorded their phone calls, and made the information about the affair public.

Dealing with figures ranging from Andrew Dice Clay to Taylor Swift and from Aleister Crowley to Walter White, I Wear the Black Hat is consistently interesting, especially when the reader feels the impulse to argue against what Klosterman is saying. Those who consider themselves well versed in pop culture may find portions of the book going over their heads, and few will find the chapter about why the author no longer hates The Eagles engaging.

Though Klosterman occasionally gets carried away with his own cleverness, the tedium and self-indulgence are ultimately small detractions from an otherwise thought provoking, funny, and engaging work.

— David J. Salazar

$25-$55

discounts for Lensic members

A celebration of American blues music and its global influence, with The Taj Mahal Trio (USA), Vusi Mahlasela (South Africa), and Fredericks Brown, featuring Deva Mahal (New Zealand) SPONSORED BY

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 AT 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

LAURA SHEPPHERD ATELIER

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There’s no question that, love him or hate him, Machiavelli has had a profound influence on the world of politics and statesmanship since he wrote The Prince in 1513. The value of Bobbitt’s book is that it puts on the front burner the thinking of a man referred to by Marlowe and Shakespeare (and rapper Tupac Shakur) and found on the must-read lists of Napoleon, Mussolini, and Hitler.

Bobbitt’s prose style and sometimes dense construction can make for some heavy slogging at times, but it’s not a daunting read and includes a dramatis personae, chronology, and notes. And Bobbitt is not without moments of wry humor. In a passage on the Byzantine confusion of names and family allegiances in 16th-century Italy, he refers to “head-spinningly abrupt changes in alliance, and expressions of soon-to-be-reversed eternal fidelity that would sicken a Hollywood agent.”

In the final pages of the epilogue, the reader discovers the secret of the title, The Garments of Court and Palace. It’s found in what Bobbitt introduces as “the most famous passage of the most famous letter written during the Renaissance.”

The passage is poignantly charming, as the exiled Machiavelli describes to a friend a typical day on his farm outside of Florence. He spends some time with the woodsmen felling trees, he drops in at the inn and passes time with locals and travelers, and he plays a little backgammon and listens to news and gossip.

“When evening comes, I return home and enter my study; on the threshold I take off my workday clothes, covered with mud and dirt, and put on the garments of court and palace. Now clothed appropriately, I step inside the venerable courts of the ancients, where, graciously received by them, I nourish myself on that food that alone is mine and for which I was born; where I am unashamed to converse with them and to question them about the ends they sought by their actions, and they, out of their human kindness, answer me. And for hours at a time I feel no boredom, I forget all my troubles, I do not dread poverty, and I am not terrified by death.”

How bad a guy could he have been?

— Jonathan Richards

October 13 7:30 pm

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15

George Johnson explores the myths and medicine behind cancer

Bill Kohlhaase I The New Mexican

cience writer George Johnson’s The Cancer Chronicles is a sort of spoiler to the story of our lives. “There’s always going to be multicelled creatures like us in a world ruled by entropy, a world that’s imperfect,” Johnson told Pasatiempo. “Entropy is the only constant. Every time one of your cells divides into two daughter cells, all of the DNA, all of the genome, has to be copied. There’s always a chance for a mistake.” That mistake, multiplied, can lead to cancer, an affliction that predates man. Even dinosaurs, as Johnson discovered, suffered from it. And it’s not going away any time soon. You can do everything right — eat your vegetables, not smoke, wear sunscreen — and a stray cosmic ray might trigger a mutation. In fact, you’re sure to get it if you live long enough and something else doesn’t get you first.

Cancer, whose causes are often associated with modern life and its pesticides, pollutants, and other man-made substances, not to mention radiation, has baffled medical scholars since the time of Hippocrates.

Scientists called paleo-oncologists have not found compelling evidence that the core rate of cancer in the population today is significantly higher than it was in ancient Greece or Egypt, even given the fact that we live longer and there are more of us. Today, 77 percent 16

PASATIEMPO I October 4 -10, 2013

of cancer is diagnosed in people 55 or older. Johnson points out another tendency that has held fast through the centuries: the disease’s insidious persistence. The medieval surgeon Abu al-Qasim al-Zahrawi wrote, “When a cancer has lasted long and is large, you should not come near it. I have never been able to save any case of this kind, nor have I seen anyone else who has been successful.”

“You’d like to write this inspiring book,” Johnson said of his work, “saying that the cure is around the corner, and you just need to do this and that and you can really improve your odds of avoiding cancer. But there’s just nothing really that clear-cut you can say. What I hoped for the book was that, even though you were not going to learn how to avoid cancer, that you’d basically learn that a certain amount of cancer is going to be inevitable due to the nature of the imperfect world we live in.”

With this sort of hopelessness and frustration at its core, why is Johnson’s book on this frightening and challenging subject so engaging? (In his New York Times review of the book, David Quammen described it as “exhilaratingly gloomy.”) Part of the answer has to do with accompanying the writer in his research. Johnson, who says he started out with no background in science, is a former science writer for the Times and the

author of several books on physical science and intelligence. He’s a sort of Everyman, leading us through his discoveries, and the process he goes through in the discovering, in a way that involves readers in the quest. Part of it has to do with Johnson’s personal tie-in to the story as he follows his wife at the time, Nancy, through the discovery and treatment of a metastatic cancer that changed her life. This was a different direction for Johnson, who admitted that in his previous books he liked to keep the first-person voice “pretty subdued.”

“But using Nancy’s story,” he explained, “was the only way I could organize the material, because it’s such an overwhelmingly vast topic. You couldn’t write everything there is to say about cancer, even at the most superficial level. So I did it as kind of a personal exploration, trying to see how much I as an outsider in the field could learn, to see if I could get the big picture.

I wanted to write something for someone like me who found the subject both fascinating and scary and wasn’t a scientist.”

Born in Arkansas and raised in Albuquerque, Johnson has two notable skills: the ability to comprehend complex subjects and a talent for writing about them in clear, understandable, enjoyable prose. The first skill he developed in his teens. He was an aspiring rock

Architects of Fear: Conspiracy Theories and Paranoia in American Politics and Machinery of the Mind: Inside the New Science of Artificial Intelligence. He moved to Santa Fe from New York in 1994.

A major influence on his craft came from Albert Einstein. In an essay written for My Einstein: Essays

by Twenty-Four of the World’s Leading Thinkers on the Man, His Work, and His Legacy (published in 2006), Johnson explains how the introduction that Einstein wrote for science writer Lincoln Barnett’s book The Universe and Dr. Einstein defines the problems faced by someone writing about science for the nonscientist: the writer either deals in the superficial and creates only the illusion of comprehension, or the writer gives an expert account of the subject that’s completely opaque to the untrained reader. “When I first read that, I never had any thought about being a science writer,” Johnson said. “But then, rereading it years later, Einstein himself was talking about communicating science with words rather than numbers and using metaphors so it could be understood.”

Johnson’s central analogy in The Cancer Chronicles is that of the typo. All that it takes to create a genetic mutation when DNA information is transferred is, as Johnson writes, “a random typo in a message hundreds of letters long.” This mistake analogy is key to understanding the different kinds of genes — ras, src, fes, and others — whose purpose is to control how healthy cells divide, in the process called mitosis. In other words, understanding how cancer grows isn’t as simple as discovering a single or even multiple causes or how it spreads, which means finding a way to stop or prevent it isn’t simple either.

The book is full of other rude awakenings. While smoking and long exposure to ultraviolet light definitely increase your cancer risk, other commonly held causes and preventative measures really have little statistical effect. “But there are good reasons to eat your vegetables other than preventing cancer,”

“The Cancer Chronicles: Unlocking Medicine’s Deepest Mystery” by George Johnson was published in August by Alfred A. Knopf/Random House.

People think surely [cancer] would have been cured by now if there wasn’t some kind of conspiracy to not find a cure. ...That, of course, is absurd and insulting when you see the dedicated people who work in the medical profession. And yet again, you can’t deny the huge built-in profit system.Treating cancer makes lots and lots of money for the people who are expert at it. — George Johnson

Clyde Mueller/The New Mexican

musician and wanted to understand how his bass guitar amplifier worked. “I remember with some precision when I began believing that there is nothing so complex that a reasonably intelligent person cannot comprehend it,” he writes in the preface to A Shortcut Through Time: The Path to the Quantum Computer. “At first the detail and complexity of [the amplifier’s] schematic ... were overwhelming. ... The trick was to break down the diagram into pieces, master each one, and then put them back together again.” This approach has served him well when writing his books, which include Strange Beauty: Murray Gell-Mann and the Revolution in Twentieth-Century Physics and The Ten Most Beautiful Experiments, a sort of hands-on history of science that earned him an appearance on The Colbert Report.

He has a degree in journalism from the University of New Mexico and spent time first as a copy editor and then as a police-beat reporter for the Albuquerque Journal (there was no CSI-style science involved, he said). After earning a master’s degree in journalism and public affairs in 1979 from American University in Washington, D.C., he was hired as a special features writer for the Minneapolis Star. It was there that he first began writing seriously about science. He took a job as a staff editor at The New York Times in 1986 after spending a couple of years writing his first two books:

Johnson is quick to point out. Also incremental are the much touted advances in cancer treatment. Even as he cited advances in targeted treatments, Johnson said, “Progress had been agonizingly slow. I describe the treatment my wife had to endure (beginning in 2003) that was very brutal: surgery followed by chemo followed by radiation. Somebody who was diagnosed with that same cancer today, there really isn’t anything different that they’d be able to do. You’d go through this same brutal treatment that makes you extremely sick and can have lifelong side effects, and still, very often, it doesn’t work.”

At a recent book signing, readers came up to Johnson, anxious to share their experiences. “People are scared; they’re frustrated. Sometimes they ask for advice, which I certainly can’t give. I can just tell them what I’ve learned. The one thing Nancy and I really learned is just how important it is to find the best oncologist and the best oncological surgeon you can.” He’s not surprised at the people who think there’s an effort to conceal a cancer breakthrough. ”People think surely this would have been cured by now if there wasn’t some kind of conspiracy to not find a cure for their own evil reasons, so they can make money. That, of course, is absurd and insulting when you see the dedicated people who work in the medical profession.

And yet again, you can’t deny the huge built-in profit system. Treating cancer makes lots and lots of money for the people who are expert at it. To me, that’s just the way the world works; things are motivated by money, and you hope that the motivation will also lead to better treatments and more knowledge of how to prevent cancer in the first place. But again, you’re only going to be able to improve the situation. You’re never going to really make it go away.” ◀

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LISTEN UP

James M. Keller

In the ether: screenings from the Met, the National Theatre, and beyond he Met: Live in HD begins its eighth season this week, and in that relatively short span it has become what it calls “the world’s largest provider of alternative content.” I’m not sure why the Metropolitan Opera prefers calling its product “alternative content” rather than “opera,” but whatever one chooses to call the stuff, it has proved popular indeed. This season, the Met’s broadcasts are to be beamed into some 1,900 theaters in 64 countries. They now provide subtitles in nine languages, with Swedish making its bow this year.

Swedish? That seems surprising, since Sweden is only the world’s 89th largest country by population, and Finland (where Swedish is also an official language) ranks at 114; then too, it does serve in a pinch as a sort of pan-Scandinavian tongue. In any case, folks in those upper latitudes apparently love sitting in theaters and watching alternative content during their long winters. In fact, only three countries boast more theaters showing The Met: Live in HD than Sweden does. The United States has the most by far, with 748 subscribing theaters (including our own Lensic Center for the Performing Arts), followed by the United Kingdom with 175 and Germany with 167.

At a time when the world seems so fractured, it is heartening to think of huge numbers of people across the globe simultaneously setting aside four or five hours to share a cultural experience. At least that’s more or less what they do. From Vancouver to Moscow, attendees really can experience the transmissions live, although in many locales (including Santa Fe) they have an option to attend a delayed broadcast later in the day. If people here go to a rebroadcast, who knows with whom they wiil be overlapping. In Asia, Australia, and New Zealand, for example, time delays are at the very least a practical necessity, and it appears that delays of a few days or more are not uncommon. In any case, everybody views the same transmission in the course of a week or two, which means that while the memory is still fresh people in Miami or Memphis can Skype their fellow opera fanatics in Montevideo, Marrakech, Mumbai, or Manila to gush over the ball-gown the diva wore in Act 2.

T

T

en productions make up the current season, and perhaps the most striking thing about the repertoire is the preponderance of Slavic opera, which accounts for four of the 10. Three are revered masterpieces of Russian opera.

Tchaikovsky’s Eugene Onegin launches the season on Saturday, Oct. 5, at 11 a.m.

(with the rebroadcast at 6 p.m.), and it will be followed by Shostakovich’s The Nose on Oct. 26 (live at 11 a.m., rebroadcast at 6 p.m.) and a new production of Borodin’s resplendent historical epic Prince Igor on March 1 (with the rebroadcast scheduled for the next day due to the work’s length).

Eugene Onegin is a beautiful opera, both musically and dramatically (it is drawn from Pushkin), and every time I see it I am reminded that it would surely be among the genre’s most popular if it were in Italian, French, or German rather than in Russian, which historically has been far less accessible to most viewers.

Of course, in the era of subtitles, that is scarcely an issue. The production has a starry cast of Russian and Polish singers, so one expects that they will render their parts with native assurance: soprano Anna Netrebko as Tatiana and baritone Mariusz Kwiecie´n as her potential lover Onegin, a dashing, Byronic character for whom the timing is never right (you will remember Kwiecie´n for portraying Szymanowski’s King Roger in his most recent role in Santa Fe). Luxury casting extends to two senior mezzo-sopranos of fondly remembered reputations, both in secondary parts: Elena Zaremba as Madame Larina (Tatiana’s mother) and Larissa Diadkova as the aged nursemaid Filipp’yevna. The fine tenor Piotr Beczala appears as Lenski, Onegin’s friend-turned-rival, and the conductor is Valery Gergiev, who rarely has trouble finding the sizzle in a Russian score.

And yet, when this new production opened the Metropolitan Opera’s season on Sept. 23, critical response included some yawning over the conventional sets and dramatic listlessness. At least they pulled off a creditable offering given troubled circumstances. Director Deborah Warner withdrew in early August to undergo essential surgery, and her friend Fiona Shaw, the distinguished actordirector, stepped in to oversee the production as pinch hitter. (You will remember Shaw from her unbridled portrayal of Lady Gay Spanker in a National Theatre Live transmission of Boucicault’s London Assurance in 2010.) Unfortunately, this obligation reportedly failed to fit sufficiently into her schedule, and she was alarmingly scarce as the opening approached. Perhaps by Oct. 5 someone will have tightened up the proceedings.

The Nose is Shostakovich’s take on an absurdist short story by Gogol, and this production, by the South African artist William Kentridge, earned plaudits when the Met unveiled it in 2010. Filled with vigorous stage work and enhanced by projected videos, it keeps the energy up. The lead role is reprised by Paulo Szot, the Brazilian baritone who shot to popular fame in the Rodgers and

Lee Broomfield

Micaela Rossato

Left, Anna Netrebko and Mariusz Kwiecie´n in Eugene Onegin; right, Ildar Abdrazakov in Prince Igor; images courtesy the Metropolitan Opera

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PASATIEMPO I October 4 -10, 2013

Photos Johan Persson

Left, Kenneth Branagh and Alex Kingston in Macbeth; right, Rory Kinnear and Adrian Lester in Othello; images courtesy NT Live

Hammerstein musical South Pacific and has managed to cross the boundary that usually separates Broadway from opera.

The fourth Slavic opera arrives on Feb. 8: Dvoˇr ák’s Rusalka, with soprano Renée Fleming in her familiar role as the water-sprite, along with tenor Beczala and, as the witch Jeˇzibaba, Dolora Zajick, a mezzo-soprano whose most recent fame derives from her having withdrawn at the eleventh-and-a-half hour from the world premiere of Tobias Picker’s opera Dolores Claiborne at San Francisco Opera, where she was replaced by quick-study Santa Fean Patricia Racette.

E

lsewhere, The Met: Live in HD hews to the standards this season. Racette purloins the knife in Tosca (on Nov. 9) and runs it through George Gagnidze (as Scarpia) in her failed effort to regain her boyfriend Cavaradossi (tenor Roberto Alagna). For some while, the Met’s music director, James Levine, has been absent more than present due to persistent health issues, but he is scheduled to lead two of the broadcasts in this 2013-2014 season: a new production of Verdi’s Falstaff (on Dec. 14) and Mozart’s Così fan tutte (on April 26). In those casts we spot two sopranos who graced Le nozze di Figaro this past summer in Santa Fe, Lisette Oropesa (our Susanna), who appears as Nannetta in Falstaff, and Susanna Phillips (our Countess), who will be Fiordiligi in Così fan tutte, joined by Isabel Leonard as Dorabella (she appeared here in Vivaldi’s Griselda).

Other Santa Fe alumni in this year’s broadcasts include mezzo-soprano Joyce DiDonato (from La donna del lago), who will star in Rossini’s La Cenerentola on May 10, in a cast that also includes tenor Juan Diego Flórez and bass-baritone Luca Pisaroni (the latter triumphed here most recently in the title part of Rossini’s Maometto II). Completing the season are Massenet’s Werther on March 15, in which the splendid tenor Jonas Kaufmann should make a strong impression in a new production directed by Richard Eyre; and Puccini’s La Bohème on April 5, with soprano Anna Hartig and tenor Vittorio Grigolo.

The Screen will be continuing its presentations of operas and ballets captured live (but mostly broadcast later) from other leading cultural establishments of the world. Among those on the near horizon are the ballet Spartacus, directed and choreographed by Yuri Grigorovich, performed by members of Moscow’s Bolshoi Ballet (Oct. 20); Puccini’s Turandot from the Royal Opera, Covent Garden in London, directed by Andrei Serban and starring soprano Lise Lindstrom and tenor Alasdair Elliott (Oct. 27); Verdi’s Rigoletto from the Teatro Antico di Taormina, Italy (Nov. 24); and Verdi’s La traviata, with soprano Diana Damrau and tenor Beczala, which is actually a real-time broadcast of the opening night (Dec. 7) from the Teatro alla Scala, Milan, which is undergoing a belt-tightening season in 2013-2014 due to Italian economic woes and governmental funding issues.

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e mentioned the NT Live broadcasts in connection with actor-director Fiona Shaw. That series will be back again this year at the Lensic. This incentive is the drama world’s counterpart to The Met: Live in HD, beaming out live performances mostly from the National Theatre in London but sometimes from other houses. It has proved more upsy-downsy than early indications suggested when the series began in 2009. A number of the productions have been first-rate, but others have fallen so far short that one wonders how they could possibly have rated a broadcast. One suspects that is one reason why NT Live is announcing its offerings rather close to the transmission date instead of advertising an entire season from the outset; that may help the theater get a better sense of a production before committing to airing it to the world. In any case, the opening three events have been announced, and they all look very promising indeed.

The NT Live season begins with a double-barreled volley of Shakespeare.

On Oct. 15 the broadcast comes from the National Theatre, and it features two Olivier Award-winning actors: Othello with Adrian Lester in the title role and Rory Kinnear as the scheming Iago. The production is directed by Nicholas Hytner. Kinnear was directed by Hytner in one of the high points of NT Live to date, Hamlet; and if you saw that, you will know that you won’t want to miss this. The nastiness continues on Nov. 5 with Macbeth, in a production from the Manchester International Festival, played out within the confines of a deconsecrated church in that city. Superstar Kenneth Branagh directs and also plays the title role, and he is egged on by Alex Kingston as Lady Macbeth; you may well recognize her as Dr. Elizabeth Cordray from the NBC hospital drama ER. On Nov. 12, the National Theatre celebrates itself with a two-hour retrospective titled National Theatre: 50 Years On Stage. It has assembled an all-star roster of actors that includes Lester, Kinnear, Simon Russell Beale, Frances de la Tour, Judi Dench, Ralph Fiennes, and Maggie Smith, and footage from the company’s archives will be interspersed among their live performances of dramatic scenes — the stuff of dreams for a theater aficionado. ◀

For information and schedules of “The Met: Live in HD” and “National Theatre Live” at the Lensic Performing Arts Center (211 W. San Francisco St.), visit www.lensic.org.

Tickets are available by calling 505-988-1234 and from www.ticketssantafe.org; they cost $22 to $28 for the Met’s screenings and $22 (discounts available) for those from the National Theatre. The Screen is located on the campus of Santa Fe University of Art and Design (1600 St. Michael’s Drive). For ticket information, call 505-473-6494 or visit www.thescreensf.com.

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A 21ST-CENTURY P I A N I S T

Y U J A

W A N G

Bill Kohlhaase I The New Mexican

here’s nothing supernatural in pianist Yuja Wang’s explanation of how her childhood fascination with music evolved. Yes, she was able to hear Chopin speaking to her from beyond the grave, but only in the way that all great composers speak to us after they’re gone — through music. “I was attracted to his writing from early on, because I heard a voice that spoke to me,” Wang said. “And, simply speaking, I liked it. The more I play Chopin, the more I grow as an artist in whatever composer I’m playing.”

When Wang appears in a solo concert at the Lensic Performing Arts Center on Thursday, Oct. 10, for the Santa Fe Concert Association, she is scheduled to play Chopin’s Piano Sonata No. 3 in B Minor; his Nocturne in C Minor, op. 48, no. 1; and his Ballade No. 3 in A-flat Major (selections from Prokofiev, Kapustin, and Stravinsky are also on the bill). Chopin first opened the door for her into the meaning and power of music when she was of an age when most children are learning to read. She spoke of the composer in the present tense, as if he’s a continuing presence in her work. “Chopin understands and writes for piano as brilliantly as any composer. His understanding of voicings, how to write so that certain colors work with each piece, how different keys paint different emotions, his understanding of 20

PASATIEMPO I October 4 -10, 2013

how to write difficult passages but keep them playable — it’s all there.”

Chopin first reached out to Wang in Beijing, where she was born in 1987. The daughter of a professional dancer and a percussionist, Wang began lessons at the age of 7 at the city’s Central Conservatory of Music. Her principal instructor there had trained in Russia and demanded disciplined practice and extreme familiarity with the music. She left her family behind and traveled to the Mount Royal Conservatory in Calgary, Alberta, at 14, and then to the Curtis Institute of Music in Philadelphia. She first appeared with the New York Philharmonic while still a teenager, and her first album for Deutsche Grammophon was released in 2009.

In an age boasting a crowd of young, technically accomplished pianists, Wang possesses the sort of virtuosic maturity that allows her to play with childlike abandon. You can hear it in the final, frantic presto movement of Chopin’s Piano Sonata No. 2 in B-flat Minor on her first Deutsche Grammophon recording, Sonatas & Etudes. Less than a minute-and-a-half long, the piece swirls at a persistent, dizzying pace, like a child twirling in circles and refusing to fall. Unexpected gusts of volume swell through the piece before it is brought to a demandingly emphatic, foot-stomping

close. The excitement emanating from the piano overshadows the technical demands of the music. The same youthful enthusiasm is heard on Scarlatti’s Sonata in G Major (K. 455) and György Cziffra’s arrangement of the Tritsch-Tratsch-Polka by Johann Strauss II, both from Wang’s recent collection of encores, Fantasia.

The playfulness carries over to that recording’s cover.

Wang is posed in a red sweater and long, layered skirt.

Perched on the box of a piano planted on the shore of a body of water, she sports large black, feathery wings.

A collection of encores might seem odd from a concert pianist not yet 25 at the time of the recording, but it is not so strange when you realize how often Wang is called back to play them (she performed five at her last Carnegie Hall appearance in May). Since her debut with the National Arts Centre Orchestra led by Pinchas Zukerman in 2005, Wang has made a stir in the classical-musical world, not only for her technically proficient and emotionally engaging ways at the keyboard but also for her stylish stage presence. She created a “scandal” with her 2011 appearance at the Hollywood Bowl playing Rachmaninoff’s third piano concerto wearing a tight orange skirt well above the knees (she had previously worn the same outfit at a concert in Santa Fe). The attention she drew for her

outfit set off a blog-and-pony show over appropriate concert wear for women and the sexism revealed in such discussions. “I simply wear what I like to wear, both on and off stage. I like certain fashions, but so does everyone else, and everyone has his/her own tastes. I find it silly that anyone spends time blogging about what an artist is wearing. I’m here to make music, and I hope people are here to enjoy listening.”

Despite stylish frivolity and musical playfulness, Wang is also capable of mature, romantic interpretations of the sort heard on her recording of Rachmaninoff’s lush Piano Concerto No. 2 with Claudio Abbado and the Mahler Chamber Orchestra. Again, her technical mastery of the piece is only part of the story. “I don’t subscribe to the ‘tiger mom’ school of practicing,” she said. “Music is there for the love of music, and if it’s forced, it never has a chance to open up.” So how does she find the emotional content of a piece and ways to make it fresh and authentic? She has spoken of a long-term psychological and philosophical thought process she goes through, especially in terms of Mozart and Beethoven, before she can discover that emotion in her work. In other words, it takes time. When is that process complete?

“Honestly, I don’t think it’s ever complete. It’s a process without an end goal.

The more you explore any piece, whether Beethoven, Mozart, or Stockhausen for that matter, the more layers unfold, and you get a feeling of what the piece is about, intellectually and emotionally. There shouldn’t be a thought of discipline, per se. It should be that you find inspiration, and that’s what propels you to grow and enjoy the music more.”

As a musical citizen of the world (last year she appeared in Los Angeles with Zubin Mehta and the Israel Philharmonic and toured China and Japan with Michael Tilson Thomas and the San Francisco Symphony; an upcoming album was recorded in Caracas with the Simón Bolívar Orchestra of Venezuela), Wang is a pianist perfect for the 21st century — one who might attract new and younger audiences to classical-music concerts with her apparent enthusiasm and modern ways. Her inspiration doesn’t just come from Chopin. “I love Rihanna and may be totally inspired by the way she lays down a vocal line or the way her band backs her up. I can be just as inspired by Maria Callas with the way she puts all her emotions on the line, and fearlessly so. Art Tatum may play a technical passage that seems impossible, but he tosses it off as if it’s nothing. That creates a feeling, a color, a way of expressing the music that can be, again, inspiring. I should say that it doesn’t have to be these or other musicians. Anyone can be lifted by seeing a great play, going to an exhibition at a museum, reading a fabulous book. That’s the great thing about life, and not just music.” ◀

details ▼ Pianist Yuja Wang, presented by the Santa Fe Concert Association ▼ 7:30 p.m. Thursday, Oct. 10 ▼ Lensic Performing Arts Center, 211 W. San Francisco St.

Ian Douglas; opposite, Nohely Oliveros; courtesy Deutsche Grammophon

▼ $25-$95 (discounts available); 988-1234, www.ticketssantafe.org

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O

ne may put little stock in institutionalized awards yet still imagine that some may be reliable indicators of quality. So it was that when the 2013 Tony Awards were handed out this past June, I regretted not having caught the New York productions of the winner for Best Play, Christopher Durang’s Vanya and Sonia and Masha and Spike. Within weeks of its closing on Broadway, Fusion Theatre Company mounted the piece in Albuquerque, and last weekend brought it to the Lensic Performing Arts Center to launch its season of Santa Fe run-outs.

The play must have benefited from splendid direction and acting in New York because, without either, it came across as a pretty barren effort here on Sept. 27. This domestic comedy centers on three middle-aged siblings. Two of them, Vanya and Sonia, live in the ancestral home in well-heeled Bucks County, Pennsylvania — depressed, and often in their pajamas. The other, Masha, a B-movie star past her prime, owns the house and threatens to put it on the market. She comes visiting with her much younger boyfriend du jour. The title, the situation, and quite a few of the play’s allusions point to Chekhov. Durang’s literary approach, by turns slipshod and perfunctory, seemed to be modeled not on Chekhov but rather on the aesthetics of the TV sitcom, though on the tube his material might have been distilled into two half-hour segments buoyed by a laugh track rather than stretched into a full-length play.

Of the actors identified as professionals in the program, only one seemed sufficient to his part: Ross Kelly, who brought the requisite qualities of comic deadpan and a fine physique to his interpretation of the hot but dumb boy-toy Spike. Vanya, Sonia, and Masha — Bruce Holmes, Jacqueline Reid, and Joanne Camp, respectively — displayed no shared mannerisms or other indications of being siblings, a deficit that undermined the show’s credibility as a domestic drama. Each projected a charmless, dislikable persona. There was nobody to root for. Successful comic acting is not easy, to be sure, but Elizabeth Huffman’s scenerychewing interpretation of the family’s maid, Cassandra, labored under an assumed foreign accent that was unidentifiable and often incomprehensible. Of course, much of the production’s quality redounds to its director, Gil Lazier. Notwithstanding Durang’s democratic distribution of uninspired writing, the nadir must be Vanya’s diatribe against such affronts of contemporary culture as cellphones and self-stick postage stamps. It was the same rant we have all tuned out countless times when delivered by a cranky elder, and hopes that Durang might infuse it with wit, irony, or anything else creative slowly died as it droned on and on. To end the play, he even turned to the inexcusable sit-com cop-out of having characters silently commune while chilling to a Beatles song.

Fusion Theatre purveyed excellent work in some of last season’s productions, and one hopes the company will find a better fit of material, cast, and direction in its ensuing offerings at the Lensic this season.

On the docket are The Mountaintop, Katori Hall’s reimagining of Dr. Martin Luther King Jr. on the night before his assassination (Nov. 15 and 16); Sharr White’s The Other Place, in which a neurologist’s crumbling life reveals personal truths (March 7 and 8); and Nina Raine’s Tribes, which investigates the borderland that separates the hearing from the deaf (May 2 and 3).

— James M. Keller

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23

SOUND WAVES Loren Bienvenu

Return of the native

Julia Jack McCabe

Many big American cities boast specific musical traditions — Dixieland in New Orleans; blues in Chicago; Motown in Detroit; grunge in Seattle; underground hip-hop in the Twin Cities; and country in Nashville. Then there are New York and Los Angeles, with a bit of everything (classical, jazz, punk, rap).

Will Risbourg knows that setting, not timing, can be everything. Risbourg moved from Santa Fe to Hollywood to attend Musicians Institute, a contemporary-music college, after graduating from Desert Academy in 2010. Now, with a full-length album of original roots rock under his belt and a steady backing band composed of three other former Musicians Institute students, Risbourg has his eyes on Nashville. On the way there, he is passing through his hometown for performances at Cowgirl BBQ on Tuesday, Oct. 8, and Joe West’s Psychedelic Folk and Bluegrass Festival in Madrid on Oct. 12.

“There’s not a lot of good music in L.A. There’s a lot of musicians but not really a lot of talent,” Risbourg said. “And the roots scene here is tough. It’s really difficult to get people to come to shows, because it’s hard to find people who are into our kind of music. But usually when we play, we can convert a few.”

Being an L.A. musician is a challenge — as if writing music, rehearsing, putting together band materials, booking shows, promoting them, and playing them were not enough. “Most of the venues require you to sell tickets beforehand. It’s been an interesting road to try to find a fan base. We’re thinking it’s time to relocate.” Risbourg’s debut album, The Traveler, speaks directly to this willingness to move. The band’s name — Will and the Won’ts — hints at confliction. It is made up of Risbourg on guitar, Gui Bodi on bass, Andrew Bilotti on drums, and Matt Salmons on keyboard/harmonica/lap steel. All members sing, with Risbourg in charge of lead vocals. They play an energetic style of roots rock that reveals influences ranging from folk to classic and indie rock. The songs on The Traveler

Will and the Won’ts

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PASATIEMPO I October 4 -10, 2013

are all solidly built and their parts solidly played, but it is Risbourg’s voice that demands the most attention, evoking Bob Dylan as much as Dylan’s predecessors.

“I listen to a lot of older folk music and blues — stuff by people like Lead Belly,” Risbourg said. Born in 1888, Lead Belly was a storied pioneer of blues and folk music. Apart from furthering these genres, his persona was instrumental in shaping that portion of the roots music aura characterized by calamity and despair. It is disputed why exactly his name evolved from Huddie Ledbetter to Lead Belly, with some theories attributing it to his having survived stabbings and a shotgun blast to the stomach, and others to his ability to consume even the harshest moonshine. Rumors aside, it’s a fact that Lead Belly spent seven years in prison for murdering a relative, and then received an almost unprecedented pardon from the governor of Texas, whom he petitioned with song.

The roots scene [in L.A.] is tough. It’s hard to find people who are into our kind of music. But usually when we play, we can convert a few. ------Will Risbourg The darker tone of Lead Belly’s music is apparent on several pieces on The Traveler. A prominent example is “In the Presence of Wolves,” which Risbourg singled out as probably the band’s most popular song. On the other hand, more rocking songs reflect the songwriter’s contemporary influences, including some of Ryan Adam’s work and “everything Jack White does.” Videos of Will and the Won’ts in performance bring to mind White’s stage energy. The band hopes to exhibit this dynamism to full effect at an upcoming showcase hosted by the American Society of Composers Authors and Publishers. ASCAP primarily serves to collect royalties and protect the copyrights of its members. However, it also showcases unsigned bands at different festivals and venues across the country, including Nashville. “The whole tour was built around Nashville. We’re headlining this ASCAP showcase, and because we’re doing that, we decided to tack on everyone’s hometown.”

While in Santa Fe, Risbourg plans to reconnect with some of his old musical partners and mentors, including Joe West. “I used to play with Joe at the Bob Dylan brunch that he did every Sunday at the Cowgirl. I’m a big fan of his music, so I just got in touch with him and asked if anything was going to be going on while I was going to be in Santa Fe. He invited me out to Madrid, which was really nice of him, because I think he had already finalized the lineup.”

West’s festival is a noon-to-midnight affair that includes many notable (mostly local) folk and roots acts, like Broomdust Caravan, Pa Coal and the Clinkers, and of course, Joe West and the Santa Fe Revue. Risbourg said that since picking up the guitar at age 10, he’s been mostly self-taught, but “a lot of my style was formed playing with some of those guys. It’s definitely going to be a trip down memory lane.”

He also looks forward to showing off his favorite Southwest sights to his bandmates, none of whom have been to the area before. “We’re hoping to catch the Balloon Fiesta,” he said. Those who can’t catch Will and the Won’ts at the Cowgirl or the festival are advised to look to the sky: “Who knows, maybe we’ll hook up our PA and go for a ride.” ◀ Will and the Won’ts play the Cowgirl BBQ (319 Guadalupe St.; www.cowgirlsantafe. com) at 8 p.m. Tuesday, Oct. 8; there is no cover. Joe West’s Psychedelic Folk and Bluegrass Festival starts at noon Saturday, Oct. 12, at the Madrid Train Yard next to the Mine Shaft Tavern (2846 N.M. 14, Madrid; 505-473-0743). Tickets are $15 at the event or $10 advance by emailing joewestmusic@hotmail.com.

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PRESENTS

“booking up our kids” Lee Friedlander, New York City, 2011

October 4, 2013 - January 5, 2014 Reception for the artist: Friday, October 4, 4-6 p.m.

FRIDAY, OCTOBER 18, 4PM

at Rio Grande School, 715 Camino Cabra

Meet children’s book author and illustrator of the Max and Ruby books, Rosemary Wells!

BOOK SALES THROUGH BEE HIVE. BOOK SIGNING TO FOLLOW. BRING THE KIDS!

505.983.1621

Rosemary is also signing books at Bee Hive Saturday, October 19 at 3pm!

CHALLENGING, INSPIRING, AND NURTURING CHILDREN SINCE 1978 RIOGRANDESCHOOL.ORG

AGE 3 – GRADE 6

Featuring exhibitions of ANSEL ADAMS photographs from THE DAVID H. ARRINGTON COLLECTION

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PASA TEMPOS

album reviews

FRANCISCO ENRICO GRANAFEI Alone (and) Together MORA CATLETT & (Consolidated Artists AFROHORN Rare Metal Productions) Multi-instrumentalist (AACE Records) The new Enrico Granafei is in good company on his AfroHORN disc opens minimalsecond CD — he’s joined at different times istically with mbira and spoken by electric guitarists Vic Juris and Dave word, and then the music transStryker, the pianist Amina Figarova, trumforms into a dense, beautiful peter Wallace Roney, bassist Rick Crane, and jazz mix, “Afra Jum,” driven by drummer Billy Hart — but the most interesting numbers here percussionists Francisco Mora Catlett, Andrew Daniels, and he does solo. Granafei plays the hand-free chromatic harmonica, Roman Diaz and featuring pianist Aruan Ortiz, bassist Rashaan a mouth harp minus the pesky slide, freeing his hands to play Carter, and saxophonists Alex Harding, Salim Washington, and guitar. The guitar he plays has a bass string, and somehow he’s Sam Newsome gettin’ up into the screech zone. That is the octet. also able to play a “shaker,” too, which gives his standalone play a The leader performed with Max Roach and Innerzone Orchestra and percussion aspect. Count them, and Granafei, by himself, is a five-piece led the Detroit-based Latin-jazz band Amigo, but his most notable band when he sings. The surprise is that he pulls it off — the guitar bio-bit is the seven years he spent as a member of Sun Ra’s Arkestra. providing accompaniment, the harmonica leading. By itself, Granafei’s He proudly continues that spacey tradition on Rare Metal. According to guitar playing is warm and wise. His harmonica treatment of Jimmy Rowles’ album materials, the song “Olodo” is about “the Earthlings’ sighting of the beautiful ballad “The Peacocks” is thoughtful and played with approaching UFOs and the ritual chants and percussion they use just enough bent notes to give it a bluesy feel. Violinist Vitali to guide the visitors to safe landing.” The song “5 X Max” is Imereli, playing the theme of “Yardbird Suite” in unison with a totally moving groove, heavy on skins and cymbals, with the chromatic, gives the piece a slippery feel, and Roney’s a ballsy Harding baritone-sax solo. “Salina Ago,” refertreatment of “Round Midnight” is suitably after hours. encing Haitian migrations to New Orleans, features a But the amazing thing here is Granafei, sounding a bit wild soprano solo by Newsome, while a groovy oboe Enrico Granafei like Jobim, Toots Thielemans, and Kenny Burrell rolled improv by Washington is the highlight of “Blue People into one. This recording can be heard as an amazing Epilogue.” Jayne Cortez, the African-American poet who sounds a bit like Jobim, novelty, but it’s also a pleasurable listen. — Bill Kohlhaase died last December, is paid tribute in “Make IFA,” featuring Sandra D. Harper reading and various musicians Toots Thielemans, FRIEDRICH GERNSHEIM Symphonies Nos. 1 and 3 making noises. The CD ends with a peaceful, reverential and Kenny Burrell (CPO) Johannes Brahms so dominated the “classical” reprise of “Salinga Ago.” Far out! — Paul Weideman strand of German music in the late 19th century that rolled into one. he tends to obscure the host of lesser composers who HAIM Days Are Gone (Columbia Records) Californian carried out worthy work at the time. Friedrich Gernsheim sisters Este, Danielle, and Alana Haim, who make up the had much in common with the more famous master, who band Haim, seem poised to become some kind of female hipwas only six years his elder. Like Brahms, he was essentially ster Hanson for the new millennium. If that were the case, it conservative in his harmony and orchestration, steered clear would not be a bad fate — Hanson is a group of gifted musicians with a lasting career and an unforgettable hit. The first two songs of opera, and was especially devoted to writing symphonies, on Haim’s debut, Days Are Gone, are earworms that signal the emergence chamber music, and works for chorus with orchestra. In this generously packed 78-minute CD, Hermann Bäumer and the Philharmonisches of a pop powerhouse with a killer greatest-hits album due in 2022. And that’s Staatsorchester Mainz offer committed, technically assured readings of two before we even get to “The Wire,” the band’s firecracker single, which is a of his four symphonies. Gernsheim wrote his First Symphony in 1875, the breakup song that sounds like everything from the Eagles to Fleetwood year before Brahms released his First Symphony to the world. It practiMac to the Pretenders. Some of this success is due to the production cally qualifies as a Brahms symphony not by Brahms, serious in mien, duo of Ariel Rechtshaid (Vampire Weekend) and James Ford (Florence and the Machine), who give Haim a lean, lived-in sound, but most happier at broad tempos than at quick ones (though unabashedly of it can be chalked up to the songs and performances themselves. boisterous in its scherzo movement), reveling in the Romantic The women trade vocals and deliver their lines with a biting attitimbres of horns and clarinets, preponderantly brainy but using tude, and their melodies are consistently delicious. The group rusticity for occasional contrast, even using Brahms’ signature may not have had quite enough chains of descending thirds in the finale.

Gernsheim’s Third Symphony (1888) is based songs to fill out an album — the on a narrative involving the Old Testament going gets dicey with crunchy, story of Miriam delivering the Jews from midtempo numbers like “My bondage. It still sounds basically Brahmsian, Song 5,” and the hooks drift away but it crosses the musico-political divide in the album’s back half. There of the time, seeming a bit Lisztian in are still enough strengths here its programmatic intent. to build a whole career with.

— James M. Keller — Robert Ker

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PASATIEMPO I October 4 -10, 2013

INTRODUCTION TO

FENCING

Try something new and fun. Learn to fence at New Mexico Fencing Foundation.

Free beginner clinic for ages 8–18 on Sunday, October 6, 2:00–4:00. All equipment is provided. 1306 Clark Road, across Cerrillos Road from Jackalope.

Space is limited, register by October 4 — 699-2034 or nmfencing@gmail.com.

Adult instruction also available — ask for details.

Discount Home Supplies All donations and sales benefit Santa Fe Habitat for Humanity.

Moving? Buying or selling your home?

Keep us in mind and donate your gently used furniture, appliances, books, new and used building materials to the Santa Fe Habitat for Humanity

Call 505-473-1114 to schedule a pick up.

2414 Cerrillos Road ● Monday - Saturday 9:00 am - 5:00pm www.santaferestore.org

The Millicent Rogers Museum will host the

Plein Air Painters of New Mexico Annual Members’ Juried Exhibition

Millicent Rogers Museum October 4–November 3, 2013

Bill Gallen, In the Chupadera Mountains

1504 Millicent Rogers Road Taos, NM

Open daily from 10am – 5pm

www.papnm.org

Opening Reception: Friday, October 4th 5–7pm PASATIEMPOMAGAZINE.COM

27

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7:00 PM, Wednesday, October 9th, 2013 LENSIC PERFORMING ARTS CENTER 211 West San Francisco Street, Santa Fe NM

$15 general admission / $50 reserved seating

TREAT YOURSELF at Four Seasons Resort Rancho Encantado

For reservations or information, please call (505) 946-5700 or visit fourseasons.com/santafe 28

PASATIEMPO I October 4 - 10, 2013

Purchase from www.namisantafe.org or The Lensic, 505-988-1234 For scholarship tickets, contact Michele @ 505-982-0904 W E ARE GRATEFUL FOR THE GENEROUS SUPPORT OF OUR SPONSORS . T HIS PROJECT IS MADE POSSIBLE IN PART BY GRANTS FROM N EW M EXICO A RTS , A DIVISION OF THE D EPARTMENT OF CULTURAL AFFAIRS , AND NATIONAL ENDOWMENT FOR THE ARTS; AND THE N EW MEXICO CHILDREN’S F OUNDATION .

Accessible for the Deaf

ON STAGE Familiar and unfamiliar: Canticum Novum

Musical migrations: Música Antigua de Albuquerque

The early-music ensemble Música Antigua de Albuquerque offers a program crafted to demonstrate how musical styles and techniques migrated from one region of Europe to another in the course of the Middle Ages and Renaissance. The general idea is that English music of the 13th through 15th centuries provided fodder for the Burgundian and Netherlandish composers of the 15th, such as Dufay, Binchois, Josquin, and Isaac. Add a dash of cisalpine flavor via the likes of Marenzio and Gastoldi, and we head back to England for the flowering of the English consort

THIS WEEK

Kenneth Knight directs the Canticum Novum Chamber Orchestra & Chorus in the first concert of its 10th season. Knight describes the focus of his programming as “works that ought to be better known than they are, often by composers who ought to be better known than they are,” and indeed the concerts typically include pieces more often encountered on recordings than in live performance. The concert’s opening work, however, is a famous one: a Magnificat that Canticum Novum is offering as the work of Giovanni Battista Pergolesi — a misattribution promulgated a century ago by the Italian scholar Giuseppe Radiciotti, to whom various musicological myths can be traced. The piece is in fact by Francesco Durante (1684-1755), a Neapolitan contemporary of Johann Sebastian Bach. The concert continues with Mendelssohn’s Sinfonia No. 12 in G Minor, an Ave Maria setting by Donizetti, John Ireland’s A Downland Suite (an English pastoral piece composed in 1932 for brass band and later arranged for string orchestra), and “Everyone Sang” by the contemporary but conservative British composer Antony le Fleming. The performances take place at 4 p.m. on Saturday and Sunday, Oct. 5 and. 6, at the Scottish Rite Center (463 Paseo de Peralta) with pre-concert lectures at 3 p.m. Tickets ($25 and $35, with discounts available) may be purchased from Tickets Santa Fe at the Lensic (505-988-1234, www.ticketssantafe.org). — J.M.K.

Sufi songs and stories: the Rumi Concert

Rumi, the 13th-century mystic poet, is center stage in a show that event organizers describe as a “multidimensional feast of poetry, music, dance, and story.” Providing the different courses for the feast, four performers interpret Rumi’s poetry through various artistic means. Rumi translator Coleman Barks reads the poet’s work.

(For his devotion to popularizing the Persian poet in English, Barks was awarded an honorary doctorate from Tehran University in 2006.)

Zuleikha, known as a storydancer, uses movement to bring the poems to life. Percussionist David Darling and cellist Glen Velez provide thematic music. The show takes place at 7:30 p.m. Friday, Oct. 4, at the Lensic Performing Arts Center (211 W. San Francisco St.). Tickets ($25 to $100) can be purchased by calling 505-988-1234 and from www.ticketssantafe.org.

— L.B.

Bunny anxiety: concert at the Railyard

Photo illustration; band photo Danny North

song and madrigal in the late 16th century — including “The Fair Young Virgin/La verginella,” the only Italian-texted madrigal

by Byrd, and the consort song “Since My Teares and Lamenting,” which is Morley’s recasting of a piece set previously by the Franco-Flemish composer Lassus to an Italian text. Cosmopolitan indeed. The concert is at 4:30 p.m. on Sunday, Oct. 6, at Christ Lutheran Church, 1701 Arroyo Chamiso in Santa Fe. Tickets ($16, with discounts available) may be purchased at the door; call 505-842-9613 for reservations.

— J.M.K.

Frightened Rabbit may be consciously trying to overcome its fright with a massive intercontinental tour that includes more than 50 dates between now and Dec. 7. The Scottish rock band comes to the Railyard Plaza on Saturday, Oct. 5, for a free show. Since forming in 2003, it has recorded four full-length studio albums of mellow yet anthemic indie songs. Now it’s supporting a September-released EP named for the successful single “The Woodpile” — a sedate ode to anxiety (with lyrics like “I’m trapped in a collapsing building/Come find me now, where I hide”).

Joining in the North American leg of the tour is the like-minded Brooklyn band Augustines. The show is presented by Heath Concerts and KBAC Radio Free Santa Fe as the finale of the Railyard Summer Concert Series and is scheduled for 7 p.m. at 1607 Paseo de Peralta. Visit www. railyardsantafe.com.

— L.B. PASATIEMPOMAGAZINE.COM

29

Loren Bienvenu I For The New Mexican

Woman’s Work Jazz drummer Allison Miller

Honestly, it’s hard to be a woman in this business.

I have to prove myself over and over again. So many people have said to me, “You don’t play like a girl!”

They think it’s a compliment. But actually, I do play like a girl. This is what girls play like. People hear with their eyes: they see a “girl” and are surprised when they hear the power and prowess that they associate with “boys.” By getting onstage and throwing down while looking the way I do, I am breaking stereotypes. I am a woman. I am a dyke. I am a tomboy. I play jazz.

— Allison Miller, from “‘You Don’t Play Like a Girl’: Queer in a Jazz World,” Huffington Post, Feb. 26

W

hen Allison Miller refers to the “brotherhood of the drum,” as she did in a recent conversation with Pasatiempo, she is aware of the weighted implications of the phrase. Ever since her talent and drive became known when she was a child, she’s been a leading, inside member of that group — she was named “Rising Star Drummer” in Down Beat’s 53rd and 58th annual critics poll, and has toured with Dr. Lonnie Smith, Ani DiFranco, and her own jazz combo, Boom Tic Boom, which plays at Gig Performance Space on Friday, Oct. 4.

“I basically don’t remember a time when I didn’t want to play the drums. I started drumming when I was 8 years old, and my parents were really cool about it. My mother is a musician and my father is an audio engineer. ... They said, ‘OK, you can play the drums, after you learn how to play piano.’ She taught me piano, which I think was really great, because I approach the drums like a melodic instrument, and it helps me compose as well. So I played the piano for a year or so, and finally started drumming at 8. I think my parents were hoping I wouldn’t fall in love with it, because of the noise, but I totally did.”

Miller studied with a well-known Washington, D.C., instructor named Walter Salb, who not only toughened her up a bit in preparation for her future career (with his acerbic personality), but also set her firmly on a traditional educational path. Within the realms of jazz drumming, there are a few famous books

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PASATIEMPO I October 4 -10, 2013

and exercise routines that have been passed down from generation to generation. One of these is Ted Reed’s Progressive Steps to Syncopation for the Modern Drummer, first printed in 1958. It is a collection of handwritten rhythm and reading exercises that Reed self-published for his students at a period when he was teaching 18 half-hour lessons a day.

Miller, now an in-demand teacher herself, explained the significance of continuing to share such traditional tools of education: “It’s the brotherhood of the drum — we all kind of bond with each other. So it’s kind of important to pass along the information and knowledge that your teacher taught you to the next generation. For instance, the classic Ted Reed Syncopation book — I still have my original copy.

I got it when I was 8. I love that book. In fact, I was teaching out of that book today.”

In addition to sharing the drum lore passed down to her by previous teachers, Miller adapts their lessons to include her own ideas. She tries to emphasize clarity in her playing and teaching and an appreciation for the rudiments. In this regard she is also continuing a tradition: one of her post-college instructors was Michael Carvin, who studied with the legendary Philly Joe Jones, who in turn developed his technique from C.S. Wilcoxon, a man primarily known for his snare drum marching-band exercises. Thus, Miller’s own students could be considered fourth-generation acolytes of Wilcoxon’s marching-band methods, as filtered through a number of prominent jazz drummers.

A similar thread runs from Miller to another important past teacher, Lenny White: “White studied with Tony Williams, so he would teach me exercises that Tony Williams taught him.” Williams, like Philly Joe Jones, was one of Miles Davis’ longtime drummers, as well as one of Miller’s very first influences. In fact, she cited the Davis album Miles Smiles (featuring Williams) as the one that influenced her as a child to pursue jazz. “I had no idea what he was doing. It baffled me, but I loved it.”

Williams and the rest of the quintet on that album continue to influence her, particularly in the context of her small, improv-based jazz group. Boom Tic Boom is a trio that includes Myra Melford on piano, Todd Sickafoose on bass, and occasional collaborators. The group has been together for six years and has released two albums of pieces composed mostly

by Miller and Melford. However, Boom Tic Boom focuses on individual and collective creativity.

“I would say about 90 percent of our performance is improvised,” Miller said. “We spend a lot of time

improvising as a group, which is something I really like. It takes a while for that to really develop in a group.” She added that certain groups in the history of jazz exemplify what Boom Tic Boom is aiming for, foremost among them the Davis quintet that recorded Miles Smiles. “That quintet played together for years.

They were all incredible musicians and improvisers, but as a group they developed this special sound. And I think that’s something really important to jazz, to actually have a band that plays together and spends time together on the road, so they develop a band sound.”

As a platform for musical expression, jazz tends to foster a lone-wolf mentality, with its emphasis on standard repertoire and the rehearsal-defying technique of improvisation. However, though Miller works primarily as a freelance drummer for big-name touring artists, “I get a thrill out of running my own band,” she said. “It’s something I cannot not do.

I really love doing it. I could easily play for other people and be fine, but I don’t think my soul would be fulfilled.”

When she tours with someone like singersongwriter Brandi Carlile, road managers take care of all the details. “They send me my ticket, I fly on the plane, someone picks me up, I eat free food in the green room, then do a sound check.” With her own band, however, she has to fill the role of road manager. And because the group falls into a category that she labels “outside jazz,” Miller must deal with the financial constraints that come with trying to fill small, often community-run, alternative venues across the country.

“Sometimes it’s a bit of a puzzle to work it out financially, and to not worry about if people are going to come but to just get onstage and play the music.”

Being a self-proclaimed “road dog,” Miller thinks the added benefits of going to new towns and experiencing intimate jazz clubs compensate for these pressures.

“For me, in a perfect world, I would do like five nights a week in a jazz club and then two stadium shows. I’d be playing seven nights a week. But I’m pretty happy playing, so I don’t think I’d mind.” ◀

details ▼ Boom Tic Boom with Allison Miller ▼ 7:30 p.m. Friday, Oct. 4 ▼ Gig Performance Space, 1808 Second St. ▼ $20; www.gigsantafe.com

Photo Desdemona Burgin

PASATIEMPOMAGAZINE.COM

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Viajes Pintorescos y arqueológicos Khristaan D. Villela

Luis Sánchez Saturno/The New Mexican

T

he Scottish Rite building in Santa Fe opened to great fanfare on Nov. 16, 1912. Its architecture evokes the Alhambra, the fortified hilltop palace and administrative headquarters of Muhammad XII, or Boabdil as he is referred to in Spanish, who was the 22nd Nasrid ruler of the Islamic kingdom of Granada. The imposing tower over the main entrance is modeled after the Gate of Justice, and other spaces draw from the Palace of the Lions and the Partal. A short article in the society section of The New Mexican the same day noted that the Alhambra was a symbol of the beauty and romance of Old Spain and continued that several persons described the new building as entirely foreign to Santa Fe. But the writer disagreed, noting that Moorish-style architecture could be considered the grandsire of New Mexico architecture. Finally, the article stated that the entire building is tinted in the soft pink of the original Alhambra.

E

very Scottish Rite temple features a theater, since the main function of these structures is to provide a space to confer the degrees to the brethren.

References to Islamic art and architecture can be found in the theater at Santa Fe’s Scottish Rite building. The proscenium is flanked by modeled stucco star designs common in Islamic decoration. And similar forms cover the pipe organ. But perhaps the most impressive aspect of the theater is the 20-by-30-foot front curtain drop, with a scene of Granada as viewed from the Alhambra. At the right is the Islamic city, while at left we can see the tent-city headquarters of the troops of Ferdinand and Isabella. Writing in The New Mexican on Nov. 20, 1912, Nan O’Neill discussed the drop curtain and how it depicted the original Santa Fe in Granada, a town connected to the Spanish discovery and conquest of the New World, and eventually to Santa Fe, New Mexico. It was to Santa Fe, Granada, that Columbus came to tell the Spanish

monarchs of his discoveries in America. In addition to the Granada scene, the theater also has almost 100 different hanging drops, with scenes used in the Scottish Rite degrees, from forest scenes to Egyptian temples and the Palace of Darius at Persepolis, from the Temple of Solomon to Gothic cathedral interiors. In 2007, Wendy Rae Waszut-Barrett, a stage-set historian and conservator, completed an appraisal of the Scottish Rite drops. She noted that they were all painted in Chicago in 1910 and 1911 by Sosman & Landis, a firm that specialized in fraternal stage drops. The decoration of the theater was completed in 1915, with the addition of J.G. Vysekel’s painting above the proscenium, as well as with the painted decorations above the columns at the theater sides and the 32 electric stars, one for each Scottish Rite degree, set into the field of clouds painted on the ceiling. A front-page article in The New Mexican on Jan. 9, 1915 noted that the Santa Fe firm of Seligman Bros. (several masons among them) was directing the work, and that Vysekel’s painting, in six sections, had arrived from Chicago and was stretched out on the floor of the Scottish Rite dining hall for all to admire. The painting shows the capitulation of Boabdil to Ferdinand and Isabella, the end of the last battle of the Christian Reconquista of Spain. The painting is related to, but not an exact copy of, La Rendición de Granada by Francisco Pradilla y Ortíz (1882) in the collection of the Spanish Senate in Madrid, which is itself modeled on Velázquez’s La Rendición de Breda (1634-1635).

T

he Santa Fe City Planning Board was established in the same year the Scottish Rite building opened. The board was organized to discover if actions might be taken to raise the city’s economy out of a 30-year slump.

The commission soon hit upon the idea of promoting the city’s ancient adobe continued on Page 34

Top left, the courtyard of the Scottish Rite building; top right, star-shaped light fixtures installed in the Scottish Rite building in 1915, one for each degree conferred; bottom right, the geometric motifs throughout the building are commonly found in Islamic art and architecture; opposite page, top, the painting above the proscenium shows Boabdil’s surrender to Isabella and Ferdinand; bottom, front stage drop showing the Islamic and Christian cities of Granada as seen from the Alhambra 32

PASATIEMPO i October 4 -10, 2013

Khristaan D. Villela

Khristaan D. Villela

More orientalism in Santa Fe

Luis Sรกnchez Saturno/The New Mexican

Khristaan D. Villela

33

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Viajes, continued from Page 32 architecture as an essential expression of civic identity. Among the main players in this story were Edgar Lee Hewett and the men he hired at the Museum of New Mexico and the School of American Archaeology. One of Hewett’s first hires was Sylvanus G. Morley, who moved to Santa Fe in 1909, having worked on Hewett’s Southwestern archaeological projects for the previous two summers. Morley purchased the old Roque Lovato house (now 311 Washington St.) in 1910 and set about remodeling it, in part to prove that Santa Fe’s old adobe homes could be adapted for modern life. He later put the argument to paper in an article published in Ralph E. Twitchell’s quarterly Old Santa Fe in January 1915. But perhaps the most important event in the modern history of Santa Fe architectural styles is the New-Old Santa Fe Exhibition, curated by Morley, which made a strong case for the historical value of the city’s traditional architecture and its potential to attract tourism. An article in The New Mexican on Nov. 19, 1912, led with the headline, “New-Old Exposition is a Decided Hit,” and noted that it opened the previous night at the Palace of the Governors and featured models of Santa Fe Style architecture, proposals for homes, and projects to give several areas of the city the Santa Fe treatment. We all know how this story ended.

In The Myth of Santa Fe, Chris Wilson argues that it was the Scottish Rite building, rather than any Spanish-Pueblo Revival style structure, that initiated the city’s search for a unique architectural identity in the early 20th century. His point is well taken, since the history of why Santa Fe represents itself with Spanish-Pueblo Revival architecture seems to be primarily attributable to the New-Old Santa Fe Exhibition and the efforts of men like Morley, Hewett, and Jesse L. Nusbaum. But as the story of the Scottish Rite Center shows, Spanish-Pueblo Revival style is not the only variety of architecture that can be identified as Spanish but not California Mission. Isaac Hamilton Rapp’s rejected design for the Scottish Rite building was later adapted for the Animas County courthouse in Trinidad, Colorado. And after Santa Fe committed to the Spanish-Pueblo Revival style, Rapp became the architect of choice, completing important projects such as the Gross Kelly Warehouse in the Santa Fe Railyard (1914), the New Mexico Building at the Panama California Exposition in San Diego (1915), and the Museum of Fine Arts (1917) and 1925 renovation of La Fonda in Santa Fe. After his work on the Scottish Rite building, Sumner Hunt continued to design many important projects in Los Angeles — particularly the Southwest Museum, which was founded by Charles F. Lummis. Like the Scottish Rite building, the Southwest Museum is also in the Moorish Revival style. The groundbreaking took place the same day that our Scottish Rite building was dedicated. ◀ The first part of this article appeared in the Sept. 20 issue of Pasatiempo.

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PASATIEMPO I October 4 -10, 2013

Scottish Rite Masonic Temple under construction, Santa Fe, 1912; photo

by Jesse L. Nusbaum, courtesy Palace of the Governors Photo Archives (NMHM/DCA), Negative No. 010769

Decline and Dissolution of the Chacoan World

Lecture by David E. Stuart

Wednesday, Oct. 9, 2013 • 7:00 – 8:00 pm

FREE • No Advance Reservations James A. Little Theater 1060 Cerrillos Road, Santa Fe www.sarweb.org PASATIEMPOMAGAZINE.COM

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PASATIEMPO I October 4 - 10, 2013

what’s happening

October

collectors’ sundays

2:00–3:00 pm Guest speakers discuss the challenges and rewards of building a legacy of art. Free with Museum admission (sundays are free for nM residents).

October 13: Gerald G. stiebel will talk about the current exhibition A Life in Pictures: Four Photography Collections.

the artists’ century

Mondays through the Fall, 10:00–11:30 am discover the depth of new Mexico art history in this series of lectures covering art and ideas spanning the twentieth century. st. Francis auditorium. Free for members of the Museum of new Mexico Foundation. $5 donation for nonmembers.

October 7: early years—taos and santa Fe October 21: depression and War years

connect With art throuGh the poWer oF dance

Friday, October 25, 5:30 and 6:30 pm Julie Brette adams has been entertaining audiences in santa Fe as a performer/choreographer for twenty years. Watch her tell the story of the artwork in the museum through movement.

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

IMS

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41

ART IN

REVIEW

Sandia Lewis: A Survey of Her Work, Argos Studio and Santa Fe Etching Club, 1211 Luisa St., 505-988-1814; through Oct. 11

S

andra “Sandia” Lewis’ pastels, oils, and watercolors on exhibit at Argos Studio and Santa Fe Etching Club have an old-world feel.

Her work evokes the moods of cold winter days, halcyon summers, and the shifting arboreal colors of autumn. It is clear from the nearly 50 works on display that Lewis has a love of gardens, forests, and the sea. Sandia Lewis: A Survey of Her Work offers an extensive body of images by a Santa Fe-based artist with a long career in the arts. In a town dominated

by Southwestern landscapes, it’s refreshing to see Lewis’ paintings of the terrain and architecture of New England and Europe. Her work seems to belong more to the 19th than the 21st century, recalling the softly rendered coastal scenes of James McNeill Whistler.

Lewis has a subtle way of handling watercolors and pastels, suggesting the rippling waters of the sea with minimal mark making. The stillness of her paintings of Venice, Salzburg, and the Berkshires contrasts with more dramatic imagery of storm42

PASATIEMPO I October 4 -10, 2013

swept beaches and piercing sunlight breaking through the clouds. Clearing Storm, which depicts an old house emerging from the fog, is beautiful and haunting in equal measure. Her pastel landscapes and seascapes are atmospheric. Stormy Sea was rendered with a sense of how paper can be more than a mere surface for mark making and can become part of the image.

Seeing an art exhibit at Argos gives one an appreciation for technique. As a meeting place for the Santa Fe Etching Club and multiple drawing groups, including the Eli Levin Drawing Group (of which Lewis is a member), Argos offers a slightly different experience from most other galleries.

Someone is almost always hard at work on an etching there, and the gallery provides plenty of examples of the Etching Club’s products.

Argos primarily exhibits works on paper. There are a few exceptions in the Lewis show, including some portraits in oils and a handful of still lifes.

These, along with the pastels and watercolors, fit right in. There is something antiquarian about Argos’ purview. The gallery itself has a homey feel, and a body of images such as Lewis’ could hang there forever and never be out of place.

Sandra V. Lewis: Clearing Storm, 1990, pastel; above, Venice 3, 1986, watercolor

There’s not a lot of room for exposition in the show, but none is necessary. The salon-style exhibition is a walk back in time to an earlier era in places such as Hamburg and London, cities Lewis depicts as enduring in quiet dignity. In her landscapes Lewis treats woods and tended garden scenes with the same reverence as her cityscapes, and with a perennial view of nature and the world.

— Michael Abatemarco

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43

James M. Keller I The New Mexican

The Memphis blues again Photojournalist Ernest C. Withers

Ernest Withers: I Am A Man: sanitation workers assemble in front of Clayborn Temple for a solidarity march, Memphis, March 28, 1968 Top, Dr. Martin Luther King Jr. and Rev. Ralph Abernathy ride on one of the first desegregated buses, Montgomery, Alabama, Dec, 21, 1956; images Š Withers Trust

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PASATIEMPO I October 4 -10, 2013

The photographer Ernest C. Withers had the good fortune to find himself at the right place at the right time, if Memphis in the 1950s and ’60s could possibly have been the right place and time for any African American. He must have been sometimes nervous as he navigated the byways of his native city and of the larger American South during that era of racial apartheid. Nonetheless, he showed a canny talent for observing trouble from close up without having it consume him personally. People let him get near, but he kept his photographer’s distance.

This essential skill enabled to him to produce an extraordinary portfolio documenting the summit events of the civil-rights era.

On Friday, Oct. 4, an exhibition of his work opens at the Monroe Gallery of Photography, where it remains on display through Nov. 24.

Sidney and Michelle Monroe have curated the show, which displays 40 photographs from an archive that runs well into the thousands. “In selecting the prints,” Sidney Monroe said, “we have tried to highlight images of the greatest significance from when Memphis was an epicenter of African-American life. Obviously, that means a number of images relating to civil rights, but Memphis was also a center of music at that time, and baseball was flourishing there. This was all part of the world Withers documented.”

Withers, who was born in 1922, maintained a studio on Beale Street, which had long been the main drag for the Memphis music industry; remember W.C. Handy’s “Beale Street Blues,” an early classic of its genre? By the 1950s, a new generation of music-makers was filling the hot and heavy Memphis air with traditional blues as well as the emerging sounds of soul, funk, and rock ’n’ roll. Images of many of these ground-breaking artists line the walls of the show — B.B. King, Howlin’ Wolf, Aretha Franklin, Elvis Presley, James Brown, and Isaac Hayes, among others. Baseball proved to be a parallel passion for Withers. He was already establishing his career when Jackie Robinson broke the sport’s color barrier in 1947, and he was there to document the decline of the Negro Leagues and the rise of African-American superstars on newly integrated diamonds: Larry Doby, Ernie Banks, Roy Campanella, Willie Mays, and others of their colleagues.

His work was not limited to famous names. “He had nine children,” Monroe said, “and he earned a good living by constantly hustling up work. When he was not out shooting a news event, he was hustling to shoot parties, weddings, anything that was going on locally.” The pictures of his music-star friends may excite us today, but when he was in a club, he was also snapping pictures of audience members, who bought their photo-portraits on the spot for a buck and a half.

Nonetheless, what made Withers irreplaceable was his ubiquity when the civil-rights movement crashed and banged through the American South. “He was kind of like the Woody Allen character Zelig,” Monroe said. “He was everywhere at once.” From his home in Memphis, Wither crisscrossed the South tracking the statesmen of the movement, including Medgar Evers, James Meredith, and, of course, Dr. Martin Luther King Jr. “He was renowned in these circles at that time, and he was trusted by the leaders of the movement and their families. He was friendly with Martin Luther King. Often Dr. King would specifically ask him to come document some event that was being planned. In that sense, he could be considered an insider in the movement. He was there at some of the most intimate moments. He was even given entrée to funerals; he photographed Medgar Evers after he was killed, and he took a photograph of King lying in his casket.”

Withers could document a great deal of civil-rights history without leaving his hometown. One of his most striking images depicts a solidarity march of sanitation workers in Memphis on March 28, 1968; it was to support these workers that Dr. King traveled to the city, where he would be gunned down a week later. The African-American demonstrators carry identical signs — perhaps a hundred of them — starkly declaring “I Am a Man” in what seems a river of humanity cresting behind a dam. Withers would also travel at the drop of a hat continued on Page 46

Martin Luther King Jr. resting in the Lorraine Motel following the March Against Fear, Memphis, 1966 Top, desegregation of Central High School by “The Little Rock Nine,” 1957

PASATIEMPOMAGAZINE.COM

45

Ernest C. Withers, continued from Page 45

Ernie Banks, Larry Doby, Matty Brescia, and Jackie Robinson at Martin’s Stadium, 1953 Opposite page, Howlin’ Wolf, Memphis grocery store, circa 1951

Out for a stroll

William Edwin Jones pushes daughter Renee Andrewnetta Jones (8 months old, who grew up to become a doctor) during protest march on Main St., Memphis, Tennessee, August, 1961 (caption as written

by Withers)

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PASATIEMPO I October 4 -10, 2013

to place himself close to the action — for example, to witness King joining Rev. Ralph Abernathy in 1956 to ride a newly desegregated bus in Montgomery, Alabama; to observe the “Little Rock Nine” in Arkansas that same year; and to attend Evers’ funeral in Birmingham, Alabama, in 1963.

Withers constantly fed his black-and-white images to magazines including Life, Time, Newsweek, and Jet, and some of his pictures became iconic. Other photographers were also crowding around, to be sure, and they are well known to Monroe Gallery, which specializes in photojournalism. “Every one of those photographers was really one of a kind,” Monroe said. “Another was Charles Moore, a photographer based in Alabama, and he was very active when things started happening in Birmingham. He was white, but he had access because he was local.

Often local photographers had first access to events; but when the national press would show up, things could get ugly.”

Unfortunately, Monroe said, “Withers’ story is a familiar one for photographers of the ’50s and ’60s. There was such a proliferation of magazines then that they could earn a good living being a news photographer. When the 1970s crept in, Americans were turning to TV at the expense of magazines. Life magazine folded. Everyone wanted color photos, which created issues for photographers and were harder to process for magazines. Withers was like many other important news photographers of his day; they were growing older, they had covered momentous moments in history, but they figured their work was basically done.” In his later years, Withers mostly busied himself photographing goings-on of essentially local interest in Memphis. Around the year 2000 there was a resurgent interest in civil-rights photography in general, and Withers accordingly enjoyed renewed acclaim. That year, a show of 125 of his photographs was exhibited at the Chrysler Museum of Art in

The greatest examples of photojournalism document and convey a clear story with striking aesthetic elegance. Many of the photographs in Monroe Gallery’s Ernest C. Withers exhibition are masterly in that regard. From 1961 comes an image of a Memphis man pushing a baby girl in a stroller in the midday sun before the threatening gaze of four officers in a police car marked “Emergency Squad.” Like any responsible photojournalist, Withers does not consign the principals in this image to anonymity — at least not the principals who have his sympathy.

The attached caption reads: “William Edwin Jones pushes daughter Renee Andrewnetta Jones (8 months old, who grew up to become a doctor) during protest march on Main St., Memphis, Tennessee, August, 1961.”

The frame is jam-packed with information, yet it is pleasingly structured, two commercial buildings in the background essentially bisecting the image vertically, with the father and daughter inhabiting the left side of the foreground and the policemen the right, even as the cruiser and the sidewalk cut a horizontaldiagonal swath across the frame. The police insignia on the car door identifies the place as Memphis. Around the neck of the man with the baby in a stroller hangs a large sign picturing ... a man with a baby in a stroller. Its text proclaims, “Daddy, I Want To Be Free Too!!!!”

The father and the four policemen train their eyes on one another. This unfairly stacked balance of power generates terrific tension, but the baby girl is focused elsewhere. She looks away from the scene, directing her eyes out of the frame directly to the camera, practically forcing the viewer to say, “What am I going to do about this?”

Sidney Monroe shared some of his thoughts about this photograph. “Images like this owe much to timing and, to some extent, luck — although it’s not just through luck that the photographer made such a picture. I imagine Withers, like many of the best photojournalists, would have said that you actually envision a picture before it happens. I’m picturing him walking around while people are dispersing after the event, and he notices the police car.

I imagine him deciding to hang around the police car; there might be an interesting picture here. He’s having the foresight to wait. He may have already made other pictures, but then here comes this father, with the stroller, the baby, the sign. Withers is ready. It’s not luck so much as that Withers is ready for some interaction, and that is when he takes the picture. The greatest talent a photographer can have is patience. You can’t make a picture happen. You’re prepared for it when it does happen.”

— J.M.K.

Norfolk, Virginia, and then traveled to the Philadelphia Art Alliance; the show’s catalog, titled Pictures Tell the Story: Ernest C. Withers Reflections in History, has become a collector’s item. “Faced with increasing inquiries about his work, he went back to his negatives and started to make prints, though not a great deal. He was starting to be known again, but then he died in 2007.”

A curious coda to his career arrived in 2010, when it was reported that Withers had been an informant to the F.B.I. about the civil-rights scene in 1969 and 1970. “That stirred up a lot of concern. But from all we’ve been able to research, and from the accounts of his family, it becomes clear that a lot of people in the movement knew full well they were being watched.” Throughout his career, Withers was famous for attending civil-rights events with three cameras hanging from his neck. With one, he took pictures for the white press; with the second, for the black press; with the third, pictures for his own files. “He tried to remain friendly to the F.B.I. They would ask him for pictures, and he would have his three rolls of film. He knew what he was willing to give to them and what he was not. There is no evidence that the F.B.I. ever paid him, and no evidence that anything he provided them ever compromised anyone or anything. During his lifetime, Ernest Withers told people repeatedly that he actually avoided some meetings because he didn’t want to be privy to certain information that might be too sensitive. You could say he took the path of least resistance, and during those years that path actually allowed him to keep doing his work as he wanted. When you look at the work, the photographs speak for themselves.” ◀

details ▼ Ernest C. Withers: A Life’s Work

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▼ Opening reception (Withers’ daughter Rosalind Withers is scheduled to attend) 5 p.m. Friday, Oct. 4; exhibit through Nov. 24 ▼ Monroe Gallery of Photography, 112 Don Gaspar Ave., 505-992-0800

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PASATIEMPOMAGAZINE.COM

47

Michael Abatemarco I The New Mexican

LAKE GEORGIA xtending more than 30 miles through the Adirondacks in upstate New York, Lake George holds a fascinating place in history. A popular destination for vacationers when Georgia O’Keeffe was there in the early 20th century, the area still offers recreational activities of all kinds, but its past as a cultural nexus also draws visitors. In the nearby township of Glens Falls lies the Hyde Collection, founded by Charlotte Pruyn Hyde and her husband, Louis Fiske Hyde, in 1912, close to Alfred Stieglitz’s family estate.

The Stieglitz property is now indicated by a marker; the estate was sold in 1957 and the property turned into a subdivision.

O’Keeffe first came to Lake George in 1908.

She returned with Stieglitz in 1918 and continued to visit regularly throughout the 1920s.

According to Erin B. Coe, chief curator of the Hyde Collection, critical attention has largely focused on O’Keeffe’s New Mexico years.

In light of O’Keeffe’s interviews and letters, many consider her time at Lake George an oppressive period from which she eventually broke free to come into her own in the Southwest — but her letters also indicate a love of Lake George. Modern Nature: Georgia O’Keeffe and Lake George, on exhibit at the Georgia O’Keeffe Museum after first opening in June at the Hyde, features dozens of paintings from her time at the lake.

While her persona as an individualist, a self-reliant artist in control of her own destiny, may have taken shape after her break with Stieglitz, she painted major bodies of work at the lake that are as recognizably by the artist as any she made in New Mexico. Lake George was a place she returned to in the 1930s and occasionally in the 1940s, visiting as late as 1946 to bury Stieglitz’s ashes.

O’Keeffe’s Lake George experience was more than an experiment, more than a period of early development. It may come as a surprise to some that the distinct style found in her flowing landscapes, close-up floral portraits, still lifes, and abstract works did not begin in New Mexico but in New York, and she 48

PASATIEMPO I October 4 -10, 2013

continued to develop her style while going back and forth between the East coast and the Southwest throughout the 1930s. The sheer number of works in the exhibit testifies to the fact that her signature style was fully developed when she arrived in New Mexico. “One of the points of the show is that the New York years, when she’s at Lake George every season, are often overlooked and dismissed,” O’Keeffe curator Cody Hartley told Pasatiempo. “But when you start looking at the artwork she was producing, it was a very productive and important part of her career.”

Modern Nature was organized by the Hyde Collection and the O’Keeffe Museum and curated by Coe. It will travel to the de Young Museum in San Francisco in 2014. “The research and planning started years ago,” Hartley said. “Erin understood that region and wanted to understand what O’Keeffe was doing there.

[The Hyde Collection], of course, [doesn’t] own any O’Keeffe artwork. To do an exhibition meant borrowing every single piece, which is ambitious, as they’re a relatively small organization. So she partnered with the O’Keeffe Museum, which provided a core group of artworks to create the basis for the show. We worked together to secure the rest of the loans from institutions and private collectors.”

Only two of the more than 30 lenders to the exhibit are based in New Mexico. Until the establishment of the O’Keeffe Museum in 1997, there were few venues in the region where one could publicly view an in-depth collection of her art. O’Keeffe continued showing her work in New York long after she moved to New Mexico. She was certainly famous before she headed West. Her Lake George years must be seen as not just significant, but crucial. “It’s a time when she achieved her greatest critical success and recognition,” Hartley said. “It’s when the New York art world starts really paying attention to her. This is happening at the same time as her relationship with Stieglitz is developing. continued on Page 50

O’Keeffe painted what she saw, and that is no less true of her work at Lake George.

Her color choices may have changed, but the intense focus on natural forms did not.

Georgia O’Keeffe: Pond in the Woods, 1922, pastel on paper, 24 x 18 inches; opposite page, Corn, No. 2, 1924, oil on canvas, 27.25 x 10 inches; images © Georgia O’Keeffe Museum

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Trees in Autumn, 1920/1921, oil on canvas, 25.25 x 20.25 inches

50

Georgia O’Keeffe, continued from Page 48 They have their personal relationship, but he is also operating as her dealer and helping to build her professional visibility and reputation. He encourages her to pursue things that he thinks will be more obviously American, modern, recognizably distinct as O’Keeffe, and encourages her not to do as many of the abstractions, to go for the nature-based imagery. History confirms that his instincts in terms of the market were very good.”

Hartley supplements the exhibit with several abstractions from throughout O’Keeffe’s career.

PASATIEMPO I October 4 -10, 2013

Her early abstractions are well known, but there are fewer from her Lake George period.

O’Keeffe never abandoned abstraction entirely, and she successfully merged representational imagery with an abstract sensibility. “She came full-circle and started painting more and more abstract work toward the end,” he said. “I imagine her there with Stieglitz when he’s working with his camera, and he’s going down to his studio and darkroom. She’s very familiar with the camera. She knows how cameras work, and she’s talking to photog-

raphers all the time. That notion of using lenses to zoom in on something and make it big is helping her create those kinds of abstractions where she can take a small part of the flower, crop it very closely, and blow it up so you see the abstract elements in the natural forms.”

The myth is that O’Keeffe’s arrival in New Mexico represented a severing of ties with her New York past. But the photographic project she started with Stieglitz, with herself as subject, continued for many years after their separation. “She would go back and see him, and he would photograph her. One of his great ambitions as a modern photographer — this great project he was to produce — was a photographic documentation of one person over a lifetime. She really became his partner in creating that project.” Stieglitz is partly responsible for crafting O’Keeffe’s persona as a painter of the natural world.

Other famous photographers, including Ansel Adams and Philippe Halsman, contributed to the rugged image we have of O’Keeffe today, but Stieglitz’s images still dominate the existing portraits.

In her essay accompanying the exhibition catalog, Coe writes that the Lake George years — extending over two decades — were among O’Keeffe’s most prolific. It is largely because of paintings made at Ghost Ranch, and later in Abiquiú, that her work is described in terms of sense of place. O’Keeffe painted what she saw, and that is no less true of her work at Lake George. Her color choices may have changed, but the intense focus on natural forms did not. Her depictions of the lake and its flora are verdant and lush and often painted in darker hues than we normally associate with O’Keeffe. That she grew weary of all the green as time went on, longing for the open spaces of New Mexico, is of little consequence in terms of her style. Her emotional state in New York, particularly as her need for distance from Stieglitz became more imperative, is often wrongly read into the work. The deep, forested regions of the Adirondacks lend themselves to the rich hues and a moody, haunted feeling of the woods she painted. Her work captures these aspects of the place. “She has a whole different palette for the desert,” Hartley said. “They’re different places. This is something she’s very good at, understanding what makes a place distinct.” ◀

details ▼ Modern Nature: Georgia O’Keeffe and Lake George ▼ Opens Friday, Oct. 4; through Jan. 26, 2014 ▼ Georgia O’Keeffe Museum, 217 Johnson St. ▼ By museum admission (no charge to N.M. residents on Friday); 505-946-1000, www.okeeffemuseum.org

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51

Paul Weideman I The New Mexican

ARTS IN THE CITY M A Y O R ’S A W A R D S F O R

EXCELLENCE IN THE ARTS hen the old gears and flywheels are turning in the Press at the Palace of the Governors, amazing things happen. One recent example was produced by Press director Tom Leech on a vintage Chandler & Price platen press.

It’s a newly executed version of the 1908 Jack Thorp book Songs of the Cowboys.

“This is a beautiful press, but the really significant thing about it is that it printed the first book of cowboy songs ever published, which influenced so much Western music and the movies,” said Leech, one of five people selected for the 2013 Mayor’s Awards for Excellence in the Arts. “The book had been updated in facsimile a number of times, but it was always treated as a novelty. I wanted to treat it with some typographic respect.” He made the paper for the cover and endpapers out of New Mexico grama grass, the official state grass. Dazzling illustrations by Ron Kil pepper the pages, in between the texts of classic songs like “Little Joe the Wrangler” and “Get Along, Little Dogies.”

The Chandler & Price was a highlight piece in a bounty of printing equipment from the old Estancia News-Herald that was donated to the New Mexico History Museum. The 1899 press makes a satisfyingly solid, rhythmic sound as it runs — and it’s not dependent on electricity. “We had a blackout in this area a few days ago and I was in here printing,” Leech said with a grin.

There are about a dozen antique presses in the shop, but the Chandler & Price is a sentimental favorite for Leech. “I think everyone who works in letterpress at one time or another encounters one of these. My own press at home, which I’ve done over a million impressions on, is the same one, but a size smaller.”

Leech got his first dose of hand-printing when he was in the eighth grade in Grand Rapids, Michigan.

“I remember thinking, Please, God, don’t let me be a printer. I thought it was so boring, like how slow can you go?” By his mid-20s, however, he was employed in a commercial print shop and learning to love presses.

Leech works in a long building at the rear of the Palace of the Governors courtyard. Some of the foundations date back to about 1700, but the walls and roof were built by the U.S. Army in the late 1860s, just after the Civil War. First used as stables, by the 1920s the building was rented out as studio space 52

PASATIEMPO I October 4 -10, 2013

for Sheldon Parsons, Carlos Vierra, and other artists.

“People enjoy coming in here. Some say they’ve been coming to Santa Fe for 30 years, and they never knew we were here. I often here them say this was the best part of their visit. I see them light up. Or I hear, ‘Oh, wow. Grandpa had a press like this,’ then you hear the stories of people growing up in print shops.”

Leech is a member of the Santa Fe Book Arts Group, which grew out of a group of people working with Pamela Smith. “I’ve been here 13 years, and I feel like this award is also to Pam Smith, who was in charge of the Palace Press for 28 years before I came.”

A curator at the History Museum since 2001, Leech has organized several exhibits, among them Jack Kerouac and the Writer’s Life, The Saint John’s Bible, and The Private Presses of New Mexico, which he directed with Smith.

Songs of the Cowboys was printed by Leech and bound by Priscilla Spitler, owner of Hands On Bookbinding in Truth or Consequences. “She’s doing our next book, about Benjamin Franklin in Spain, by Tom Chávez. I’m also working on a small book about journalist Ernie Pyle. It reprints the text from a letter that was in his pocket when he was killed. We believe in preservation through production.”

The other recipients of the Mayor’s Awards are arts supporter Charmay Allred; jazz pianist Bert Dalton; and artist Susan York. Cora Cliburn receives the 2013 Melissa Engestrom Youth Artist Award.

A founding co-chair of the Santa Fe International Folk Art Market and member of the New Mexico State Arts Commission, Allred serves on the boards of the Museum of New Mexico Foundation, the Lensic Performing Arts Center, and the Institute of American Indian Arts and volunteers with Cornerstones Community Partnerships, the Wheelwright Museum of the American Indian, and the Santa Fe Conservation Trust as well as the Spanish Colonial Arts Society and the Santa Fe Symphony. She also helped initiate the Tony Hillerman-Michael McGarrity Creative Writing Scholarship program at the College of Santa Fe. Dalton has been the music director of National Dance Institute of New Mexico since 1998 and has

worked with more than 10,000 schoolchildren. For the organization’s performances, he directs the NDI-NM orchestra. A Chicago native, Dalton toured in the United States and overseas before landing in Santa Fe in 1990. His regular performances in town included an 18-year run at La Fonda. In September, he led gigs at El Mesón and Vanessie as well as a concert featuring national jazz-flute star Ali Ryerson at the Paa-Ko Event Center in Sandia Park. Standout Dalton albums are ¡Ya Llegó! (with Yobosó, 1994), Midnight Coffee (2001), the children-oriented Got Jazz (2006), and The Brazil Project (2011).

York is the head of the sculpture program at the Santa Fe University of Art and Design. She earned her bachelor of fine arts at the University of New Mexico and her MFA from the Cranbrook Academy of Art in Bloomfield Hills, Michigan. Susan York & Arthur Sze: The Unfolding Center, a book collaboration with a former Santa Fe poet laureate, will be published by Radius Books on Nov. 30. Also during that month, work by York is part of an exhibition at the Mies van der Rohe Haus in Berlin. She is represented by James Kelly Contemporary, Exhibitions 2d in Marfa, and Galerie Renate Bender in Munich.

Cliburn is a senior at Desert Academy with artistic endeavors in at least three realms. She is a dancer currently performing with Moving People and Arcos Dance. Her photography has been published in Photographer’s Forum, and her short films were included in the 2012 Currents show of new-media art.

She hopes to pursue a career in professional dance.

Accolades, an exhibit highlighting the award recipients’ accomplishments, runs at the Community Gallery in the Santa Fe Community Convention Center through Oct. 10. ◀

details ▼ Mayor’s Awards for Excellence in the Arts presentation ceremony and dinner ▼ 6:30 p.m. Thursday, Oct. 10 ▼ Santa Fe Community Convention Center, 201 W. Marcy St. ▼ $65 (includes meal); reservations required, see www.santafenm.gov/forms.aspx?FID=300 or call 505-955-6707

Cora Cliburm

Charmay Allred

Bert Dalton

Susan York

Palace of the Governors press directorTom Leech, the museum’s 1899 Chandler & Price platen press, and the recently reproduced 1908 JackThorp book Songs of the Cowboys

This is a beautiful press, but the really significant thing about it is that it printed the first book of cowboy songs ever published, which influenced so muchWestern music and the movies. —Tom Leech

PASATIEMPOMAGAZINE.COM

53

Michael Abatemarco I The New Mexican

ElEgy/Eulogy

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PASATIEMPO I October 4 -10, 2013

A poetic version of an apocalypse matriarch leads her herd of elephants through the grass in Africa’s Amboseli National Park, their figures diminishing in the distance. This image, which accompanies the opening essay of photographer Nick Brandt’s new book Across the Ravaged Land, can be compared with another photo shot a few years later of a line of rangers, also diminishing in the distance, holding the confiscated tusks of elephants killed by poachers.

These two photographs take on added poignancy when one reads in the essay that Marianna, the matriarch, was shot and killed in 2009.

Brandt has spent 12 years photographing wildlife in East Africa, and his images include portraits of elephants playing in the dust, buffalo, giraffes, hyenas, leopards, and lions captured in close-ups so intimate one senses their souls through their eyes. “I loved animals in general as a child,” Brandt told Pasatiempo. “As so often happens as kids grow up, you sort of partly lose your obsession with animals, then it gradually starts filtering back. Going to Africa, there was something about that particular place and those particular animals. There’s so few places left in the world where we can see large numbers of animals in the wild. Even though it’s amazing and moving to come across, say, polar bears in the Arctic or jaguars in the South American jungle, the fact that you’re looking out across the plains, seeing 10 different species of massed animals in your vision is really quite magical.”

Photographs from Across the Ravaged Land are on exhibit at Photo-eye Gallery. The book, published by Abrams, completes a trilogy Brandt began in 2000. “From the outset, the trilogy was meant to be an elegy to a vanishing world. At the beginning I photographed a kind of paradise, but as time went by, it felt irresponsible and just a bit blinkered to just

keep on photographing all beautiful stuff. I felt the need to increasingly address the darker side, the more real side. The second and the third books are deliberately sequenced to go from a kind of lush, verdant world of plenty to a stark world of diminished numbers. That was particularly the case in the second book. With [the third] book, there is a sequencing that follows an ever-darkening path.”

The first two books in the series, On This Earth and A Shadow Falls, depict Brandt’s subjects in portraits that pronounce their dignity, beauty, and power. As Brandt points out in his essay, the book titles form the sentence “On this earth a shadow falls across the ravaged land.” By the time he was photographing what would become the third book, East Africa had drastically changed. “The escalation of demand for animal parts has really massively increased since 2008 with the one-time sell-off of ivory that all the conservationists warned would kick-start a wave of new killing, and that’s exactly what happened.” Stockpiles of more than 100 tons of ivory were sold by African nations to China and Japan.

“There’s incredibly little international pressure because everybody’s terrified of criticizing the Chinese,” Brandt said. “It’s an uphill battle.

We’re running out of time.”

Across the Ravaged Land documents this moment of crisis for Amboseli’s wildlife. The stark, monochromatic imagery of the animals is tinged with sorrow. Captions for some of the portraits detail their demise.

Winston, for example, was a 30-year-old elephant barely in his prime when Brandt photographed him in July 2010. He is commemorated in the photograph Elephant With Half Ear. The caption states he was killed by continued on Page 56

Nick Brandt: Line of Rangers With Tusks of Killed Elephants, Amboseli, 2011; opposite page, Elephant on Bare Earth, Amboseli, 2011; all archival pigment prints

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Nick Brandt, continued from Page 55 poachers a month after Brandt took the photo.

When he arrived that year, he found the poaching had increased to horrifying levels, and the elephants displayed more caution and fear than on his previous visits.

As Brandt points out in his essay, the lack of timidity around humans may have contributed to their current plight, making it easier for poachers to target them. “What I show in the book is more of a poetic version of an apocalypse than the reality. The reality is that there’s a continent-wide destruction of animals going on in Africa. If I were to show it as it really is, it would be much more bleak and dark in its presentation. I don’t know how to how to take photographs of elephants with their faces hacked off in a way that transcends straight documentary photography. So I don’t try.” Instead, Brandt focuses on allowing the personality and spirit of his wild subjects to shine through.

Motivated by his anger over the decimated herds, Brandt founded, along with conservationist Richard Bonham, Big Life Foundation to manage the fragile, threatened ecosystem of the Amboseli-Tsavo region, curb poaching, and put an end to the ivory trade through community-based programs designed to address the economic needs of people while protecting the animals in the region. At the time of the book’s publication, Big Life was employing 280 rangers, a number that has since increased to 315 people protecting 2 million acres of wilderness in Kenya and Tanzania. It’s stated on its website that Big Life is the only organization in East Africa with coordinated, cross-border anti-poaching operations, and Brandt is the organization’s president. “It’s a huge responsibility. I’ve got to make sure we keep on raising the funds to maintain such successful operations out there.” While Brandt mostly avoids showing images of the pachyderms’ grim fate in his photography,

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PASATIEMPO I October 4 -10, 2013

Elephant Footprints, Amboseli, 2012; top left, Lion in Shaft of Light, Maasai Mara, 2012; inset, Calcified Fish Eagle, Lake Natron, 2012

Big Life Foundation’s website (www.biglife.org) does not. There, a gallery of images labeled “Wall of the Dead” graphically depicts the fate of Winston, Ezra, Sheik Zahad, and many other elephants, all killed between 2010 and 2012 — a heartbreaking testament to the gravity of the situation.

Among the portraits of animals in Across the Ravaged Land is a riveting series of calcified animals found on the shore of Lake Natron, a shallow salt lake in Tanzania with a mineral content so high that the bodies of animals that die in it are left essentially intact. “The calcified series are the only animals in the book that were not killed by the hand of man. I was completely fascinated by these creatures washed up on the shoreline in these perfectly preserved states. I took portraits of them as if alive in death, positioning them on branches and rocks as if they’re posing. They just happen to be dead. I found that too perfectly visually compelling to ignore.”

Death is a constant presence in Brandt’s latest body of work. In addition to the calcified creatures, giraffe and wildebeest skulls are shown littering the parched, cracked earth; trophy heads of lions and water buffalo are depicted mounted on poles; and a final, haunting image shows elephant tracks across a dry lake bed vanishing toward the horizon. “Where did that elephant go to? Is it coming back? And is mankind going to come to its senses and stop the killing to allow future generations of animals to cross that lake bed again?” ◀

details ▼ Nick Brandt: Across the Ravaged Land ▼ Exhibit through November ▼ Photo-eye Gallery, 376-A Garcia St., 505-988-5159

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57

movIng Images film reviews

Touch me not Laurel Gladden I For The New Mexican Touchy Feely, dramedy, rated R, Jean Cocteau Cinema, 2 chiles What if you reviewed movies for a living and then suddenly went blind? Or what if you were a restaurant critic, and your taste buds stopped working?

That sort of unlikely but mildly terrifying situation is what happens to Abby (Rosemarie DeWitt), one of the characters at the center of this mild, peculiar new film from writer-director Lynn Shelton (Humpday, Your Sister’s Sister).

Abby is a successful massage therapist in Seattle.

She seems satisfied, self-confident, and outgoing — with a touch of snark. She has regular Reiki sessions with her friend Bronwyn (the always welcome Allison Janney) and thinks her uptight milquetoast brother Paul ( Josh Pais), who’s struggling to keep the family dental practice afloat, could use some herbal tonics for his liver and gallbladder.

When Abby’s bike-mechanic beau, Jesse (Scoot McNairy), suggests that she move in with him, she agrees, but you can see hesitation and doubt flash across her face. Within a day or two, she finds herself turned off by human touch, and before too long, the sight of an unclothed client on the massage table makes her lose her lunch. Meanwhile, across town, Paul’s once-empty waiting room is now packed.

He has mysteriously acquired the power to heal, apparently with nothing more than the touch of his hands, people suffering from the excruciating jaw pain of TMJD. Sounds like a creative setup for a comedy, right?

Shelton weaves in fairy-tale notions and magical

Investing in gloves: Rosemarie DeWitt

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PASATIEMPO I October 4 -10, 2013

Hands off: Rosemarie DeWitt and Allison Janney

realism — for a minute, Touchy Feely seemed like one of those switcheroo stories, like Freaky Friday, where opposing personalities have to walk a mile in the other person’s shoes. But though it wants to ask probing questions, it doesn’t have the guts.

Shelton’s previous films have been easy-going and improvisational; here she tries something more scripted. Imposing that structure, though, somehow strips the film of emotional honesty. The characters come across as types rather than actual human beings. Janney and Ellen Page (as Paul’s daughter Jenny) are both engaging, expressive performers, but they aren’t given enough to do. Page’s character is too thin and sketchy — you’re never quite sure what purpose she serves, and her story line, which goes nowhere, just distracts the audience and dilutes the

narrative. The limited humor feels forced. A scene involving Paul, Bronwyn, and her massage table is one of the film’s funniest, but it gives way to a cutesy rom-com-style montage.

Shelton sets things up neatly but then can’t figure out how to resolve them. The characters change abruptly, and we don’t learn why. You get the sense that Shelton knew she had written herself into a corner. The story seems to be headed into interesting territory, and then Bronwyn suggests that Abby and Jesse reconnect by taking Ecstasy (psychotropic drugs apparently being a 21st-century crutch for emotional confrontation and resolution). Shelton pads the already brief running time with purposeless lingering shots of Seattle and then goes for an easy, tidy, feel-good ending that seems undeserved.

Emotional issues are often hard to express, but one of the points of filmmaking is to attempt to express them. Otherwise, all we’re left with here is a conceit that feels, um, heavy-handed. The cast members are forced to imbue the film with depth and meaning that the script itself doesn’t supply.

Shelton expects us to figure out too much for ourselves. Why is Abby so afraid of intimacy? We don’t really know. An ex-boyfriend, played by Ron Livingston (DeWitt’s real-life hubby), pops up near the end to suggest that a bad breakup could be the cause, but I didn’t buy it (and anyway, Abby has an air of New Age sanctimony that makes it difficult to care what happens to her). Paul’s healing powers pop up out of nowhere; just as suddenly, though, his waiting room is empty again, so what exactly was the point? Touchy Feely hints at depth but then falls flat.

It’s like one of those massages that doesn’t go deep enough — it could have been satisfying, but instead it’s just frustrating. ◀

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“ONE OF THE YEAR’S BEST FILMS. AN ELOQUENT DRAMA, LADEN WITH RICH, TEXTURED DETAILS. IT IS A NOT TO BE MISSED EXPERIENCE.” Caryn James, INDIEWIRE

Golshifteh Farahani

The Patience Stone A film by

Atiq Rahimi

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Magic (and tragic) bus Wayne Lee I For The New Mexican

OFFICIAL SELECTION

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SALINGER

La Camioneta: The Journey of One American School Bus, documentary, not rated, in English and Spanish with subtitles, The Screen, 2 chiles “When you die, your body dies. But your being doesn’t die.” Those are the opening words of La Camioneta: The Journey of One American School Bus, the debut feature from filmmaker Mark Kendall. The documentary’s philosophical voice-over narration attempts to elevate the somewhat mundane subject matter; in that attempt, writer/director/producer/ cinematographer Kendall is only moderately successful.

Camionetas are the colorful public buses used to transport most of Guatemala’s population to and from work and around the country. Most of those vehicles are bought in the United States, driven south, and transformed from the iconic yellow and black to vibrantly colored, ornately detailed rolling canvases. La Camioneta traces the journey of one particular bus as it is purchased at an auction in Pennsylvania, driven through the U.S. and Mexico, and reborn in Guatemala. These early scenes give us a beautifully filmed travelogue, and it’s wondrous to watch local artists create the bus’s intricate red, blue, and cream paint job, complete with stars, stripes, and curlicues.

The film is less successful when it comes to making the bus a symbol for the journey of a nation and its people. We’re given a couple of awkward domestic scenes and rather wooden conversations with owners, drivers, and designers. The problem isn’t just that these “actors” are sometimes selfconscious in front of the camera; it’s that we’re not given enough broader cultural substance in the brief, 72-minute running time to fully flesh out the director’s concept.

Since 2006, nearly 1,000 camioneta drivers and fare collectors have been murdered by gangsters who extort money and kill those who don’t pay.

Kendall includes disturbing scenes of bombed buses and heart-wrenching footage of grieving, fearful drivers and families. He also shows a priest blessing the buses, which are festooned with flowers, fruit, and balloons, and saying a prayer of safety for the vehicles and drivers. Snippets of local color — dogs, chickens, tin-roofed shacks, pedestrians, and passengers — enhance the film’s picture of people struggling against poverty and violence to make a better life for themselves.

But what the director doesn’t pull off is integrating these narrative threads into a cogent whole — certainly not enough to support his grand vision.

Variety called Kendall “a name to watch” in 2012, following his documentary short The Time Machine. That may prove true, but it is not borne out in this ambitious yet only partially realized effort. ◀

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Sat-Sun Oct 5-6 11:30a - Salinger* 1:15p - 20 Feet 2:00p - Populaire* 3:15p - Patience Stone 4:15p - 20 Feet* 5:30p - Patience Stone 6:15p - Populaire* 7:30p - Salinger 8:30p - Drinking Buddies*

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“NYT CRITICS’ PICK! An upbeat story of resilience, regeneration and artistic imagination.”

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“A poetic, even dreamy, film.”

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Redirecting a one-way conversation: Golshifteh Farahani and Hamidreza Javdan

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Captive audience Jennifer Levin I For The New Mexican The Patience Stone, drama, rated R, in Persian with subtitles, Center for Contemporary Arts, 3 chiles Based on the novel by Atiq Rahimi, The Patience Stone feels more like a stage play than a film. It consists largely of a monologue delivered by an unnamed woman (played by Golshifteh Farahani) to her unnamed husband (Hamidreza Javdan), who lies, brain-dead from a gunshot wound to the neck, in their barren apartment in war-torn Afghanistan. She recounts the circumstances that resulted in the shooting, and at first the structure seems overly expository — too much telling, not enough showing — and then, at the 30-minute mark, the point of this structure is revealed.

The woman has been virtually silent for the 10 years of her marriage — an arranged relationship with a man who never spoke to her, never warmed to her, and never kissed her, despite the fact that they have two children.

He was interested only in war and the camaraderie of men. Now that he is comatose and reliant upon the ministrations of his wife, she takes the opportunity to tell him everything she has kept inside: stories from her childhood, her feelings about their life together and about sex, her resentment at being trapped in a relationship with a man who is basically a stranger to her. She asks herself why she keeps talking. Her aunt tells her about the syngue sabour (patience stone), which in Persian folklore is a black stone that serves as a silent confidant for one’s burdens and explodes when it has absorbed all it can — and the explosion heralds the apocalypse.

The town in which the couple lives is in the midst of violent conflict.

The people in the town don’t seem to be able to distinguish between the two sides, often asking “Are you one of us?” when they encounter men with guns. There are daily bombings, tanks rolling through the streets, and armed militia members who burst into houses demanding food, shelter, and sex. In what appears to be a reflexive action, women cover their heads whenever they suspect a man might be present. The woman dons a burqa when she leaves the confines of her dilapidated apartment complex, where there is barely any paint on the walls but there is a bomb shelter.

The Patience Stone is an overtly feminist story, bordering on fantasy. As the woman unburdens herself to her husband, her secret thoughts and actions become progressively more subversive of the idea of a proper Muslim woman in Afghanistan. The more truth she reveals, the more probable the apocalypse seems. ◀

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METALLICA: THROUGH THE NEVER Part concert movie, part action film, Through the Never tells the tale of a young roadie (Dane DeHaan) who must survive some sort of apocalyptic event. His battles are interspersed with concert footage performed by his employers. Exit light, enter night. Rated R. 92 minutes. Screens in 3-D only at Regal Stadium 14, Santa Fe. (Not reviewed) THE MET LIVE IN HD: EUGENE ONEGIN Anna Netrebko and Mariusz Kwiecien´ star in Fiona Shaw’s production of Tchaikovsky’s opera, which is broadcast live from the Met. 11 a.m. Saturday, Oct. 5, with a 6 p.m. encore. Lensic Performing Arts Center, Santa Fe. (Not reviewed) See Listen Up, Page 18.

Machine wash, tumble dry low: Sandra Bullock in Gravity, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week ENOUGH SAID James Gandolfini’s final performance was not as a tough guy but as the gentle, affable leading man of this romantic comedy by Nicole Holofcener (Friends With Money). The story centers on an empty-nester named Eva ( Julia Louis-Dreyfus) who meets a man in a similar situation (Gandolfini) and falls for him. The problem is that she takes his ex-wife (Catherine Keener) on as a massage client and hears all the dirt about their marriage. Rated PG-13. 93 minutes. Regal DeVargas, Santa Fe. (Not reviewed) EXTRATERRESTRIAL In this Spanish comedy, Julio ( Julián Villagrán) wakes up in the morning after having drunk so much the night before that he doesn’t realize he’s in the apartment of his dream girl (Michelle Jenner), with whom he spent a wild evening. It was so wild, in fact, that they didn’t even notice the alien invasion. In Spanish with subtitles.

Not rated. 95 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) GRACE UNPLUGGED Amanda Michalka plays a teenager whose rebellious phase consists of playing Christian rock her way — a move that infuriates her born-again former-rock-star dad ( James Denton).

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PASATIEMPO I October 4 -10, 2013

When her career takes off, will her life spiral out of control, or will Jesus take the wheel? Rated PG. 102 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) GRAVITY Director Alfonso Cuarón presents his first feature-length film since 2006’s Children of Men, and it takes one of those people-trapped-in-nature situations to its logical extreme. George Clooney and Sandra Bullock play astronauts whose shuttle is destroyed while both are outside on a space walk. Uhoh. How are they going to get out of this mess? Rated PG-13. 91 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) LA CAMIONETA: THE JOURNEY OF ONE AMERICAN SCHOOL BUS This film traces the journey of a retired school bus as it is purchased in Pennsylvania, driven through the U.S. and Mexico, and transformed in Guatemala into a vibrantly colored rolling canvas — and a target for gangsters who extort money from drivers and kill those who don’t pay. Scenes of bombed buses and conversations with grieving families paint a picture of people struggling against poverty and violence.

But they are not enough to support the director’s grand vision of the camioneta as a symbol for the interconnectedness of life. Not rated. 72 minutes.

In English and Spanish with subtitles. The Screen, Santa Fe. (Wayne Lee) See review, Page 59.

THE PATIENCE STONE Based on the novel by Atiq Rahimi, this film is largely a monologue delivered by an unnamed woman to her unnamed husband, who lies comatose in their barren apartment in war-torn Afghanistan.

The Patience Stone is an overtly feminist story, bordering on fantasy. As the woman unburdens herself to her husband — who serves as a syngue sabour, the patience stone of Persian folklore — the secrets she has kept during their marriage are revealed to be progressively more subversive. Rated R. 102 minutes. In Persian with subtitles. CCA Cinematheque, Santa Fe. ( Jennifer Levin) See review, Page 60.

PULLING STRINGS Alejandro (Jaime Camil) is a mariachi musician who needs to get a visa to come to the United States. When the woman who rejects him (Laura Ramsey) gets drunk and passes out on a street in Mexico, he helps her out — and maybe, just maybe, romance blossoms. In English and Spanish with subtitles. Rated PG. 118 minutes.

Regal Stadium 14, Santa Fe. (Not reviewed) RUNNER RUNNER Justin Timberlake plays Richie, a Princeton student who loses big at online poker and, suspecting he was swindled, travels to Costa Rica to meet Ivan (Ben Affleck), the online gambling maven behind the site. It turns out he was swindled, but Ivan wants to hire him. Soon, the FBI wants him to take Ivan down. The moral is, when it comes to gaming, stick with Angry Birds. Rated R. 91 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) SALINGER The 1951 novel The Catcher in the Rye is a rite of passage for young readers and has had a cultural influence far beyond the weight of its 220 pages, but what’s the deal with author J.D. Salinger, who shied from the spotlight and released a relatively scant output after that book? That’s what this documentary, made by and featuring people that Holden Caufield would probably have called “phonies,” aims

to uncover. Rated PG-13. 129 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) SPIDER BABY, OR THE MADDEST STORY EVER TOLD A campy, creepy, and influential “B” shocker that bridges the old-style horror films of the 1930s and 1940s and the gruesome slasher flicks of the 1970s and 1980s.

The plot sees a quartet of adults — two good, two bad — visiting an isolated house full of teen cannibals.

Writer/director Jack Hill reportedly shot the movie in just 12 days, and the cast includes Lon Chaney Jr. (in one of his best roles), Sid Haig, Carol Omhart, and Mantan Moreland. Classic line by Chaney: “There’s going to be a full moon tonight!” Not rated.

80 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Nott) TOUCHY FEELY In this film from writerdirector Lynn Shelton (Your Sister’s Sister), Rosemarie DeWitt plays Abby, a successful massage therapist in Seattle. She seems satisfied and outgoing, has regular Reiki sessions with her friend Bronwyn (Allison Janney), and thinks her uptight dentist brother Paul ( Josh Pais) could use some herbal tonics for his liver and gallbladder.

She’s going to move in with her bike-mechanic beau (Scoot McNairy), and then suddenly, she finds herself repulsed by human touch. Meanwhile, Paul has mysteriously acquired a healing touch. Sounds like a creative setup for a comedy, but though the movie wants to ask probing questions, it doesn’t have the guts. Rated R. 88 minutes. Jean Cocteau Cinema, Santa Fe. (Laurel Gladden) See review, Page 58.

now in theaters BAGGAGE CLAIM Paula Patton plays a flight attendant who is convinced that she needs to find a man and ground herself in marriage, so she does the sensible thing: she enlists her friends in the airline industry to help her stalk her exes. With Djimon Hounsou, Taye Diggs, and Jill Scott. Rated PG-13. 96 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) BATTLE OF THE YEAR This film suggests that America’s poor performance in breakdancing competitions is our nation’s great shame. Josh Holloway (Lost) stars as a hard-nosed coach who trains a gang of motley kids to bring the dance trophy home. Rated PG-13. 109 minutes. Screens in 3-D only at Regal Stadium 14, Santa Fe. (Not reviewed) BLUE JASMINE Woody Allen’s latest mixes comedy and tragedy in an inspired symphony of social criticism. Cate

Blanchett will catch the Academy’s eye as 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 rest of the cast, which 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 all 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 Reagan and sees him into retirement through Obama’s election. The fine cast includes Oprah Winfrey as his wife and star cameos as the presidents. Director Lee Daniels does heroic work in wrangling it all.

Rated PG-13. 132 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) 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 food-animal hybrids (tacodiles, etc). The jokes are extremely 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 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) 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 different women each night or staying home with pornography. Then he meets a woman (Scarlett Johansson) so perfect that he attempts to give up both habits. Tony Danza plays his dad.

Rated R. 89 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) DRINKING BUDDIES This charming low-key romance from mumblecore master Joe Swanberg lets you relax and enjoy its natural pace, plausible dialogue, likable characters, and winning performances. At the center are two seemingly mismatched couples.

Tomboyish Kate (Olivia Wilde) works at a Chicago craft brewery and dates Chris (Ron Livingston), an

Enough Said

older type-A professional. Her BFF at the brewery is Luke ( Jake Johnson), who is practically engaged to Jill (Anna Kendrick), a shy, prim, bookish special-ed teacher. You think you know where this is headed, right? Not so fast. Rated R. 90 minutes. Center for Contemporary Arts, Santa Fe. (Laurel Gladden) THE FAMILY Robert De Niro and Michelle Pfeiffer play the parents of a family that ends up in the witness protection program in Normandy after daddy rats out his mafia family across the Atlantic. This is a lighthearted satire of mob dramas, so if you think there aren’t going to be corny jokes and comedic examples of culture clash, then fuggedaboutit! At this point, De Niro may have spent more years spoofing his on-screen persona than he spent crafting it.

Rated R. 111 minutes. Regal DeVargas, Santa Fe; DreamCatcher, Española. (Not reviewed) IN A WORLD ... Lake Bell wrote, directed, and stars in this comedy about a woman who tries to break the gender barrier in a very specific professional sector: voice actors who narrate movie trailers. Alas, her biggest competition is her father (Fred Melamed), the man whose gravelly delivery made the words “In a world where ...” famous. Rated R. 93 minutes. Regal DeVargas, Santa Fe. (Not reviewed) continued on Page 64

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INSIDIOUS: CHAPTER 2 Director James Wan brings us his second horror film in three months, after the hit The Conjuring. This story follows the family of the 2011 Poltergeist-like 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 anywhere in the listing. Rated PG-13. 105 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) INSTRUCTIONS NOT INCLUDED As Valentín (Eugenio Derbez) prepares for his big move from Mexico to Hollywood to realize his dream of becoming a stuntman, a former lover leaves him a surprise to take along: a screaming baby. Valentín learns how to be father while learning how to take a fall, with comedic results. In English and Spanish with subtitles. Rated PG-13. 115 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) POPULAIRE Sports movies come in all forms, but this is probably the first one that has ever centered on speed typing. Set in late-’50s France, this colorful and quirky (or should we say QWERTY?) film tells the story of a plucky young woman (Déborah François) who enters a typing contest with the encouragement of a potential beau (Romain Duris) and rises to compete on the global stage. In French with subtitles.

Rated R. 111 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) PRISONERS Hugh Jackman plays a humble father who takes the law into his own hands when his 6-year-old disappears and the prime suspect (Paul Dano) is let off the hook due to a lack of evidence provided by the detective on the case ( Jake Gyllenhaal). Melissa Leo, Maria Bello, and Viola Davis also lend their talents to the film, which is directed by Denis Villeneuve (Incendies). Rated R. 153 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) RUSH Ron Howard’s latest, written by Peter Morgan (Frost/Nixon), follows the epic 1976 duel for the World Drivers’ Championship between dashing Brit James Hunt

spicy

medium

bland

heartburn

mild

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(Chris Hemsworth) and wonky, obsessive Austrian Niki Lauda (Daniel Brühl). There is plenty of excitement, mostly on the Grand Prix tracks. But the good stuff is stitched together painstakingly with an excess of exposition, explanation, and hand-holding of the viewer as Morgan and Howard lead us through the races, the personalities, the romances, and the season. Despite the thrill ride, it’s ultimately more a Niki Lauda than a James Hunt of a movie. Rated R. 123 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) SHORT TERM 12 Brie Larson plays Grace, the head of a staff responsible for creating a safe environment for teens in a group home. Short Term 12 demonstrates how love can come from unexpected sources and that sometimes finding a path out of the darkness is just a matter of luck. The performances are excellent and natural, and the screenplay contains no forced emotional or moral arcs to bring easy closure — yet this is a movie filled with hope. Rated R. 96 minutes.

The Screen, Santa Fe. ( Jennifer Levin) THE SPECTACULAR NOW The writers of 2009’s much-loved (500) Days of Summer adapt Tim Tharp’s coming-of-age novel into a film that is as much about teen alcoholism as teen romance. The plot can get repetitive, and it relies on some familiar tropes, such as the hard-partying guy hooking up with the unpopular girl, but it also feels true. Much of the credit goes to the lead actors (Miles Teller and Shailene Woodley), who look like actual high school students rather than 25year-old models and light up the screen with natural, likable performances. Rated R. 95 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THANKS FOR SHARING Stuart Blumberg, who made his name with a writing credit on 2010’s The Kids Are All Right, steers a sturdy ensemble in his featurelength directorial debut. Mark Ruffalo, Tim Robbins, and Josh Gad play Manhattanites who are drawn together through sex-addiction meetings, and the film extends its reach to the friends, relatives, and romantic partners in their lives. The tone veers uncomfortably between drama and comedy but stays the course thanks to strong performances and writing. Rated R. 112 minutes. Regal DeVargas, Santa Fe. (Robert Ker) 20 FEET FROM STARDOM “Not everyone is cut out for stardom,” says Bruce Springsteen, one of the headliners who muses here on the contributions and frustrations of the backup singers whose vocals raise the sound to another level. Táta Vega, Claudia Lennear, and Lisa Fischer are a few that will send

you out of the theater wondering about the barrier that has kept them from headliner stardom. Morgan Neville’s documentary brings these singers front and center, and it’s glorious. Rated PG-13. 90 minutes.

Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) WE’RE THE MILLERS In one of the year’s biggest surprise hits, a stripper ( Jennifer Aniston) and a pot dealer ( Jason Sudeikis) join up, recruit a couple of kids, and pretend to be a family so they can sneak drugs across the border from Mexico. The plan does not go off without hitches or hijinks.

Rated R. 109 minutes. DreamCatcher, Española.

(Not reviewed) YANGSI This documentary shows us several years in the life of Ugyen Tenzin Jigme Lhundrup, a young man in the Himalayas who learns he is the reincarnation of a Tibetan master and trains to do right by this legacy. Not rated. 82 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) YOU WILL BE MY SON Paul de Marseul (Niels Arestrup) is the proprietor of a venerable Bordeaux vineyard that has been in the family for 11 generations. His only son is Martin (Lorànt Deutsch), an unimposing young man in whom the patriarch recognizes nothing of himself.

When Paul’s indispensable estate manager François (Patrick Chesnais) is diagnosed with terminal cancer and François’ son Phillippe (Nicolas Bridet) returns from California, Paul sees in Phillippe the son he wishes he had, and sets out to fix things. Gilles Legrand’s drama is beautifully acted and photographed. Not rated. 102 minutes. In French with subtitles. The Screen, Santa Fe. (Jonathan Richards)

other screenings Center for Contemporary Arts 8:30 p.m. Friday, Oct. 4: Vikingdom.

El Museo Cultural de Santa Fe 555 Camino de la Familia, 505-992-0591 7 p.m. Friday, Oct. 4: Aquí Estoy, Aquí No. 7 p.m. Saturday, Oct. 5: Tráiganme la Cabeza de la Mujer Metralleta.

Films screen in conjunction with the exhibition El Otro Chile. In Spanish with subtitles. By museum admission.

Regal Stadium 14 8 p.m. Thursday, Oct. 10: Captain Phillips.

8 p.m. and 10:15 a.m. Thursday, Oct. 10: Machete Kills. ◀

Call theaters or check websites to confirm screening times.

Caryn James, INDIEWIRE

Golshifteh Farahani

The Patience Stone A film by

CENTER FOR CONTEMPORARY ARTS CiNEMAThEquE ANd SCREENiNg ROOM

1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org 20 Feet From Stardom (PG-13) Fri. to Sun. 1:15 p.m., 4:15 p.m. Tue. to Thurs. 4:15 p.m.

Drinking Buddies (R) Sat. and Sun. 8:30 p.m.

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

The Patience Stone (R) Fri. to Sun. 3:15 p.m., 5:30 p.m. Tue. to Thurs. 3:15 p.m., 5:30 p.m.

Populaire (R) Fri. to Sun. 2 p.m., 6:15 p.m.

Tue. to Thurs. 2 p.m., 6:15 p.m.

Salinger (PG-13) Fri. 7:30 p.m. Sat. and Sun. 11:30 a.m., 7:30 p.m. Tue. 7:30 p.m.

Vikingdom (NR) Fri. 8:30 p.m.

JEAN COCTEAu CiNEMA

418 Montezuma, 505-466-5528 Extraterrestrial (NR) Fri. 8:30 p.m. Sat. 2 p.m., 8:30 p.m. Sun. to Wed. 8:30 p.m. Thurs. 2 p.m., 8:30 p.m.

Spider Baby, orThe Maddest Story Ever Told (NR) Fri. and Sat. 11 p.m.

Touchy Feely (R) Fri. 2 p.m., 6:20 p.m.

Sat. 6:20 p.m. Sun. 2 p.m., 6:20 p.m. Mon. and Tue. 6:20 p.m. Wed. 2 p.m., 6:20 p.m. Thurs. 6:20 p.m.

Yangsi (NR) Fri. to Sun. 4:15 p.m. Wed. and Thurs.

4:15 p.m.

REgAl dEVARgAS

562 N. Guadalupe St., 505-988-2775, www.fandango.com Blue Jasmine (PG-13) Fri. and Sat. 1:40 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs.

1:40 p.m., 4:30 p.m., 7:30 p.m.

The Butler (PG-13) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:45 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m.

Enough Said (PG-13) Fri. and Sat. 1:30 p.m., 4:20 p.m., 7:20 p.m., 9:40 p.m. Sun. to Thurs.

1:30 p.m., 4:20 p.m., 7:20 p.m.

The Family (R) Fri. and Sat. 1:20 p.m., 4:10 p.m., 7:10 p.m., 9:50 p.m. Sun. to Thurs. 1:20 p.m., 4:10 p.m., 7:10 p.m.

In a World... (R) Fri. and Sat. 4:40 p.m., 10 p.m.

Sun. to Thurs. 4:40 p.m.

The Spectacular Now (R) Fri. to Thurs. 1:50 p.m., 7:40 p.m.

Thanks for Sharing (R) Fri. and Sat. 1:10 p.m., 4 p.m., 7 p.m., 9:35 p.m. Sun. to Thurs. 1:10 p.m., 4 p.m., 7 p.m.

REgAl STAdiuM 14

3474 Zafarano Drive, 505-424-6296, www.fandango.com Call theater or consult website for times not shown.

Baggage Claim (PG-13) Fri. to Wed. 12 p.m., 9:50 p.m.

Battle of the Year 3D (PG-13) Fri. to Wed. 12:50 p.m.

Captain Phillips (PG-13) Thurs. 8 p.m.

Cloudy With a Chance of Meatballs 2 3D (PG) Fri. to Wed. 2:30 p.m., 5 p.m., 7:20 p.m.

Cloudy With a Chance of Meatballs 2 (PG) Fri. to Sun. 12:15 p.m., 2:55 p.m., 5:20 p.m., 7:35 p.m., 10 p.m. Mon. to Wed. 12:15 p.m., 2:55 p.m., 5:20 p.m., 7:35 p.m., 10 p.m.

Don Jon (R) Fri. to Wed. 12:20 p.m., 2:40 p.m., 5:05 p.m., 7:30 p.m., 9:50 p.m.

Grace Unplugged (PG) Fri. to Wed. 12:05 p.m., 2:35 p.m., 5:05 p.m., 7:35 p.m., 10:10 p.m.

Gravity 3D (PG-13) Fri. to Wed. 12 p.m., 12:30 p.m., 2:25 p.m., 3:45 p.m., 4:55 p.m., 5:15 p.m., 7:05 p.m., 7:25 p.m., 9:20 p.m., 10 p.m.

Atiq Rahimi

Gravity (PG-13) Fri. to Wed. 2:45 p.m., 7:45 p.m.,

10:15 p.m.

Insidious: Chapter 2 (PG-13) Fri. to Wed.

12:05 p.m., 2:40 p.m., 5:10 p.m., 7:50 p.m., 10:20 p.m.

Instructions Not Included (PG-13) Fri. to Wed. 1:20 p.m., 4:20 p.m., 7:20 p.m., 10:15 p.m.

Machete Kills (R) Thurs. 8 p.m., 10:15 p.m.

Metallica Through the Never 3D (R) Fri. to Wed. 12:20 p.m., 2:40 p.m., 5 p.m., 7:40 p.m., 10:10 p.m.

Prisoners (R) Fri. to Wed. 12:55 p.m., 4:35 p.m., 8 p.m.

Pulling Strings (PG) Fri. to Wed. 1:10 p.m., 4 p.m., 7:15 p.m., 9:55 p.m.

Runner Runner (R) Fri. to Wed. 1 p.m., 4:30 p.m., 7 p.m., 9:30 p.m.

Rush (R) Fri. to Wed. 12:45 p.m., 3:50 p.m., 7:10 p.m., 10:15 p.m.

Copyright image : Benoît Peverelli – graphic design:

What’s shoWing

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Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com La Camioneta:The Journey of One American School Bus (NR) Fri. 6 p.m. Sat. and Sun. 10 a.m.,

6 p.m. Mon. to Thurs. 6 p.m.

ShortTerm 12 (R) Fri. 1:45 p.m., 7:35 p.m. Sat. and Sun. 1:45 p.m., 4 p.m., 7:35 p.m. Mon. to Thurs.

1:45 p.m., 7:35 p.m.

You Will Be My Son (R) Fri. 3:50 p.m. Sat. and Sun. 11:40 a.m. Mon. to Thurs. 3:50 p.m.

LeeDanielsTheButlerMovie.com

NOW PLAYING AT THEATERS EVERYWHERE! CHECK DIRECTORIES FOR SHOWTIMES • NO PASSES ACCEPTED

MiTChEll dREAMCATChER CiNEMA (ESPAñOlA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com Cloudy With a Chance of Meatballs 2 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.

Cloudy With a Chance of Meatballs 2 (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m.

Mon. to Thurs. 4:30 p.m., 7 p.m.

The Family (R) Fri. 4:45 p.m., 7:15 p.m., 9:40 p.m.

Sat. 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:40 p.m.

Sun. 2:15 p.m., 4:45 p.m., 7:15 p.m. Mon. to Thurs.

4:45 p.m., 7:15 p.m.

Gravity 3D (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.

Gravity (PG-13) Fri. 4:40 p.m., 7:10 p.m. Sat. and Sun. 2:10 p.m., 4:40 p.m., 7:10 p.m. Mon. to Thurs.

4:40 p.m., 7:10 p.m.

Insidious: Chapter 2 (PG-13) Fri. 5 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:30 p.m., 5 p.m., 7:25 p.m., 9:55 p.m.

Sun. 2:30 p.m., 5 p.m., 7:25 p.m. Mon. to Thurs.

5 p.m., 7:25 p.m.

Instructions Not Included (PG-13) Fri. 4:25 p.m., 6:55 p.m., 9:35 p.m. Sat. 1:55 p.m., 4:25 p.m., 6:55 p.m., 9:35 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.

Prisoners (R) Fri. 6:45 p.m., 9:50 p.m.

Sat. 2:25 p.m., 6:45 p.m., 9:50 p.m. Sun. 2:25 p.m., 6:45 p.m. Mon. to Thurs. 6:45 p.m.

Runner Runner (R) Fri. 4:45 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:20 p.m., 4:45 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:20 p.m., 4:45 p.m., 7:20 p.m.

Mon. to Thurs. 4:45 p.m., 7:20 p.m.

We’re the Millers (R) Fri. 4:50 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:05 p.m., 4:50 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:05 p.m., 4:50 p.m., 7:30 p.m.

Mon. to Thurs. 4:50 p.m., 7:30 p.m.

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65

RESTAURANT REVIEW Laurel Gladden I For The New Mexican

Drive-by sushi

Tokyo Café 1847 Cerrillos Road, 982-1688 Lunch and dinner 11 a.m.-9 p.m.

Sundays-Thursdays, 11 a.m.-10 p.m.

Fridays-Saturdays Vegetarian options Takeout and drive-through available Handicapped-accessible Noise level: quiet Beer and wine coming soon Credit cards, no checks

•

The Short Order Tokyo Café, located in the former home of Teriyaki Bowl on Cerrillos Road, is no Michelin-starred sushi restaurant, but decent Japanese food can be had here all the same. You won’t suffer from a lack of choices — the menu includes expected appetizers, nigiri sushi, sashimi, noodle and rice dishes, hibachi meals, teriyaki, tempura, and dozens of rolls — and there are bargains to be had. If service everywhere else were as pleasant, professional, efficient, and fast as it is here, dining in Santa Fe would be an altogether superior experience. Recommended: New Mexico Star Fish, shumai, lunch sashimi special, vegetable tempura, and BMW roll.

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.

66

PASATIEMPO I October 4-10, 2013

Yo might think that a major, highly trafficked commuter You corridor wouldn’t be the ideal place to look for sushi.

However, However I refer you to the film Jiro Dreams of Sushi, which documents the life and career of 85-year-old sushi master Jiro Jir Ono, whose Michelin-starred restaurant is located in a Tokyo subway station. Tokyo Café, which opened earlier this year in the former home of Teriyaki Bowl on Cerrillos Road, is no Sukiyabashi Jiro. But decent Japanese food, some enticing deals, and occasionally artful sushi and sashimi can be had here all the same.

You won’t suffer from a lack of choices. The menu includes expected appetizers, from miso soup and an assortment of salads to gyoza, shumai, tempura, and spring rolls. The lunch portion of the menu features nigiri sushi, sashimi, and roll combinations. At lunch and dinner, options include hibachi meals (chicken, beef, seafood, vegetables), teriyaki, tempura, noodle and rice dishes, sushi and sashimi, and dozens of rolls. Most entrees are accompanied by soup or salad.

Tokyo Café does offer some bargains. If putting the words bargain and sushi in the same sentence gives you the creeps, never fear. My $9 lunch sashimi special — four pieces of fish (buttery yellowtail; meaty, fatty hot-pink tuna; almost minerally tasting salmon; and a wedge of whitefish with a scallop’s delicately pinkish white color) and an acceptable California roll — was gorgeous and utterly fresh. The fish’s structure was solid and cohesive, but it began to melt in my mouth with the first bite. At dinner, special and signature rolls are offered at two for $18.99 (most cost $10 or more apiece), and if you spend $30, you’ll be offered complimentary shumai or dessert.

The nabeyaki udon bowl soothes and satisfies with its clear broth (slightly undersalted in my book), your choice of protein, an array of vegetables, and thick, slightly doughy noodles. Topping it all are two perfectly fried shrimp with a crisp, raggedy tempura crust and a single egg so well fried and golden-centered that you understand why they call it sunny side up. My mild white-miso soup was pleasantly warm but peculiarly served in a chilled bowl.

The fried age tofu appetizer was an artfully composed plate, popping with color from a variegated fuchsia carnation and a tangle of carrot ribbons at the center. It had a dusty coating of some sort, which I’m sure was intended to form a crust, but it hadn’t stayed in the oil long enough to brown. The center of the tofu was molten hot, almostliquid silken, and difficult to eat.

Otherwise, the kitchen seems to be adept at frying things.

Our tempura vegetables (onion, mushroom, broccoli, sweet potato, zucchini, and asparagus) were yielding and fresh beneath a crisp panko crust. The harumaki (which means “spring rolls”) were crunchy and just as greasy as you want such things to be, with a pleasingly soft, starchy, vegetal filling. The fried shumai were hot and slightly crunchy and had a soft filling with a delicately sweet shrimp flavor.

You probably won’t find anything like the New Mexico Star Fish on menus in Tokyo, but it’s a fun, intriguing treat — tempura-fried jalapeño halves stuffed with crab and topped with fresh avocado and crunchy tempura flakes. Mildly spicy and rich, the dish is like a Japanese version of the jalapeño popper, and I mean that in the best way possible.

Though many of the specialty rolls are complex in flavor and texture, they seem overwrought, involving “special sauces,” a phrase that sounds more fitting for a fast-food joint. The aptly named BMW is the luxury roll, fully loaded with salmon (fresh and “peppered”), tuna, avocado, and a dusting of roe. The Tokyo Café roll includes some standards — avocado, sweet shrimp, salmon, and crab — but also uncommon elements such as blackened tuna, red bell pepper, and jalapeño. “So-So Spicy” would perhaps be a better name for the interesting but only mildly hot So Spicy roll, a collection of crab, red and tempura jalapeño peppers, avocado, and “peppered” yellowtail. I was leery of the Ninja roll, in which cream cheese appears alongside tuna, avocado, eel, and flying fish roe, but the cheese provided an interesting creamy texture and milky flavor, especially in contrast to the crunchy bursts of salty roe.

Other dining establishments in town could take a lesson from Tokyo Café when it comes to service. Dining in Santa Fe would be an altogether superior experience if service everywhere else were as pleasant, professional, efficient, and fast as it is here. The dining room’s fastfood-style floor plan also includes a drive-through window — and yes, drive-through sushi also sounds like a potentially bad idea. But who deserves decent, satisfying, easily obtained food more than a busy commuter? ◀

Check, please

Lunch for two at Tokyo Café: Age tofu ................................................................$ 4.99 Sashimi lunch special ...........................................$ 8.99 Harumaki ..............................................................$ 4.99 Chicken nabeyaki udon ........................................$ 8.99 TOTAL ..................................................................$27.96 (before tax and tip) Dinner for four, another visit: New Mexico Star Fish ...........................................$ 6.99 Vegetable tempura ................................................$ 8.99 BMW roll & Tokyo Café roll .................................$18.99 So Spicy roll & Ninja roll .....................................$18.99 Hot tea ..................................................................$ 1.99 TOTAL ..................................................................$55.95 (before tax and tip)

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pasa week Friday, Oct. 4

nüart gallery 670 Canyon Rd., 505-988-3888. Desiderata, paintings by Erin Cone, reception 5-7 p.m., through Oct. 20. patina gallery 131 W. Palace Ave., 505-986-3432. Ingrained, works in wood by Liam Flynn and Gustav Reyes, reception 5-7 p.m., through Oct. 27. peyton Wright 237 E. Palace Ave., 505-989-9888. Charles Hinman: Painting as a Three-Dimensional Statement, through Nov. 15. scarlett’s gallery 225 Canyon Rd., 505-983-7092. Saints on Wheels!, work by Charlie Carrillo, through Nov. 3. sr Brennen galleries 124 W. Palace Ave., 505-467-8295.

Works by artists of Studio Incamminati, reception 5-7 p.m. sugarman-peterson gallery 130 W. Palace Ave., 505-982-0340. New oil paintings by Stephen Day, reception 5-7:30 p.m., through October.

Waxlander gallery 622 Canyon Rd., 505-984-2202. The Eyes Have It, paintings by Lori Faye Bock and Sharon Markwardt, reception 5-7 p.m., through Oct. 14.

gallery/museum openings

andrew smith gallery 122 Grant Ave., 505-984-1234. Mannequin, Lee Friedlander’s photographic series, reception 4-6 p.m., though Jan. 5, 2014. art gone Wild galleries 130-D Lincoln Ave., 501-520-7419. Group show of paintings, glass art, and sculpture, reception 5-7 p.m. axle Contemporary 505-670-7612 or 505-670-5854. Autophotography, group show of self-portraits, reception 5-7 p.m., look for the mobile gallery’s van at the Railyard, outside the Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta.

Blue rain gallery 130-C Lincoln Ave., 505-954-9902. Alberto Valdés (1918-1998): Selected Paintings, reception 5-7 p.m., through Oct. 18.

Canyon road art Brokerage 618 Canyon Rd., 505-995-1111. Michael Lawton: The Panoramic Works, 1969-2013, photographs, reception 5-8 p.m., through Oct. 13.

Commissioner’s gallery — new mexico state land office 310 Old Santa Fe Trail, 505-827-5762. Córdova x 2, paintings by Amy Córdova and Matthew Córdova, reception 5-7 p.m., through October.

Counter Culture 930 Baca St. Abstract Explosion, paintings by Julie Schumer, through October, for information call 505-603-1259.

De la serna Fine arts El Farol, 808½ Canyon Rd., 505-507-6585. A Matter of Life and Death, works by Sean Wells, Gregory Segura, and Jacobo de la Serna, reception 5-7 p.m. ernesto mayans gallery 601 Canyon Rd., 505-983-8068. Loud Whisper, work by Kathleen McCloud, reception 5-7 p.m., through Oct. 25. a gallery santa Fe 154 W. Marcy St., Suite 104, 505-603-7744. Exceptions to the Rule, sculpture and wall pieces by Carol Ware and Nathaniel Hesse; paintings by David Forlano, reception 5-7 p.m., through November. gebert Contemporary 558 Canyon Rd., 505-992-1100. Painting in 2013, work by Dirk De Bruycker, reception 5-7 p.m., through Nov. 12. georgia o’Keeffe museum 217 Johnson St., 505-946-1000. Modern Nature: Georgia O’Keeffe and Lake George, through Jan. 26, 2014 (see story, Page 48).

Joe Wade Fine art 102 E. Water St., 505-988-2727. Paintings by Manfred Rapp, reception 5-7 p.m., through Oct. 13. la posada de santa Fe resort and spa 330 E. Palace Ave., 505-986-0000.

Oil paintings by Cheryl Koen, reception 4 p.m., through December.

Pasa’s Little Black Book......... 69 Exhibitionism...................... 70 At the Galleries.................... 71 Libraries...............................71 Museums & Art Spaces........ 71

68

PASATIEMPO I October 4 -10, 2013

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

ClassiCal musiC

santa Fe Community orchestra The orchestra plays works of the two Composition Competition finalists, 6 p.m., Stieren Hall at the Santa Fe Opera, 301 Opera Dr., 505-466-4879, no charge.

TgiF recital Cellist Dana Winograd and pianist Linda King perform music of J.S. Bach, Granados, and Piazzolla, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., 505-982-8544, Ext. 16.

in ConCerT

The Visitor, by Lori Faye Bock, Waxlander Gallery, 622 Canyon Rd.

legends santa Fe 125 Lincoln Ave., 505-983-5639. Illusory, new series by photographer Stephen Lang, reception 5-7 p.m., through Oct. 29. manitou galleries 123 W. Palace Ave., 505-986-0440. New Mexico Vision, works by Arthur Lopez, Miguel Martinez, and Alvin Gill-Tapia, reception 5-7:30 p.m., through Oct. 18. meyer east gallery 225 Canyon Rd., 505-983-1657. First Sun, paintings by Ricardo Fernandez, reception 5-7 p.m., through Oct. 18.

In the Wings....................... 72 Elsewhere............................ 74 People Who Need People..... 75 Pasa Kids............................ 75

meyer gallery 225 Canyon Rd., 505-983-1434. Paintings

by Alejandro Barron, reception 5-7 p.m., through Thursday, through Thursday, Oct. 10. monroe gallery of photography 112 Don Gaspar Ave., 505-992-0800.

Ernest Withers: A Life’s Work, reception 5-7 p.m., through Nov. 24 (see story, Page 44). new Concept gallery 610 Canyon Rd., 505-795-7570. Early works by abstract painter Reg Loving; group show of works by gallery artists; reception 5-7 p.m., through Nov. 4.

Boom Tic Boom Percussionist/composer Allison Miller, with pianist Myra Melford and bassist Todd Sickafoose, 7:30 p.m., Gig Performance Space, 1808 Second St., $20 at the door, gigsantafe.com (see story, Page 30).

TheaTer/DanCe

antonio granjero and entreFlamenco Company 8 p.m., The Lodge at Santa Fe, $25-$45 in advance, ticketssantafe.org, 505-988-1234, Wednesday-Saturday through Oct. 12.

Middletown Greer Garson Theatre presents Will Eno’s comedy, 7 p.m., SFUA&D, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org, Friday-Sunday through Oct. 13.

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.

The Other Santa Fe Performing Arts presents performance artist Cohdi Harrell’s production, 8 p.m. today and Saturday, Armory for the Arts, 1050 Old Pecos Trail, $20, discounts available, 505-9841370, sfperformingarts.org, encores Oct. 11-12, contains nudity.

The Rumi Concert Poetry, music, dance, and storytelling, 7:30 p.m., the Lensic, $25-$100, 505-988-1234, ticketssantafe.org.

books/Talks

self-knowledge: The key to Hegel’s Phenomenology of spirit A St. John’s College community lecture by Robert Berman, 7:30 p.m. Great Hall, Peterson Student Center, 1160 Camino de Cruz Blanca, no charge, 505-984-6070.

ouTdooRs

santa Fe botanical Garden at Museum Hill Open 9 a.m.-5 p.m. daily April-October, 10 a.m.-4 p.m. Tuesday-Sunday November-March, 715 Camino Lejo, $5, santafebotanicalgarden.org.

evenTs

Jewelers annual Meet and swap Local jewelers sell beads, stones, and tools, 9 a.m.-2 p.m., Santa Fe Jewelers Supply parking lot, 3200 Mercantile Court, 505-988-9157.

niGHTliFe

(See addresses below) bishop’s lodge Ranch Resort & spa Jazz guitarist Pat Malone, 6-9 p.m., no cover.

Café Café Los Primos Trio, traditional Latin rhythms, 6-9 p.m., no cover. ¡Chispa! at el Mesón The Three Faces of Jazz and Friends, 7:30 p.m.close, no cover.

317 aztec 20-0150 317 Aztec St., 505-8 nter dinner agora shopping Ce Vista Grande, ida en Av courtyard 7 70 Eldorado, 505-466-12 e inn th agoyo lounge at E. Alameda St., 3 30 a ed am al on the 505-984-2121 nt anasazi Restaura Anasazi, Rosewood Inn of the 505-988-3030 e., 113 Washington Av e ffe Co ay rd bette 505-555-1234 905 W. Alameda St., nch Resort bishop’s lodge Ra Lodge Rd., ps ho & spa 1297 Bis 505-983-6377 Café Café 5-466-1391 500 Sandoval St., 50 Casa Chimayó 5-428-0391 409 W. Water St., 50 ón ¡Chispa! at el Mes 505-983-6756 e., 213 Washington Av Cowgirl bbQ , 505-982-2565 319 S. Guadalupe St. Café te The den at Coyo 5-983-1615 50 , St. r ate W .

132 W lton el Cañon at the Hi 88-2811 5-9 50 , St. al 100 Sandov

Cowgirl bbQ Americana guitarist Jonathan Fleig, 5-7:30 p.m.; Joe West & The Santa Fe Revue, psychedelic country, 8:30 p.m., no cover. el Cañon at the Hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover.

High Mayhem emerging arts One-man band Lonesome Leash, Luke Carr and Caitlin Brothers open, 9 p.m., call for cover.

Hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Fiesta lounge at la Fonda Night Train, blues, 8 p.m.-close, no cover. la Posada de santa Fe Resort and spa Nacha Mendez Duo, pan-Latin rhythms, 6:30-9:30 p.m., no cover. low ’n slow lowrider bar at Hotel Chimayó de santa Fe Bienvenu Revolver Trio with Loren Bienvenu, Andy Kingston, and Cody Winning, jazz, 9 p.m., no cover. omira bar & Grill Guitarist Ramon Bermudez, 6-8 p.m., no cover. second street brewery Bill Hearne Trio, country, 6-9 p.m., no cover. second street brewery at the Railyard Busy & The Crazy 88!, Busy McCarroll, Kevin Zoernig, Baird Banner, and Justin Bransford, hipster pop, 7-10 p.m., no cover.

5 Saturday GalleRy/MuseuM oPeninGs

la Tienda exhibit space 7 Caliente Rd., Suite A-6, Eldorado, Vibrant Choices in the Abstract Realm, work by Merlin Emrys, Felicitas, and Holger Schmidt, reception 5-7 p.m., call 505-466-2217 for information.

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 evangelo’s o St., 505-982-9014 200 W. San Francisc erging arts High Mayhem em -2047 38 5-4 50 ., Ln er 2811 Sil Hotel santa Fe ta, 505-982-1200 1501 Paseo de Peral asters ikonik Coffee Ro -0996 28 1600 Lena St., 505-4 la boca 5-982-3433 72 W. Marcy St., 50 ina nt la Casa sena Ca 5-988-9232 50 e., Av e lac Pa 125 E. at la Fonda la Fiesta lounge , 505-982-5511 St. o isc nc Fra 100 E. San a Fe Resort nt sa de da la Posa Ave., 505-986-0000 e lac Pa and spa 330 E. at the lamy The legal Tender 151 Old Lamy Trail, m Railroad Museu 505-466-1650 g arts Center lensic Performin St., 505-988-1234 o isc nc Fra 211 W. San e lodge Th at ge un lodge lo Francis Dr., St. N. 0 at santa Fe 75 505-992-5800

Madrid/ cerrillos studio Tour

oct. 5-6 and 12-13

Barbara Harnack: School Thoughts

oPeRa in Hd

The Met at the lensic Tchaikovsky’s Eugene Onegin is the seasonopening broadcast from the Metropolitan Opera, 11 a.m., encore 6 p.m., the Lensic, $22-$28, 505-988-1234, ticketssantafe.org.

ClassiCal MusiC

Canticum novum Chorus & orchestra The 10th season opens with music of Mendelssohn and Donizetti, performers include soprano Cecilia Leitner and baritone Tim

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

The Madrid/Cerrillos Studio Tour The tour celebrates its eighth year with an artist meet-and-greet, a live art auction, and a silent auction at 7 p.m. Friday, Oct. 4, at the Engine House Theater, above The Mine Shaft Tavern in Madrid. Private studios open 10 a.m.-5 p.m. saturday and sunday, oct. 5-6 and oct.

12-13, between the historic mining towns of the Turquoise Trail. For more information contact Jane Cassidy at 505-470-1346 or janecassidy2004@ aol.com. View a tour map and find links to artists’ websites online at madridcerrillosstudiotour.com.

Wilson, 4 p.m., Scottish Rite Center, 463 Paseo de Peralta, Oliver Prezant preconcert lecture 3 p.m., $25 and $35, discounts available, 505-988-1234, ticketssantafe.org, Sunday encore.

in ConCeRT

Frightened Rabbit Scottish rock band, Railyard Concert Series, 7 p.m., Railyard Plaza, 1607 Paseo de Peralta, no charge, railyardsantafe.com.

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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., Suite 117, 505-988-7102 Thunderbird bar & Grill 50 Lincoln Ave., 505-490-6550 Tiny’s 1005 St. Francis Dr., Suite 117, 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

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exhibitionism

A peek at what’s showing around town

Ruth miller: Bird, 2013, oil on canvas. S.R. Brennen Galleries (124 W. Palace Ave.) presents The Artists of Studio Incamminati, an exhibition of more than 40 works by artists from Philadelphia’s Studio Incamminati — its curriculum focuses on academic painting. There is a 5 p.m. reception on Friday, Oct. 4. Call 505-467-8295.

Kathleen mcCloud: Nuwa Hears Things, 2013, acrylic and oil on canvas. Loud Whisper, an exhibit of work by Kathleen McCloud, is based on papers and ephemera the artist inherited from Emil Schnellock, Henry Miller’s friend and literary executor. McCloud’s multimedia installation explores connections to the past and present, weaving together mythic narratives and concepts of history and personal experience. The show opens with a 5 p.m. reception on Friday, Oct. 4, at Ernesto Mayans Gallery (601 Canyon Road). Call 505-983-8068.

erin Cone: Overflow, 2013, acrylic on canvas. Erin Cone’s figurative paintings combine self-portraiture with abstract, minimalist planes of color. She avoids emotional and narrative content in her compositions, focusing instead on relationships of color and form. An exhibit of her work, Desiderata, opens Friday, Oct. 4, at Nüart Gallery (670 Canyon Road) with a 5 p.m. reception. Call 505-988-3888.

nick merrick: Morning Series: 1976, 1996, 2013, contact silver print made from three negatives sandwiched together.

Axle Contemporary presents Autophotography, an exhibition of self-portraits by more than 80 New Mexico photographers, including Baron Wolman, Steve Fitch, and Jennifer Schlesinger Hanson. The participants are known for working in several disciplines, including architecture and commercial photography and photorealism.

The reception is Friday, Oct. 4, at 5 p.m. in the Railyard near the Santa Fe Farmers Market Pavilion (1607 Paseo de Peralta). Visit www.axleart.com for the mobile gallery’s daily schedule or call 505-670-7612.

michael Lawton: Canyonlands, Utah, 1980, 360-degree panoramic photograph. Canyon Road Art Brokerage (618 Canyon Road) presents Michael Lawton: The Panoramic Works 1969-2013. Lawton, an eco-activist, designer, and photographer, creates 360-degree images using cameras of his own invention. His work has appeared in National Geographic. The exhibit opens Friday, Oct. 4, with a reception at 5 p.m.

Call 505-995-1111.

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PASATIEMPO I October 4 -10, 2013

At the GAlleries Argos Studio/Gallery 1211 Luisa St. 505-988-1814. Sandia Lewis: A Survey of Her Work, through Oct. 11 (see review, Page 42).

Canyon Road Contemporary 403 Canyon Rd., 505-983-0433. Group show of sculpture and glass art, through Thursday, Oct. 10.

Charlotte Jackson Fine Art 554 S. Guadalupe St., 505-989-8688.

New work by Tony DeLap, through Oct. 27.

Chiaroscuro Contemporary Art 702½ Canyon Rd., 505-992-0711. Tim Jag’s Dualities Series; Distances by Mike Stack, through Oct. 18.

Eggman & Walrus 130 W. Palace Ave., second floor, 505-660-0048.

Limitless, works by Bernadette Freeman and Charles Greeley, through Oct. 12.

Eight Modern 231 Delgado St., 505-995-0231. With Fire, Flags, and Sacrifice, new works by Katherine Lee, through Oct. 19.

El Museo Cultural de Santa Fe 555 Camino de la Familia, 505-992-0591.

El Otro Chile, group show of work by Chilean artists and New Mexico artists of Chilean heritage, through Oct. 14.

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.

Meyer East Gallery 225 Canyon Rd., 505-983-1657. Fire Sale!

Everything Must Go! Limit 4 per Customer!, trompe l’oeil paintings by Natalie Featherston, through Oct. 11.

Photo-eye Gallery 376-A Garcia St., 505-988-5159. Across the Ravaged Land, Nick Brandt’s photographic study of East Africa, through November (see story, Page 54).

Scheinbaum & Russek 812 Camino Acoma, 505-988-5116. Beyond Reality, works by photographers Minor White (1908-1976) and Walter Chappell (1925-2000), through Oct. 12.

Selby Fleetwood Gallery 600 Canyon Rd., 505-992-8877. A New American Botanical: Plants of Peru, Florida, and Arizona, through Tuesday, Oct. 8.

Verve Gallery of Photograph 219 E. Marcy St., 505-982-5009. Nevada Wier: Invisible Light: The World of Infrared; Alan Pearlman: Santa Fe Faces; Janet Russek: The Tenuous Stem, through Nov. 2.

William Siegal Gallery 540 S. Guadalupe St., 505-820-3300. New work by Paolo Cavinato and Peter Ogilvie, through Oct. 26.

Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111.

Walling: Containing Architecture, Tom Miller’s paintings and sculptural installations, through Oct. 18.

liBrAries Beaumont and Nancy Newhall Library Marion Center for Photographic Arts, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., 505-424-5052. Open by appointment only.

Catherine McElvain Library School for Advanced Research, 660 Garcia St., 505-954-7200. Open Monday-Friday, call for hours.

Chase Art History Library Thaw Art History Center, Santa Fe University of Art & Design,

1600 St. Michael’s Dr., 505-473-6569. Open Monday-Friday, call for hours.

Faith and John Meem Library St. John’s College, 1160 Camino de Cruz Blanca, 505-984-6041. Visit stjohnscollege.edu for hours. $40 fee to nonstudents and nonfaculty.

Fray Angélico Chávez History Library Palace of the Governors, 120 Washington Ave., 505-476-5090. Open 1-5 p.m. Tuesday-Friday.

Laboratory of Anthropology Library Museum of Indian Arts & Culture, 505-476-1264.

Open 1-5 p.m. Monday-Friday, by museum admission.

New Mexico State Library 1209 Camino Carlos Rey, 505-476-9700. Upstairs (state and federal documents and books) open noon-4:30 p.m. Monday-Friday; downstairs (Southwest collection, archives, and records) open 9 a.m.-4:30 p.m. Monday-Friday.

Quimby Memorial Library Southwestern College, 3960 San Felipe Rd., 505-467-6825. Rare books and collections of metaphysical materials. Open Monday-Friday, call for hours.

Santa Fe Community College Library 6401 Richards Ave., 505-428-1352. Open Monday-Friday, call for hours.

Santa Fe Institute 1399 Hyde Park Rd., 505-984-8800. Open 1-5 p.m. Monday-Friday to current students (call for details). Visit santafe.edu/library for online catalog.

Santa Fe Public Library, Main Branch 145 Washington Ave., 505-955-6780. Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.-6 p.m.

Friday-Saturday, 1-5 p.m. Sunday.

Santa Fe Public Library, Oliver La Farge Branch 1730 Llano St., 505-955-4860.

Open 10 a.m.-8 p.m. Monday-Wednesday, 10 a.m.-6 p.m. Thursday-Saturday. Closed Sunday.

Santa Fe Public Library, Southside Branch 6599 Jaguar Dr., 505-955-2810.

Open 10 a.m.-8 p.m. Monday-Thursday, 10 a.m.-6 p.m. Friday-Saturday. Closed Sunday.

Supreme Court Law Library 237 Don Gaspar Ave., 505-827-4850. Online catalog available at supremecourtlawlibrary.org.

Open 8 a.m.-5 p.m. Monday-Friday.

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

Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338. Gallery hours available online at ccasantafe.org or by phone, no charge.

Georgia O’Keeffe Museum 217 Johnson St., 505-946-1000. Modern Nature: Georgia O’Keeffe and Lake George, Friday, Oct. 4, through Jan. 26, 2014 (see story, Page 48). Open 10 a.m.-5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Friday. $12; seniors $10; NM residents $6; students18 and over $10; NM residents no charge the first Friday of each month.

Museum of Contemporary Native Arts 108 Cathedral Pl., 505-983-1666.

Changing Hands: Art Without Reservations 3/Contemporary and Southwest, group show • Steven J. Yazzie: The Mountain • Jacob Meders: Divided Lines; Cannupa Hanska Luger: Stereotype: Misconceptions of the Native American; through December. Open 10 a.m.5 p.m.; noon-5 p.m. Sunday; closed Tuesday.

Adults $10; NM residents, seniors, and

eight Modern shows works by Katherine lee, 231 Delgado st.

students $5; 16 and under and NM residents with ID no charge on Sundays.

Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 505-476-1250.

Heartbeat: Music of the Native Southwest • 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. Open 10 a.m.-5 p.m. daily.

NM residents $6; nonresidents $9; ages 16 and younger no charge; students with ID $1 discount; school groups free; NM residents no charge on Sundays; no charge for NM residents over 60 on Wednesdays. Take a Look, free artifact identification by MIAC curators, noon-2 p.m. the third Wednesday of each month.

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

Let’s Talk About This: Folk Artists Respond to HIV/AIDS, collaborative community exhibit, through Jan. 5, 2014 • Tako Kichi: Kite Crazy in Japan, exhibit of traditional Japanese kites, through April 27, 2014 • New World Cuisine: The Histories of Chocolate, Mate y Más, through January 5, 2014 • Multiple Visions: A Common Bond, collection of toys and folk art.

Open 10 a.m.-5 p.m. daily. NM residents $6; nonresidents $9; ages 16 and under no charge; students with ID $1 discount; NM residents over 60 no charge on Wednesdays; no charge for NM residents on Sundays; school groups no charge.

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

Beltrán-Kropp Peruvian Art Collection, exhibit of gift items, including a permanent gift of 60 art pieces and objects from the estate of Pedro Gerardo Beltrán Espantoso, Peru’s ambassador to the U.S. (1944-1945), through May 27, 2014 • San Ysidro/St. Isidore the Farmer, bultos, straw appliqué, paintings on tin, and retablos • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation. Open 10 a.m.5 p.m. Tuesday-Sunday. $8; NM residents $4; 16 and under no charge; NM residents no charge on Sundays.

New Mexico History Museum/ Palace of the Governors 113 Lincoln Ave., 505-476-5200. Water Over Mountain, Channing Huser’s photographic installation • Cowboys Real and Imagined, artifacts and photographs from the collection, through March 16, 2014 • Tall Tales of the Wild West: The Stories of Karl May, photographs and ephemera in relation to the German author, through Feb. 9, 2014.

Open 10 a.m.-5 p.m. daily. 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 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, 2014 • 50 Works for 50 States: New Mexico, through April 13,2014 • Back in the Saddle, paintings, prints, photographs, and drawings of the Southwest, through Jan. 12, 2014 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. daily. NM residents $6; nonresidents $9; 16 and younger no charge; students with ID $1 discount; school groups no charge; NM residents over 60 no charge on Wednesdays; NM residents no charge 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 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 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. Open 10 a.m.-5 p.m. TuesdaySaturday; 10 a.m.-7 p.m. Friday; closed Wednesday beginning in September. $10; seniors and students $5; 10 a.m.-noon Saturday, no charge; Friday no charge.

Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13. Open 10 a.m.-5 p.m. daily.

Donations accepted.

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In the wings MUSIC

John Tank The New York City-based jazz saxophonist is joined by Bert Dalton on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m. Friday, Oct. 11, Museum Hill Café, $25, 505-983-6820.

Te Amo, Argentina Multimedia performance with tango dancers Miriam Larici and Leonardo Barrionuevo, string quartet The Capitol Ensemble, pianist Brian Pezzone, and double bassist Pablo Motta, 7:30 p.m. Friday, Oct. 11, the Lensic, $20-$40, 505-988-1234, ticketssantafe.org.

Joe West’s Psychedelic Folk and Bluegrass Festival Lineup includes Family Lotus, Joe West & The Santa Fe Revue, Todd & The Fox, and Will and the Won’ts (see Sound Waves, Page 24), noon-midnight Saturday, Oct. 12, Madrid railyard, $15; no charge for kids.

Cedric Burnside Project and Jimmy “Duck” Holmes Mississippi-blues artists, 7 p.m. Saturday, Oct. 12, Music Room at Garrett’s Desert Inn, 311 Old Santa Fe Trail, $25 in advance, brownpapertickets.com, $28 at the door.

World Blues Tour Featuring Taj Mahal, Vusi Mahlasela, Fredericks Brown, and Deva Mahal, 7:30 p.m. Sunday, Oct. 13, the Lensic, $25-$55, ticketssantafe.org, 505-988-1234.

Notes on Music Illustrated presentation with pianist/conductor Joseph Illick on the music of Verdi, 7:30 p.m. Tuesday, Oct. 15, United Church of Santa Fe, 1804 Arroyo Chamiso Rd., $20, 505-988-1234, ticketssantafe.org.

Steve Earle and The Dukes Roots rockers, 7:30 p.m. Tuesday, Oct. 15, Greer Garson Theatre, SFUA&D, $42-$62, 505-988-1234, ticketssantafe.org.

Santa Fe Pro Musica Tchaikovsky Serenade featuring Carol Redman on flute, 6 p.m. Saturday, Oct. 19, 3 p.m. Sunday, Oct. 20, St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave., $20-$65, 505-988-4640, santafepromusica.com or ticketssantafe.org.

Serenata of Santa Fe The chamber music ensemble’s season continues with No Stone Unturned, music of Messiaen, Brahms, and John Harbison, 3 p.m. Sunday, Oct. 20, performers include Debra Ayers, L.P. How, and Christof Huebner, Scottish Rite Center, 463 Paseo de Peralta, $25, 505-988-1234, ticketssantafe.org.

Geri Allen, Terri Lyne Carrington, and Esperanza Spalding Jazz trio, 7 p.m. Sunday, Oct. 20, the Lensic, $30-$60, 505-988-1234, ticketssantafe.org.

Todd Snider Alt-country singer/songwriter, 7:30 p.m.

Tuesday, Oct. 22, Santa Fe Sol Stage & Grill, 37 Fire Pl., $25 in advance, $30 at the door, 505-988-1234, ticketssantafe.org.

Michael Franti & Spearhead Funk/reggae/jazz fusion band, 7:30 p.m.

Wednesday, Oct. 23, Santa Fe Community Convention Center, $30, ticketssantafe.org, 505-988-1234, $35 at the door, 21+.

Christianne Miranda Jazz vocalist, with Bert Dalton, Andy Zadrozny, and John Trentacosta, 7 p.m. Friday, Oct. 25, Museum Hill Café, $25, 505-983-6820.

Santa Fe Men’s Camerata Choral concert Feel the Spirit, 3 p.m. Saturday, Oct. 26, Immaculate Heart of Mary Retreat and Conference Center, 50 Mount Carmel Rd., $20 at the door, student discounts available, santafemenscamerata.com.

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PASATIEMPO I October 4 -10, 2013

Upcoming events 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, 505-988-1234, ticketssantafe.org.

THEATER/DANCE

Birds of Chicago Roots duo, 7:30 p.m. Monday, Oct. 28, Music Room at Garrett’s Desert Inn, 311 Old Santa Fe Trail, $22 in advance at brownpapertickets.com, $25 at the door.

Leni Stern African Trio Jazz guitarist with Senegalese musicians Mamadou Ba and Alioune Faye, 7:30 p.m.

Monday, Oct. 28, Gig Performance Space, 1808 Second St., $20 at the door, gigsantafe.com.

Iva Bittová Czech avant-garde vocalist/violinist, 7:30 p.m. Friday, Nov. 8, Gig Performance Space, 1808 Second St., $20 at the door, gigsantafe.com.

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 Second St., $20 at the door, gigsantafe.com.

Dos Patrias: La Poesía de Cuba Teatro Paraguas’ poetry series, 7:30 p.m.

Friday and Saturday, 2 p.m. Sunday, Oct. 11-20, 3205 Calle Marie, $8 and $10, Sundays pay-what-you-wish, 505-424-1601.

National Theatre Live in HD Othello, 7 p.m. Tuesday, Oct. 15; Macbeth, 7 p.m.

Tuesday, Nov. 5; 50th anniversary event showcase, 7 p.m. Tuesday, Nov. 12; the Lensic, $22, discounts available, ticketssantafe.org, 505-988-1234.

Balé Folclórico da Bahia Brazilian folk dance, 7 p.m. Wednesday, Nov. 13, the Lensic, $25-$45, ticketssantafe.org, 505-988-1234.

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, student discounts available, ticketssantafe.org, 505-988-1234.

Our Lady of 121st Street Stephen Adly Guirgis’ comedy about a missing corpse, 7 p.m. Friday-Sunday, Nov. 15-24, Greer Garson Theatre, SFUA&D, 1600 St. Michael’s Dr., $12-$15, discounts available, 505-988-1234, ticketssantafe.org.

Roots duo Birds of chicago performs oct. 28 at garrett’s Desert inn.

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.

The Second City Comedy-theater troupe, 7 p.m. Saturday, Dec. 7, the Lensic, $27-$44, 505-988-1234, ticketssantafe.org.

Paula Poundstone Standup comedian, 7:30 p.m. Friday, Dec. 13, the Lensic, $27.50 and $35, 505-988-1234, ticketssantafe.org.

HAPPENINGS

Atomic Surplus Multidisciplinary group exhibit surveying the global nuclear legacy; also, Tony Price and the Black Hole, exhibit of historic ephemera from the Los Alamos Black Hole salvage yard and works from the estate of the artist Tony Price, opening reception 6-8 p.m. Friday, Oct. 11, Center for Contemporary Arts, 1050 Old Pecos Trail, suggested $5 donation, 505-982-1338.

Spread 4.0 SITE Santa Fe’s recurring public dinners designed to generate financial support for artistic innovation; finalists include Axle Contemporary, Ligia Bouton, and New Mexico Acequia Association, 7 p.m. Friday, Oct. 11, Santa Fe Farmers Market Pavilion, 1606 Paseo de Peralta, $15-$50 sliding scale, tickets available at SITE Santa Fe only, 505-989-1199.

Fifth Annual Santa Fe Independent Film Festival Grand-opening gala 6:30 p.m.

Wednesday, Oct. 16, with the John Sayles thriller Go for Sisters; other films include the New Mexico premiere of Tapia and the madein-New Mexico feature Sweet Vengeance; also, filmmaker John Waters in his one-man show This Filthy World, 7 p.m. Saturday, Oct. 19, the Lensic; festival continues through Oct. 20, venues and ticket costs vary, festival pass $150, ticketssantafe.org, 505-988-1234.

Lannan Foundation events Lannan Literary Series, writers Jamaica Kincaid and Robert Faggen, 7 p.m. Wednesday, Oct. 16, In Pursuit of Cultural Freedom Series, Jeremy Scahill, author of Dirty Wars: The World Is a Battlefield, and Tom Engelhardt, 7 p.m.

Wednesday, Oct. 30; the Lensic, $6, students $3, ticketssantafe.org, 505-988-1234.

Esperanza Shelter for Battered Families Masquerade Ball Silent auction, music by theatrical jazz quartet Le Chat Lunatique, and dinner, 6 p.m. Saturday, Oct. 26, Santa Fe Community Convention Center, $125, table discounts available, esperanzaball.com, 505-474-5536.

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

Holiday Pie Mania Auction of pies supplied by 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, 505-471-1633.

Recycle Santa Fe Art Festival Recycled-art market, juried exhibit, and trashfashion contest, Friday-Sunday, Nov. 15-17, Santa Fe Community Convention Center, 201 W. Marcy St., recyclesantafe.org.

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theater/dance

books/talks

charles F. lummis Santa Fe New Mexican columnist and historian Marc Simmons discusses the New Mexico pioneer, 10 a.m., Cowboy Church of Santa Fe County, 4525 NM 14, cowboychurchofsantafe. org, no charge.

Peter e. lopez The author reads from and signs copies of Edward O’Brien: Mural Artist, 3 p.m., Op. Cit. Books, Sanbusco Center, 500 Montezuma Ave., Suite 101, 428-0321.

events

bon odori dance workshop Traditional Japanese dances and taiko drumming, 4:30-6:30 p.m., no charge, Genoveva Chavez Community Center, 3221 Rodeo Rd., 505-955-4000. harvest Festival Winemaking, chile ristra stringing, and other traditional arts, 10 a.m.-4 p.m., El Rancho de las Golondrinas, 334 Los Pinos Rd., $8; seniors and teens $5; ages 12 and under no charge, 505-471-2261, continues Sunday. a little Magic Under the big top Benefit gala for Big Brothers Big Sisters; dinner prepared by chef Charles Dale of Bouche, art auction, and performance by circus troupe Wise Fool New Mexico, 6 p.m., Buffalo Thunder Resort & Casino, visit bbbsnorthernnm.org or call 505-983-8360 for tickets and details.

Museum of new Mexico Foundation Gift shops clearance sale 10 a.m.-5 p.m., under the tent on Milner Plaza, 710 Camino Lejo, continues Sunday. santa Fe Farmers Market 8 a.m.-1 p.m., 1607 Paseo de Peralta, 505-983-4098. santa Fe society of artists show 9 a.m.-5:30 p.m., First National Bank parking lot on W. Palace Ave., across from the New Mexico Museum of Art, weekends through Oct. 20. santa Fe Woman’s club Flea Market 8 a.m.-4 p.m., 1616 Old Pecos Trail, 505-983-9455, continues Sunday. spanish colonial art society book sale 10 a.m.-4 p.m., Museum of Spanish Colonial Art patio, 750 Camino Lejo, Museum Hill, 505-982-2226.

oUtdoors

Grass class Learn about grasses with botanist Karl Anderson; make your own grass herbarium, 9 a.m., Cerrillos Hills State Park, 16 miles south of Santa Fe off NM 14, parking area half mile north of the village of Cerrillos, $5 per vehicle, 505-474-0196.

(See Page 69 for addresses) anasazi restaurant Guitarist Jesus Bas, 7-10 p.m., no cover. café café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover. ¡chispa! at el Mesón Noche de Flamenco, 7-10 p.m., call for cover. cowgirl bbQ Hot Club of Santa Fe, Gypsy jazz, 2-5 p.m.; prog-rock band Drastic Andrew, 8:30 p.m., no cover. el cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. la casa sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Night Train, blues, 8 p.m.-close, no cover. low ’n slow lowrider bar at hotel chimayó de santa Fe DJ Limn 8-9 p.m. and midnight-2 a.m.; Roscoe Returns, R & B, 9 p.m., no cover. the Mine shaft tavern Classic-rock band The Jakes, 8 p.m., no cover. the Palace restaurant & saloon Folk rockers The Bus Tapes, 10 p.m., call for cover.

Pranzo Italian Grill Geist Cabaret, pianist David Geist, 6-9 p.m., call for cover. second street brewery Pollo Frito, New Orleans jazz, 6-9 p.m., no cover. second street brewery at the railyard Local blues/rock guitarist Alex Maryol, 7-10 p.m., no cover. sweetwater harvest kitchen Hawaiian slack key guitarist John Serkin, 6 p.m., no cover. tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m.-close, no cover. the Underground at evangelo’s DJ Dynamite Sol’s video jukebox, 9 p.m., call for cover. vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; JEM, Jay Cawley, Ellie Dendahl, and Michael Umphrey, guitars and vocals, 8:30 p.m.-close; call for cover.

6 Sunday classIcal MUsIc

canticum novum chorus & orchestra Music of Mendelssohn and Donizetti, performers include soprano Cecilia Leitner and baritone Tim Wilson, 4 p.m., Scottish Rite Center, 463 Paseo de Peralta, Oliver Prezant preconcert lecture 3 p.m., $25 and $35 in advance and at the door, discounts available, 505-988-1234, ticketssantafe.org.

Música antigua de albuquerque Something Borrowed, Something New, music of the Renaissance, 4:30 p.m., Christ Lutheran Church, 1701 Arroyo Chamiso, $16, discounts available, 505-842-9613.

In concert

honeyhouse and soul kitchen R & B and funk band, 3 p.m., the Lensic, $10-$25, 505-988-1234, ticketssantafe.org.

theater/dance

Middletown Greer Garson Theatre presents Will Eno’s comedy, 2 p.m., SFUA&D, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org, Friday-Sunday through Oct. 13.

Eric Swanson

antonio Granjero and entreFlamenco company 8 p.m., The Lodge at Santa Fe, $25-$45 in advance, ticketssantafe.org, 505-988-1234, Wednesday-Saturday through Oct. 12.

Middletown Greer Garson Theatre presents Will Eno’s comedy, 7 p.m., SFUA&D, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org, FridaySunday through Oct. 13.

The Other Santa Fe Performing Arts presents performance artist Cohdi Harrell’s production, 8 p.m.

Armory for the Arts, 1050 Old Pecos Trail, $20, discounts available, 984-1370, sfperformingarts. org, encores Oct. 11-12, contains nudity.

nIGhtlIFe

Robert Henkel Jr. in Middletown at the Greer Garson Theatre, 1600 St. Michael’s Dr.

books/talks

Maria Jose rodriguez cadiz The Solace Crisis Treatment Center director discusses the history and vision of the organization (formerly the Santa Fe Rape Crisis Center), 11 a.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. suzanne lederer The actor and playwright reads her full-length play, Constance: The Art of Being Mrs. Oscar Wilde, accompanied by local actors, 3 p.m., Collected Works Bookstore, 202 Galisteo St. 505-988-4226.

events

harvest Festival Winemaking, chile ristra stringing, and other traditional arts, 10 a.m.-4 p.m., El Rancho de las Golondrinas, 334 Los Pinos Rd., $8; seniors and teens $5; ages 12 and under no charge, 505-471-2261.

Museum of new Mexico Foundation Gift shops clearance sale 10 a.m.-5 p.m., under the tent on Milner Plaza, 710 Camino Lejo. railyard artisans Market 10 a.m.-4 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta. santa Fe society of artists show 9 a.m.-5:30 p.m., First National Bank parking lot on W. Palace Ave., across from the New Mexico Museum of Art, weekends through Oct. 20. santa Fe Woman’s club Flea Market 8 a.m.-4 p.m., 1616 Old Pecos Trail, 505-983-9455,

nIGhtlIFe

(See Page 69 for addresses) café café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover. cowgirl bbQ Americana artist Boris McCutcheon, noon-3 p.m.; roots songwriter John Statz, 8 p.m.; no cover. el Farol Nacha Mendez, pan-Latin chanteuse, 7 p.m., no cover. evangelo’s R & B jam band Tone & Company, 8:30 p.m., no cover. la casa sena cantina Best of Broadway, piano and vocals, 6-10 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 Wily Jim, Western swingabilly, 6-9 p.m., no cover. vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.

7 Monday books/talks

al staggs The poet reads from his latest collection, Fragments of Life, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. architecture + Mission Lecture and book signing with architect Jack DeBartolo, 5:30 p.m., New Mexico History Museum auditorium, 113 Lincoln Ave., Washington St. entrance, $15; discounts available, tickets can be purchased at architecturesantafe.org or at the door. easter Island statues: excavations reveal Megalithic engineering A Southwest Seminars lecture with Jo Anne Van Tilburg, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 505-466-2775.

Water catchment and diversion Reese Baker of The Raincatcher kicks off the Santa Fe Botanical Garden’s fall lecture series, 2 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, $10, 505-471-9103.

nIGhtlIFe

(See Page 69 for addresses) cowgirl bbQ Cowgirl karaoke with Michele Leidig, 9 p.m., no cover. la casa sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Soulstatic, funk and R & B, 7:30 p.m., no cover. vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.

8 Tuesday books/talks

becoming the Pueblo World Professor Samuel Duwe speaks on Pueblo society and culture, 3-4 p.m., School for Advanced Research boardroom, 660 Garcia St., 505-954-7203, no charge. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM

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David Ulin Reading and Q & A with the Los Angeles Times editor, 7 p.m., O’Shaughnessy Performance Space, SFUA&D, 1600 St. Michaels Dr., 505-473-6440, no charge.

An Evening with Paul Hawken “Commerce, Climate, and Community,” lecture by the environmentalist, entrepreneur, and author, 7 p.m., the Lensic, $15-$30, 505-988-1234, ticketssantafe.org.

grateful Deeds: A new Mexico literary Arts Award reading Poets Larry Goodell and Mitch Rayes read from their works, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

EVEnts

Mayor’s Awards for Excellence in the Arts Ceremony and dinner, 6:30 p.m.

Santa Fe Community Convention Center, 201 W. Marcy St., $65, 505-955-6707. searching for superstars Learn about supernovas and other stars, 7-8 p.m., $5; discounts available, SFCC Planetarium, 6401 Richards Ave., 505-428-1744.

nigHtlifE

(See Page 69 for addresses) ¡Chispa! at El Mesón Argentine Tango Milonga, 7:30 p.m.-close, call for cover.

Cowgirl BBQ Los Angeles-based roots rock band Will and the Won’ts, 8 p.m., no cover (see Sound Waves, Page 24).

El farol Canyon Road Blues Jam, 8:30 p.m.-midnight, no cover. la fiesta lounge at la fonda Soulstatic, funk and R & B, 7:30 p.m., no cover.

Vanessie Pianists Doug Montgomery, 6-8 p.m. and John Randal, 8 p.m.-close, no cover.

9 Wednesday tHEAtEr/DAnCE

Antonio granjero and Entreflamenco Company 8 p.m., The Lodge at Santa Fe, $25-$45 in advance, ticketssantafe.org, 505-988-1234, Wednesday-Saturday through Oct. 12.

Minds Interrupted: Stories of Lives Affected by Mental Illness National Alliance on Mental Illness and Compassionate Touch Network offer personal stories written and presented by residents of Santa Fe and surrounding areas, 7 p.m., the Lensic, general admission $15, reserved seats $50, 505-988-1234, ticketssantafe.org.

Books/tAlks

Decline and Dissolution of the Chacoan World Lecture by School for Advanced Research interim president David Stuart, 7 p.m., James A. Little Theater, 1060 Cerrillos Rd., 505-954-7213, no charge.

nigHtlifE

Nautilus Legacy, by Sydni Kruger, Encaustic Art Institute, 18 General Goodwin Rd., Cerrillos

returned: the temporalities and geographies of Deportation Lecture by anthropologist Deborah Boehm, noon, School for Advanced Research, 600 Garcia Street, 505-954-7203, no charge. sculpting in fiberglass: luis Jiménez The weekly New Mexico Museum of Art docent talk series continues, 12:15 p.m., 107 W. Palace Ave., by museum admission, 505-476-5075.

EVEnts

Unleash Your soul self Writing workshop with Tom Bird, 6-8:30 p.m., $15, Body of Santa Fe, 333 W. Cordova Rd., 505-986-0362.

nigHtlifE

(See Page 69 for addresses) ¡Chispa! at El Mesón Flamenco guitarist Joaquin Gallegos, 7:30-9:30 p.m., no cover.

Cowgirl BBQ Rock singer/songwriter Tiffany Christopher, 8 p.m., no cover.

la fiesta lounge at la fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. la Posada de santa fe resort and spa Omar Villanueva, Latin fusion, 7-9:30 p.m., no cover. the Pantry restaurant Acoustic guitar and vocals with Gary Vigil, 5:30-8 p.m., no cover. tiny’s Mike Clymer and Nick Wimett’s electric jam, 8:30 p.m.-close, no cover.

Vanessie Pianist John Randal, 7 p.m.-close, no cover.

10 Thursday gAllErY/MUsEUM oPEnings

El Museo Cultural de santa fe 555 Camino de la Familia, 505-992-0591. Inside Out, group show of works by local artists diagnosed with mental illness, reception 5-7 p.m., through Oct. 13.

ClAssiCAl MUsiC

27th El rito

Studio tour oct. 5-6 Twenty stops, including two on the New Mexico Fiber Arts Trail and one on the New Mexico Potters Trail, display the craftsmanship of more than 40 artisans in the 27th El Rito Studio Tour, held over the weekend of Oct. 5-6. Tom Quinn Kumpf: Medanales Memorial (detail) Private studios are open from 10 a.m.-5 p.m., and visitors are encouraged to visit the El Rito Library for its Death by Chocolate fundraiser and Northern New Mexico College’s mercado, featuring fiber arts, Spanish colonial furniture, and retablos. Details are available online at elritostudiotour.org.

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PASATIEMPO I October 4 -10, 2013

Yuja Wang The pianist performs music of Prokofiev, Chopin, and Stravinsky, 7:30 p.m., the Lensic, $25-$95, discounts available, 505-988-1234, ticketssantafe. org (see story, Page 20).

tHEAtEr/DAnCE

Antonio granjero and Entreflamenco Company 8 p.m. The Lodge at Santa Fe, $25-$45 in advance, ticketssantafe.org, 505-988-1234, Wednesday-Saturday through Oct. 12.

I Hate Hamlet final dress rehearsal/ sneak preview Santa Fe Playhouse presents a play by Paul Rudnick, directed by Robert Nott, 7:30 p.m., 142 E. DeVargas St., $10, 505-988-4262, Thursday-Sunday through Oct. 27.

Books/tAlks

the Brave new World of opera Performer and vocal coach Mary Kime discusses the current opera scene, 1 p.m., St. John’s United Methodist Church, 1200 Old Pecos Trail, $10, 505-982-9274, renesan.org.

(See Page 69 for addresses) ¡Chispa! at El Mesón Pianist John Rangel, 7:30-9:30, no cover.

Cowgirl BBQ Texas songwriter Claude Butch Morgan, 8 p.m., no cover. la Boca Nacha Mendez, pan-Latin chanteuse, 7-9 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la fiesta lounge at la fonda The Bill Hearne Trio, classic country, 7:30-11 p.m., no cover. low ’n slow lowrider Bar at Hotel Chimayó de santa fe Gerry Carthy, tenor guitar and flute, 8 p.m., call for cover. the Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m., no cover.

Vanessie Pianist John Randal, 7 p.m.-close, no 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.

Landscape Drawings From the Collection, through Oct. 27. Open 9 a.m.-5 p.m. TuesdaySunday; 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.

Harwood Art Center 1114 Seventh St. N.W., 505-242-6367. Disaster/Resilience, artwork exploring social justice issues; Faces of the Elderly, photographs by Hal Kahn; opening reception 6-8 p.m., Friday, Oct. 4; through Oct. 25. Open 10 a.m.-4 p.m. Monday-Friday, no charge.

Holocaust and intolerance Museum of new Mexico 616 Central Ave. S.W., 505-247-0606.

Disturbing, but Necessary, Lesson, scale model of a WWII prisoner transport to Auschwitz • Hidden Treasures, 158-year-old German-Jewish heirloom dollhouse belonging to a family that fled to the U.S. and settled in New Mexico. Open 11 a.m.-3:30 p.m. Tuesday-Saturday, donations accepted. indian Pueblo Cultural Center 240112th St. N.W., 866-855-7902. American Indian Arts Festival, Saturday and Sunday, October 5-6. Open 9 a.m.-5 p.m. daily; adults $6; NM residents $4; seniors $5.50. inpost Artspace Outpost Performance Space, 210 Yale Blvd. S.E., 505-268-0044. Power Line, recent paintings

by Santa Fe artist Nina Elder, through Oct. 25.

National Hispanic Cultural Center 1701 Fourth St. S.W., 505-246-2261.

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, 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. Tuesday-Saturday; $5 suggested donation.

Wool Festival at Taos Vendors, live animals, demonstrations, and workshops, 9 a.m.-5 p.m.

Saturday, Oct. 5, 9 a.m.-4 p.m. Sunday, Oct. 6, Kit Carson Park, 211 Paseo del Pueblo Norte; no charge.

▶ people who need people Artists

Recycle Santa Fe Art Festival 2013 Visit recyclesantafe.org for application and details on participating in the 15th annual show held Nov. 15-17 at the Santa Fe Community Convention Center; for more information contact Sarah Pierpont, 505-603-0558, skpierpont@yahoo.com.

Santa Fe Society of Artists Fall jury for new members held Oct. 26; applications and details available online at santafesocietyofartists.com/become-a-member, or call 505-455-3496 for information.

Events/Performance

Albuquerque International Balloon Fiesta Balloon races, night flights, and special events, Oct. 5-13, 5000 Balloon Fiesta Parkway, 505-821-1000.

Chatter Sunday Soprano Emily Ezzie and Baritone Timothy Mix sing selections from opera and musicals; reading by poet Don McIver follows; 10:30 a.m. Sunday, Oct. 6, The Kosmos, 1715 Fifth St. N.W., $15 at the door only, discounts available, chatterchamber.org.

Filmmakers

Reel New Mexico Independent Film Series New Mexico filmmakers may submit shorts, narrative and documentary features, student films, and works-in-progress through 2013; for more information or to submit a film, contact reelnewmexico@gmail.com.

Cerrillos

Encaustic Art Institute 18 General Goodwin Rd., 505-424-6487, Third Annual Encaustic/Wax Exhibition, Saturday, Oct. 5; through Nov. 4.

Volunteers

española

Misión Museum y Convento 706 Bond St., 505-747-8535. A replica based on 1944 University of New Mexico excavations of the church built at the San Gabriel settlement in 1598. Open noon-4 p.m. Wednesday-Friday, 11 a.m.-3 p.m. Saturday; 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.

Mesa Public Library Art Gallery 2400 Central Ave., 505-662-8253. Expressions in Book Art, work by members of the Santa Fe Book Arts Group, opening reception, 4-5:30 p.m.

Friday, Oct. 4, through October.

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.

Open noon-4 p.m. Tuesday-Friday, 10 a.m.-1 p.m.

Saturday, visit pajaritoeec.org for events schedule, no charge.

Events/Performance

Catherine LeClaire Memorial Organ dedication concert Maxine Thévenot performs, 4 p.m. Sunday, Oct. 6, Immaculate Heart of Mary Catholic Church, 3700 Canyon Rd., 505-662-6193, no charge, donations accepted.

Los Alamos Light Opera The Mystery of Edwin Drood, musical by Rupert Holmes, 7:30 p.m. Friday and Saturday, Oct. 4-5, 2:30 p.m. Sunday, Oct. 6, Duane Smith Auditorium, Los Alamos High School, 1300 Diamond Dr., $12; discounts available, losalamoslightopera.org, through Oct. 12.

taos Museums/Art Spaces

David Anthony Fine Art 132 Kit Carson Rd., 575-758-7113. New paintings by Jennifer Lynch, opening reception 5-7 p.m. Friday, Oct. 4, through Nov. 10.

New York City, 2012, by Lee Friedlander, Andrew Smith Gallery, 122 Grant Ave.

E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish colonial antiques. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m.

Sunday. Adults $8; under 16 $4; children under 5 no charge; Taos County residents no charge on Sunday.

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; visit harwoodmuseum.org for full schedule of ancillary events. Open 10 a.m.-5 p.m. TuesdaySaturday, 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.

La Hacienda de los Martinez 708 Hacienda Way, 575-758-1000. Open 10 a.m.-5 p.m. Monday-Saturday, noon-5 p.m.

Sunday. Adults $5, ages 12 and under no charge.

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

Open 10 a.m.-5 p.m. daily. NM residents $5; nonresidents $10; seniors $8; students $6; ages 6-16 $2; Taos County residents no charge.

Taos Artist Collective 106 Paseo del Pueblo Norte, 575-751-7122. Eclectic Art, new works by collective members, opening reception 4-7 p.m.

Saturday, Oct. 5, through Nov. 1.

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

Ron Barsano: The Naked Truth, paintings, through Nov. 4. Open 10 a.m.-5 p.m. TuesdaySunday. $8; seniors $7; students $5; ages 12 and under no charge; Taos County residents no charge on Sunday.

The Taos Inn 125 Paseo del Pueblo Norte, 575-751-3752. Pressing on at the Taos Inn: Nine Artists/Nine Approaches, third annual printmakers’ show, through Feb. 12.

Events/Performances

SOMOS Storytelling Festival Story slam, music, and poetry, Terry and Jo Harvey Allen headline the event, Friday and Saturday, Oct. 4-5, $10-$20. Contact somostaos.org or 575-758-0081 for tickets and information.

Fiesta Fela Set up, break down, and assist in staffing the Afreeka Santa Fe booths and children’s tent from 11 a.m. to 7 p.m. Saturday, Oct. 12, in the Santa Fe Railyard; for information contact Judith Gabriele, 505-231-7143.

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.

Railyard Stewards Yardmasters Develop new project ideas; lead educational training sessions; 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 meals; other duties also available; contact Rosario, 505-982-6611, Ext. 108, volunteer@steshelter.org.

Santa Fe Community Farm Maintain the garden that distributes fresh produce to The Food Depot, Kitchen Angels, St. Elizabeth Shelter, and other local charities; 9:30 a.m.-4 p.m. daily, except Wednesdays and Sundays; details available online at santafecommunityfarm.org.

Spanish Colonial Arts Society Office and grounds workers needed; docents needed all year long at the Museum of Spanish Colonial Art; contact Linda Muzio, 505-9822226, Ext. 121, education@spanishcolonial.org.

▶ pasa Kids The Food Depot L.O.V.E. program Child-friendly projects for ages 3 and older (accompanied by an adult) are available between 1 and 3 p.m. the third Friday of each month; contact Viola Lujan, 505-471-1633, Ext. 11, or vlujan@thefooddepot.org.

Preschooler’s Story Hour 10:45 a.m. weekly on Wednesdays and Thursdays, Collected Works Bookstore, 202 Galisteo St., 505-988-4226. ◀

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