The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
September 6, 2013
OPEN STUDIO James Larson Sculpture
33a Bisbee Court Santa Fe, NM 87508 Saturday, September 14th 5 pm - 9 pm
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this week’s lunch special the kyle vernon grilled gruyère cheese & green chile sandwich w/ heirloom tomatoes on housemade semolina bread
Custom sizes possible.
haricot vert salad w/summer herb vinaigrette
in loving memory
12.00 lunch monday thru saturday sunday brunch & dinner nightly reservations, recipes & instant gift certificates www.santacafe.com 231 washington ave santa fe, nm 505.984.1788 2
PASATIEMPO I September 6 - 12, 2013
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Santa Fe, NM 87505
A percentage of all Zozobra sales support Kiwanis Club of Santa Fe. ZozobraTM ® Image used with permission of the Kiwanis Club of Santa Fe ©2011 “Will Shusterʼs Zozobra” TM ® The Kiwanis Club of Santa Fe All Rights Reserved
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Charms and Pendants in sterling silver and 14kt yellow gold. Price starts at $45. Now available for purchase on our website, www.fairchildjewelry.com
Yom Kippur Friday Night, September 13 Kol Nidrei 6:55pm
Saturday, September 14 Morning Services 8:30am Children's Service 10:30am Yizkor & Mussaf 11:00am Afternoon Services 5:15pm
this year he has a lot To answEr for! Warm & Welcoming Environment • Traditional, Meaningful Services Children’s Programs • Free & Open to All 505.984.1419 • 800.773.8123 • fairchildjewelry@aol.com • fairchildjewelry.com 4
PASATIEMPO I September 6 - 12, 2013
Complete Schedule At KolBeRamah.org 551 W Cordova Road, Suite F • 505-216-6136
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THE SANTA FE NEW MEXICAN
September 6 - 12, 2013
www.pasatiempomagazine.com
On the cOver 32 all it’s crackled up to be In 1948, a young U.S. Navy veteran named Ed Moses blew away the teacher in his first art class with an impromptu finger painting. Today Moses is a renowned abstract painter with six decades of mark making under his belt. His current work, on exhibit at Charlotte Jackson Fine Art through Sept. 23, is a series of subtly intriguing crackle-surface paintings. On the cover is Moses’ 2013 Pink Over Black.
BOOKs
mOving images
12 in Other Words Pink Sari Revolution 14 robert Boswell’s Tumbledown
42 43 44 46 48 50
mUsic and PerFOrmance 16 18 20 22 26 28 31
sound Waves Brian Haas’ next odyssey Pasa reviews Chick Corea Where the heart is Maria de Barros a leader who will lead Santa Fe Symphony terrell’s tune Up Yet another side of Dylan Pasa tempos CD Reviews Onstage Terrell & Turner
calendar 56 Pasa Week
and
art
9 mixed media 11 star codes 54 restaurant review: Omira Bar & grill
36 art in review Changing Hands 38 lingering gloom Robb Rael 40 exterior invention Katherine Lee
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
detail of Puppetz by robb rael
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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, michael Wade simpson, 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
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the Artist and the Model Leviathan You Ain’t Seen Nothin’ Yet More Than Honey Big Star: Nothing Can Hurt Me Pasa Pics
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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Ray Rivera editor
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Beckett on Film A Five-Part Series
Beckett on Film is a collection presenting films of all 19 of Samuel Beckett’s plays including Endgame, Waiting for Godot, Come and Go and Happy Days. Each film is unique, featuring some of the world’s most talented directors and actors including Jeremy Irons, Julianne Moore, John Hurt, and Atom Egoyan, among others. This special five-part series will screen the best of the Beckett on Film project.
Every Sunday in September at 11am At The Screen FREE ADMISSION (FIRST-COME, FIRST-SERVED)
VISIT WWW.THESCREENSF.COM FOR A FULL SCHEDULE.
Santa Fe University of Art & Design 505.473.6494 1600 St. Michael’s Drive Santa Fe, NM 87505
www.lannan.org PASATIEMPOMAGAZINE.COM
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Lensic Presents
World Music
MariadeBarros M u s i c
o f
c a P e
V e r d e
songstress Maria de Barros’s soulful sound combines the music of Portugal and argentina with the spice of the caribbean and the rhythms of africa’s cape Verde islands, the birthplace of her parents and her creative homeland. “Singing mostly in the Cape Verdean creole language of Criolu . . . she is fully in command of her cool, lustrous vocals.” —Seattle Times “The goddaughter of reigning Cape Verde diva Cesaria Evora . . . is creating an expressive vocal style that is uniquely her own.” —Los Angeles Times
September 12 7:30 pm $15–$35 discounts for Lensic members & students
Tickets: 505-988-1234 www.Ticketssantafe.org SERVICE CH ARGES APPLY AT ALL POINTS OF PURCH ASE
th e lensic is a non profit, member-supported organ ization
Financial Planning for Women
An educational presentation for widows, wives, orphans and the Masons and men who love them.
Tickets $35 Available at Alphagraphics and through the website
Topics Include: Building a Healthy Financial Future • Men & Women are Different • Taking Charge • Getting Organized • Making a Plan Getting Advice • The Financial Planning Process
RAYMOND JAMES
RAYMOND JAMES & ASSOCIATES, INC. Member New York Stock Exchange/SIPC
Sponsored by: Montezuma Lodge #1, AF&AM • 431 Paseo de Peralta Santa Fe, NM 8
PASATIEMPO I September 6 - 12, 2013
Arlene Cisneros Sena, Santera
Honorary Chair Justice Patricio M. Serna, Retired
Presenter: John R. Adams, Financial Advisor Raymond James & Associates, Inc. Member NYSE SIPC 218 E. Marcy Street, Santa Fe, NM
Seating is limited
pm
The Santa Fe Museum of Spanish Colonial Art
at Montezuma Lodge #1, 431 Paseo de PeraltaPeralta Santa Fe, NM
505-982-1904
Silent Auction Flamenco TapasPaella
Saturday, September 21st, 5:30–8:30
Saturday, Sept. 21 2:30 pm
Reservations:
Reaching for the Stars
Call 505-216-6049 for information or visit
“Angelito Mio”
www.RisingStarsSouthwest.org
Thank you to our sponsors:
Supporting Our Local Teens’ Dreams to Careers Program
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Creating a better way.
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1501 Paseo de Peralta, Santa Fe | 5:30-10:00pm | 505.955.7805 | www.hotelsantafe.com
FARMERS & CRAFTS MARKET “Let Food Be Our Medicine” Wednesdays 11am-5pm Pojoaque Pueblo Poeh Tower
Top, Jamey Stillings: #4904, 6 January 2012 (from the series The Evolution of Ivanpah Solar), archival pigment print Left, Tony Bonanno: Pueblo Blanco Clay Quarry, New Mexico, 2008, archival pigment print
78 Cities of Gold Rd. • 505-455-9086 • eBT & WIC accepted
Photo realities David Michael Kennedy’s photograph of a bison in Wyoming; Jamey Stillings’ picture of the vast Ivanpah solar array; and Tony Bonanno’s image of the Pueblo Blanco Clay Quarry, a historic Galisteo Basin source of material for potters, are among the featured works in the exhibition In/Visible Borders: New Mexico Photographers. Opening with a 4:30 p.m. reception on Monday, Sept. 9, at the Marion Center for Photographic Arts, Santa Fe University of Art & Design (1600 St. Michael’s Drive), the show offers works by 19 photographers. Call 473-6011. “It looks at contemporary landscapes in terms of cultural, political, and economic realities; race and ethnicity issues; gender; neighborhood demarcations; environmental concerns; and the Homestead Act,” said curator Mary Anne Redding, who chairs the photography department at the college. “Sometimes we live quietly with these issues, and sometimes they explode, such as what happened in Tierra Amarilla [a 1967 raid by land-grant activists on the town’s courthouse], and Norman Mauskopf has a photo of graffiti on the building. Younger people have no idea about some of this, and I think galleries are a safe place to talk about these issues.” The show, on display through Dec. 13, features two prints by each of the photographers. Two more images by each show in a companion exhibition in the Community Gallery at the Santa Fe Community Convention Center, 201 W. Marcy St. The downtown show goes up on Nov. 22 and hangs through Feb. 21. There are two free lectures offered in conjunction with In/Visible Borders. Photographers Martin Stupich and Stillings address “Industrial Landscapes” at 6 p.m. on Oct. 24, at the college’s Tipton Hall. Then, at 6 p.m. on Dec. 4, at the Community Gallery, Carlan Tapp and others speak about “Environmental & Community Issues.” — Paul Weideman
Patio.Dining 326 S. Guadalupe • 988-7008 • www.ziadiner.com
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Santa Fe Institute
Stanislaw Ulam Memorial Lectures Complexity and the Biology of Computation
Tuesday-Thursday, September 10-12, 7:30 p.m.
James A. Little Theater 1060 Cerrillos Rd. Santa Fe Lectures are free and open to the public. Seating is limited.
We like to think of the biosphere and the silicocyber world as separate creations. In a series of three lectures over three nights, SFI’s Stephanie Forrest, a professor of computer science at the University of New Mexico and a leading researcher at the intersection of biology and computation, reveals surprising commonalities between computers and networks and organisms and ecosystems, then describes new research that further blurs the distinction. Three lectures, three nights... Tuesday, September 10, 7:30 p.m. Lecture I - Software Engineering: Evolving Computer Programs Wednesday, September 11, 7:30 p.m. Lecture II - The Complex Science of Cyberdefense: Computer Immunology Thursday, September 12, 7:30 p.m. Lecture III - Modeling Computer Networks from Chips to the Internet
www.santafe.edu
Stephanie Forrest is a professor of computer science at the University of New Mexico in Albuquerque; a Jefferson Science Fellow on assignment to the U.S. State Department in Washington, D.C.; and an External Professor and member of the Science Board of the Santa Fe Institute. Support for SFI’s 2012 lecture series is provided by Los Alamos National Bank.
r
Come Join us at Traveler’s Market
to Welcome the Group from Guatemala
Arte y Cultura Corazon de la Tierra
Friday September 13 - Sunday September 22
Opening Reception Sept 13 4 pm - 7 pm
Sawdust carpet construction Friday Demonstrations & Sale of Hand Woven Fabrics, wood carving, traditional Food and floral carpets
T r av e l e r ’s M a r k e t 3 5 De a l e r s of T r i ba l & F ol k A r t, A n t iqu e s , B o oks , b e a d s & J e w e l ry
at t h e D e Va r g a s C e n t e r 1 5 3 B Pa s e o d e P e r a l ta , S a n ta F e , N M Hours:
T u e - S at 1 1 - 6 p m
505-989-7667 10
87501
sun 12 pm - 5 pm
w w w. t r av e l e r s m a r k e t. n e t
PASATIEMPO I September 6 - 12, 2013
STAR CODES
Heather Roan Robbins
Get to work. That’s what we’re told by the sun and Mercury in industrious, nervy, Mercury-ruled Virgo. September is prime time for all things that involve thinking, planning, mapping, expressing, or moving as Mercury, the great communicator, appears to move fast and won’t go retrograde until Oct 21. We can find the right words and execute our plans swiftly and efficiently. People we disagree with vehemently are getting busy. Events happen fast once a plan is in place. While this may be a fabulous way to start a semester, we can get in trouble if we separate our heads from our hearts. Our minds may be running overtime, so to keep them out of trouble and to prevent the Virgoan habit of worrying about worrying, we need to keep our minds busy and give them something worthy to chew on. We can also choose to lean into the compassionate heart of Virgo. Keep the mind, body, and soul integrated and this Virgo energy will work for us. On Friday, edit less and do more; move plans forward in a concrete way under the Virgo moon. The mood shifts pleasantly as the moon enters sociable Libra in the evening and lingers there over the weekend. A frustrating Mars-Saturn square will help us get work done but can also make it feel like we have to choose between what we want and what we need to do. Work through practical frustrations gently and evenly and find a healthy compromise. These aspects, intensified as Mercury enters egalitarian Libra on Monday, also ask us, and our country, bigger questions about our responsibility (Saturn) as a guardian (Mars) to encourage what is fair (Libra) for all.
Friday, Sept. 6: Stop dithering and get to work. Don’t worry about perfection as the waxing Virgo moon conjuncts Mercury. Help others overcome their self-consciousness. Be on the lookout for information that needs a swift response midday. The mood mellows as the moon enters Libra midafternoon. Dinnertime is sociable — people want to analyze their week but with a light touch. Saturday, Sept. 7: We search for beauty and for something to improve the situation as the sun sextiles generous Jupiter. Look for joy and let it sink in. Later, a familiar melancholic pattern stirs as Venus challenges the healing asteroid Chiron, but we can repattern our experiences if we stay fair to all involved. Sunday, Sept. 8: Notice a bittersweet ache of the heart as Venus quintiles Pluto. Emotions begin to swoop and dive this afternoon as the moon conjuncts Venus and then enters Scorpio. Be a stabilizing force in the world. Monday, Sept. 9: We’re getting serious. Research something fascinating. If a beloved looks sullen, back off. Tuesday, Sept. 10: An aimless quality filters in as few aspects nudge us, and this can make us self-involved or depressed unless we choose positive action. Use this time to follow through and make sure good things happen. Wednesday, Sept. 11: Challenging crosswinds require honesty, kindness, and firm boundaries. The moon enters frank, enthusiastic Sagittarius just as Venus enters brooding Scorpio and sharpens our difficult memory. Subtle things, like the power of art and prayers, make a difference as Mercury quincunxes Neptune. Truth may be hard to discern. Thursday, Sept. 12: Watch the karmic kickback; assume whatever we put out will come back threefold. It may be tricky to work together, as people are unsettled and tactless. Use a new level of honesty and give people room to work through a fresh crop of feelings. ◀ www.roanrobbins.com
Market Fresh Cooking at the Santa Fe Farmers Market
10:00 am Tuesday, September 10th In the Farmers Market Pavilion 1607 Paseo de Peralta
Come enjoy a cooking demonstation by:
Rocky Durham Executive Chef and SFCA Co-Founder
"The Business of the Business” -- Showbiz 101 -a workshop for professional and aspiring actors at Warehouse 21
Learn from Film and Television Insiders Sheryl Roberts Greg Serano & Steven Michael Quezada
September 14 & 15 2pm-6pm
Steven Michael Greg Serano Quezada Actor tion Actor Salva Terminator: Breaking Bad
Sheryl Roberts Casting Director Producer
www.warehouse21.org Sponsored in part by SF Arts Commission & 1% Lodgers Tax
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11
In Other wOrds book reviews Pink Sari Revolution: A Tale of Women and Power in India by Amana Fontanella-Khan, W.W. Norton and Company, 284 pages In late August, a 22-year-old photojournalist was gang raped by five men in an abandoned warehouse on the outskirts of Mumbai. The story garnered international headlines, in part because it followed another high-profile rape case: last December, a 23-year-old woman was gang raped on a New Delhi bus and later died from the injuries she sustained. While violence against women and misogyny are global epidemics and hardly restricted to the subcontinent, India’s political systems and law enforcement make it difficult for survivors of rape and domestic violence to access justice. A New York Times article from January of this year, “For Rape Victims in India, Police Are Often Part of the Problem,” details the corruption in India’s police force and explains how it contributes to perpetuating the cycle of violence: police are underpaid and often dependent on bribes; departments are understaffed; and cultural values dictate that a woman’s modesty must be preserved at all costs — the pursuit of modesty over justice can include law enforcement pressuring a rape victim to marry her attacker. The official response to crimes against women in India underscores the need for different approaches and alternative narratives, one of which is explored in a new book by Amana Fontanella-Khan, Pink Sari Revolution: A Tale of Women and Power in India. Originally conceived as an article for Slate.com in 2010, Pink Sari tells the story of Sampat Pal, an activist in the northern province of Uttar Pradesh and founder of the grassroots Pink Gang — a group of women (now numbering in the thousands) who wear matching bright-pink saris, carry lahtis (bamboo sticks), and demand vigilante justice, often protesting or storming police stations when a woman (and occasionally a man) is denied recourse by political and legal systems. The Pink Gang grew out of Pal’s self-help groups for women. In addition to highly visible demonstrations, the Pink Gang helps women and members of the lower castes (who lack financial resources and connections) navigate India’s complex court system; the difficulty of this process is often compounded because many politicians and lawmakers are corrupt. “In Uttar Pradesh, India’s Wild West, more than a fourth of the elected representatives in the Legislative Assembly had been charged with criminal offenses,” Fontanella-Khan writes. Fontanella-Khan spent two years researching the book, much of it living in Uttar Pradesh (sometimes with Pal and her family), where she conducted interviews in Hindi, on her own or with the help of interpreters. The frame of Pink Sari is the evolution of a 2011 rape case, during which a young woman called Sheelu accused a powerful legislator of rape. As the case progresses, Fontanella-Khan weaves in background material about Pal and the gang, beginning with Pal’s youthful campaigns against bullies and her climbing of mango trees, just like the boys. Pal comes across as straightforward, self-possessed, and refreshingly arrogant: she says things that lower-caste women are not supposed to say, such as “Not everyone has the courage to become a Sampat Pal and fight against a legislator.” She is aggressive and threatening when dealing with law enforcement — in 2006, a woman whose husband was detained in jail without cause came to Pal for help. During one of her first confrontations with the police, Pal forced her way into a police station with more than 100 Pink Gang members, hit an officer over the head with a folder, and threatened him with her lahti. While Fontanella-Khan clearly admires Pal and presents her in a favorable light, she is careful not to idealize her. The book acknowledges that while Pal regularly advocates for love marriages (as opposed to arranged marriages and a rarity in Uttar Pradesh) and against child marriages, three of Pal’s four daughters were married when they were underage. And at one point, Pal’s son uses the Pink Gang’s name to advance his own political and financial agendas. As Pal herself is flawed, so is Pink Sari. The author’s transitions between Sheelu’s case and the larger narrative of the Pink Gang can be disorienting and abrupt. The translated language is often awkward, and the sheer complexities of life in Uttar Pradesh, particularly with regard to social order — like the caste system — and political and legal infrastructure, can be overwhelming and difficult to unravel. At the end of the epilogue, Fontanella-Khan draws a parallel between India’s rapid economic expansion and the increasing tendency for elected positions to be bought and sold, which is bad news for women. “Rape is now the fastest-growing crime in the country,” Fontanella-Khan writes. “In the past four decades, the number of reported rapes has shot up by 792 percent. Conviction rates, however, are dropping. A similar story is found in domestic violence, which has climbed 30 percent in the same time period.” As FontanellaKhan asserts, groups like the Pink Gang are crucial — when government fails, it is up to citizens to protect themselves. But she fails to fully address the need for widespread systemic change — while Pal has ventured into politics, even meeting with Sonia Gandhi, president of the Indian National Congress, the Pink Gang is a bright spot in an otherwise bleak political landscape. One hopes that the Pink Gang’s story will galvanize other women, politically and socially, so that they are better able to be bold and demanding — at home and in court. — Adele Oliveira 12
PASATIEMPO I September 6 -12, 2013
SubtextS New light on the past When reading Blood and Thunder: The Epic Story of Kit Carson and the Conquest of the American West, Hampton Sides’ account of the Civil War period in New Mexico, Steven W. Kohlhagen was struck by a mention of the murder of Major Joseph Cummings, who Kit Carson said was shot by an Indian. After researching accounts at the National Archives and reading many other published histories of the time, Kohlhagen began to believe that Carson was mistaken. Where They Bury You is his fictional approach to a counter-tale, which involves the Army’s search for missing money. “I do not believe for a minute that Joseph Cummings was killed by a concealed Indian in an arroyo near what is now the Hubbell Trading Post in Ganado, Arizona,” Kohlhagen writes, stressing that his book is fiction and should be viewed as such by Civil War buffs and scholars. He reads from Where They Bury You at the Gib Singleton Museum of Fine Art (112 W. San Francisco St., in the Plaza Mercado, 995-9713) on Friday, Sept. 6, at 6:30 p.m. Though numerous books have been written about Franklin D. Roosevelt, the 32nd president of the United States, whose administration lasted an unprecedented — and unrepeated — four terms, most focus on the New Deal of his first two terms or the wartime leadership of his second two. Author Richard Moe’s new book, Roosevelt’s Second Act: The Election of 1940 and the Politics of War, focuses on the short span of time during which he campaigned for his third term. Moe seeks to help readers understand what was going on in the president’s mind and highlights the duality, noted by other biographers, between FDR’s two presidential personalities: “the bold, perceptive, prescient, and moral statesman” of the New Deal and the ambitious, “sometimes arrogant and manipulative politician” he could be when pursuing his goals. Moe reads from Roosevelt’s Second Act at Collected Works Bookstore (202 Galisteo St., 988-4226) at 6 p.m. on Tuesday, Sept. 10. — Jennifer Levin
T H E W O O D CA R E S P E C I A L I S T A n t i q u e s F i n e F u r n i t u re K i t ch e n s B u i l t - i n C a b i n e t r y !
!
The Transylvanian Trilogy, Volume I: They Were Counted by Miklós Bánffy, Everyman’s Library/Alfred A. Knopf/Random House, 624 pages
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Heather Roan Robbins Astrologer, Intuitive, and Ceremonialist Author of Pasatiempo’s “Starcodes.” Readings by phone and Skype. 30-plus years experience in NM, MN, NYC. 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
In July 2013, 80 years after the initial Hungarian publication of The Transylvanian Trilogy, Everyman’s Library put out the first-ever hardcover English translation of the epic. This first U.S. printing occurs almost 70 years after nobleman, diplomat, and author Count Miklós Bánffy’s ancestral holdings were destroyed by the retreating Germans during World War II (as retribution for his diplomatic efforts to align Romania with the Allies). That tragedy was shortly followed by the Red Army sacking his ancient Budapest palace. Now more than 60 years have passed since the former aristocrat died in impoverished obscurity, having lived to see his beloved homeland become a part of Communist Romania. The novel takes place during the twilight of old Transylvania and foreshadows the collapse of the Habsburg dynasty — or what scholar Hugh Thomas describes in the book’s introduction as “the disaster of 1914, when European civilization committed suicide.” Because Bánffy was passionate in state politics, being a member of Parliament and, for a period, the foreign minister of Hungary, he witnessed the squabbles of government and the blindness of the doomed aristocracy firsthand. However, this book’s social panorama is unusually broad br for a European epic, encompassing the landed proprietors and the government elite as well as the serving classes and peasants, whose labor props up the decadence of the former groups. The primary focus is on two cousins, who, like the Karamazov brothers, represent conflicting ideals. There’s the thoughtful and romantic Abady (a member of Parliament and a proponent of modernizing his country’s social order, like Bánffy himself) and the more libertine, doomed Laszlo (who tries to counter a fatalistic outlook with epicurean excess and social abandon). Abady attempts to instill responsibility in his cousin, such as when he argues, “The only thing that gives us any moral right to the fortunes that we inherit is a sense of duty. Our parentage binds us to it and it’s an obligation that none of us can escape!” Laszlo’s responds with characteristic irony: “What an unselfish lot.” Rounding out the picture are muted critiques of the social hierarchy from the perspective of the underlings. At one point Bánffy overemphasizes the servility of a butler to show how dehumanizing that post really is: “He was there merely to pass on information, nothing more. He must not utter another syllable. He had said enough to accomplish his duty and now his role was merely to await orders and then to carry them out. He would do what he was told, to the last letter. That was his role. Thus far and no further. Until the princess spoke he must remain silent and for that he would wait as long as necessary.” The novel’s sweep is telescopic, at one moment magnifying the perspective down to the individual level (the consuming relationships and woes of Abady and Laszlo) and at the next zooming out to encompass all of Hungary and its turmoil. It encapsulates an age of excessive pomp, of grand balls and duels, of hunting parties and horse races, of new inventions like automobiles and flying machines, and of impending collapse. The only consistency relative to the mounting chaos is its backdrop: the natural landscapes and architectural marvels of Bánffy’s cherished Transylvania. He paints these with elegiac splendor, resolved to preserve with words the majestic palaces and castles and the lush forests and sweeping ranges that epitomized his war-torn homeland. In his introduction, Thomas calls this “Hungary’s greatest novel.” It’s easy to see why. The writing is beautiful and reflective, the narrative scope is captivating in all its foci, and the work as a whole preserves the vitality of an entire place and era whose splendor has faded definitively, and not so distantly. — Loren Bienvenu
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Jennifer Levin I For The New Mexican
FINICKY, UNTAMEABLE LIFE
ROBERT BOSWELL’S
stymied yet determined characters 14
PASATIEMPO I September 6 -12, 2013
Fresh out of college, armed with a dual degree in creative writing and psychology,
Robert Boswell took a position as an evaluator at a rehab facility for people with mental illness and cognitive impairment in El Cajon, California. He was responsible for administering a plethora of tests to other counselors’ clients in order to assess their interests, aptitude, and general life skills. “I’ve always been interested in being a writer, but I’ve also been interested in doing more good than bad in my life,” he told Pasatiempo. “At the time, I wasn’t quite able to believe that I could simply choose to be a writer.” He worked as an evaluator for two years and left feeling that although he did some good there, he’d also done some damage. It was a tumultuous time in his life: recently divorced, he was still dating his ex-wife and seeing another woman. “I wanted to find a way to address that time in the best way I know how, which is through my art, and I wanted to do it right,” he said. More than three decades later, after 20 years as a creative writing professor at New Mexico State University and the University of Houston, he has written Tumbledown, a novel that is not entirely autobiographical but is rooted in his experience at the facility during that time. Boswell reads from Tumbledown — his 11th book, published by Graywolf Press — on Wednesday, Sept. 11, at Collected Works Bookstore. The ostensible protagonist of Tumbledown is James Candler, an evaluator up for promotion to administrator. The cast of characters is enormous, and the unusual point of view Boswell uses, which he calls unreliable omniscience, allows the reader access to everyone’s thoughts. We swim in and out of the minds of Candler, other staff members and patients at the rehab facility, and Candler’s friends and relatives, supported by a narrative overlay that reaches backward and forward in time as well as into the minds of inanimate objects such as figures on the cover of a book. Boswell developed this narrative style out of necessity, wrestling for years with an effective way of telling the story and finally taking inspiration from the reports he wrote at the end of each evaluation period. “For instance, if you could imagine being a counselor who had a client who says he’d like to go to college and you have no idea whether that person is college-ready, you can see how that report would be valuable. Most of the time there was no problem. But every now and then I would realize that some of the counselors treated the test scores and reports as if they were omniscient documents, as if they were foolproof, and I knew that they were not.” Every character in Tumbledown is struggling with identity, striving for wholeness in the face of personal tragedy — from the death of a spouse to recovery from addiction to grasping the truth of one’s own limitations, which sometimes seem cosmically unfair. Violet, Candler’s older sister, is grieving the death of her husband, who had ALS; Mick Coury, one of Candler’s clients, cannot quite accept that the normal, popular teenager he once was has been subsumed by schizophrenia, and he will never recapture that lost boy. Candler, as his life unravels over the course of the novel, is still coming to grips with the long-ago suicide of his older, mentally impaired brother, a loss that also permanently affected Candler’s closest friend, Billy Atlas, whom he has known since childhood. One of Boswell’s strengths is his ability to write with humor while simultaneously engaging deep emotional truths and showcasing occasionally appalling human behavior. One scene in his first novel, Crooked Hearts (1987), was so devastating that he received letters of complaint from readers. Such moments are more subdued in Tumbledown, but nevertheless there are lines that emerge from the prose and sock the reader where it hurts. “It’s never my ambition to make someone cry, but it is my ambition to acknowledge and have the reader understand the full emotional consequences of being alive,” he said. In Tumbledown, the most resonant emotional moment for him is when Maura, a rebellious teen who is trying to change her reactions to the world, finally forgives her family. “When my daughter was a teenager, she fell in with a bad group and ran away from home,” he said. “We tracked her down. A couple of years later, she had a friend who was suicidal and was out in the street. She and I spent the night tracking him down and bringing him to our house and staying up with him so he didn’t OD. At one point my daughter turned to me and said, ‘I can’t
believe I did this to you guys.’ For me, that one moment with Maura and her counselor is truly powerful because it comes out of my own life.” Boswell spent the early part of his childhood on a small farm in western Kentucky, outside of the town of Wikliffe, where the Mississippi and Ohio rivers meet. “It’s where Huck and Jim missed their turn,” he said. His family, which included two brothers and a sister, moved to Arizona when Boswell began junior high. Many of his books feature a loved one, often a brother or son, who disappears, sometimes before the action of the novel takes place, in a way that alters the people left behind. In Tumbledown, it’s Pook Candler; in Century’s Son (2002), a 12-year-old boy takes his own life in a fit of pique; and in Crooked Hearts, Charley Warren simply leaves, unable to stand the internal pressure created by his own family. “I believe all writers have obsessions,” Boswell said. “They’re not always aware that there are elements in the work that recur over and over. The idea of the disappearing loved one is something that is a part of my life in a couple of different ways. My mom told me the story many times of her brother, who, when he was 13, went away to World War II and died in Africa, and she simply could not believe he was gone. It didn’t seem possible to her. About seven years ago, I lost my little brother to ALS, and that sense of unreality is something I’ve become more intimately acquainted with, alas. It’s one of those things that humans always have to try to figure out, how everything can turn upside down in a flash. We have to go on believing that the real world will not do it to us again, but we know it can happen again.” ◀
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The disconnect became palpable: this man was nothing but a shadow of the man Lise had met in Los Angeles, the man whose life she had worked daily for years to imagine. This man was petty and capable of cruelty. He was arrogant and he drank too much. He loved another woman and treated her, as well as Lise, dishonestly. She felt this break
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was breaking, more like the way a hiker who has ascended a ridge only to discover another ridge beyond it feels disappointment and resignation, along with a powerful announcement of fatigue. This particular hiker, though, was not tempted to turn back; if anything, casting away that initial image of the man had lightened her pack. — from “Tumbledown” by Robert Boswell
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15
SOUND WAVES Loren Bienvenu
Brian Haas’ next odyssey
Jeremy Charles
Just as there’s no “I” in team, there’s no Jacob Fred in the Jacob Fred Jazz Odyssey. The avant-garde jazz group has gone through different personnel iterations during its nearly 20 years of existence, but Jacob Fred has never been a member. In fact, he does not exist. A similar kind of subversion is reflected in the group’s current quintet lineup, which features a combination of instruments both standard and unusual to jazz: lap steel, upright bass, drums, homemade horns, and piano. JFJO has “made a name for itself” in other ways as well — the group has recorded 21 albums and garnered media notice, including profiles in DownBeat and reviews in The New York Times and Los Angeles Times, for several outsidethe-box musical projects. Among these is The Race Riot Suite, a full-length composition that documents the devastating racially motivated assault on Tulsa’s wealthy African American community in 1921. “Our lap steel guitarist [Chris Combs] is a historian, and he felt compelled to write this piece,” said pianist Brian Haas, who moved to Santa Fe last year. “I grew up in that area and didn’t learn about it until I was 25. Every time we play it, it’s intense. It affects the audience in odd ways.” He said the suite has been a dividing point in the group’s hometown, being a racially charged piece of music played by an all-white jazz band. It has captured international attention as well. The work premiered in 2011, and it continues to be in demand at jazz festivals worldwide. In fact, the afternoon Haas spoke with Pasatiempo, he was scheduled to fly to Europe with JFJO to perform it at festivals in Amsterdam and Austria. While Haas said he loves the depth of the work and how it comes across differently in every performance, he added that he’s ready to start working on the group’s 22nd album, which has a tentative recording date of January 2014. JFJO also plans on releasing another album of reworked material from previous recordings that year — creating a “best of” compilation. Closer to Haas’ heart at the present moment, however, is a project of his own for piano and drums, entitled Frames. That album, which Haas recently recorded and will release in October, is a conceptually interesting set of songs. It encompasses 12 compositions, starting
Brian Haas
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PASATIEMPO I September 6 -12, 2013
in the key of C and moving up chromatically through the remaining 11 keys. Haas said it works as a cycle that follows the human trajectory of birth, life, and death. But it succeeds in a purely musical way, outside of experimental novelty. From one moment to the next, the pieces capitalize on both the eeriness of dissonant sparsity and the freneticism of precise polyrhythms.
Most of the last 20 years I’ve lived just like Chris Farley: in a van down by the river. - - - Brian Haas “It’s very much a drum feature in a way. A lot of times I play the role of the drummer as we go through the progression of the pieces. I’m the one who reins it in and holds it down and plays a competitive rhythm, which is interesting for me because I’ve always set myself up to be the main improviser.” Much of Haas’ willingness to compose the piece with a drum focus resulted from landing Matt Chamberlain for the gig. Chamberlain is one of today’s leading studio drummers, having appeared on more than 200 albums and worked with Brad Mehldau, David Bowie, and Elton John, among many others. The two discussed doing a project together in 2000, after Chamberlain asked Haas to sit in with his band at a show that JFJO was opening. Chamberlain responded enthusiastically to the performance and suggested they record together in the future, but it took 13 years for their schedules to align. During the intervening years, Haas composed various material for a piano-and-drums album and even received the go-ahead from his label. But, he said, when he finally confirmed Chamberlain for a studio date, “I ditched every bit of it and wrote the whole thing from beginning to end with him in mind.” He did so in a mere three and a half weeks. Haas approached the composition process as a series of exercises, which relieved him of some of the perfectionist impulses that can slow down his creative process. What resulted was a series of “skeletons.” He and Chamberlain fleshed these out in the studio over the course of only two days. “It would take him one, maybe two takes. By the third he would just crush it,” Haas said, attributing Chamberlain’s speed to his comfort and versatility within a studio environment. “He used the studio like an instrument — the whole studio like a huge drum kit.” To support Frames, Haas is scheduling a tour that already includes more than 25 dates, starting Thursday, Sept. 12, at Santa Fe’s Gig Performance Space (1808-H Second St., www.gigsantafe.com). The show, which features local drummer Dave Wayne, begins at 8 p.m.; it’s $15 at the door. Chamberlain’s schedule does not permit him to join the tour, but Haas is compensating by bringing in a number of different drummers from each region he passes through. In fact, he said that within the drum community, the project already “seems to be generating it’s own set of interest,” probably because he made the project with (and for) Chamberlain. “That’s one of my favorite parts — I get to play it with so many different drummers. And even playing it with two drummers has been so different.” Haas is excited to do the Gig performance with Wayne and also hinted that later in the fall he hopes to return with Scott Amendola, a Grammy-nominated player who is a well-respected staple of the Bay Area jazz scene. And after that? Unsurprisingly for a touring musician who spends more than 250 days on the road in a given year (“Most of the last 20 years I’ve lived just like Chris Farley: in a van down by the river,” Hass said), he was already thinking about the next tour. He said he had an eye on Europe, perhaps because he was flying there that day, but this next time in support of Frames and with Chamberlain himself behind the drums. ◀
R o b i n Re y n old s w o r k S
According to Joan IV, 2012, oil on panel, 36 x 36 inches.
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Landscape # 71, 2013, acrylic and oil stick on canvas, 48 x 48 inches.
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PASA REVIEWS Chick Corea, Music From Angel Fire Angel Fire Community Center, Aug. 16 & 21
Old friends
18
PASATIEMPO I September 6 -12, 2013
Chick Corea
from tempo and lyric form, swirling like a busy bee among all 88 keys, the pianist plucking strings inside the instrument’s box for added effect. Gayle Moran Corea joined her husband to sing “Someday My Prince Will Come” and had a difficult go of it. The sweet, angelic soprano she began adding to Corea’s music in the ’70s has eroded — hints of it came when she soared up an octave — and her intonation, especially in the lower ranges, was uncomfortably misplaced. She had to stop at one point — could it have been the altitude? — and was helped from the stage. But she gamely returned for a closing rendition of her own “Your Eyes Speak to Me” accompanied by her husband and the Harlem Quartet. As an encore, Corea engaged the audience in a five-part harmonic exercise he jokingly titled For Piano and 5,000 Voices. Corea returned on Aug. 21 in a concert that featured a reunion of sorts, with the revisiting of an old piece and the world premiere of a new one, commissioned by Angel Fire, titled Not Serious Music. The evening had its roots in the original recording of The Leprechaun with Kavafian and cellist Fred Sherry. Kavafian and Sherry, with another old Corea colleague, clarinetist Richard Stoltzman, began the evening with Mozart’s Quintet in A Major for Clarinet and Strings, K. 581, in a performance that seemed to struggle as themes were passed from instrument to instrument. The Harlem Quartet, in a complete turnaround, followed with a passionate performance of Joaquin Turina’s La Oración del Torero, op. 34 (The Toreador’s Prayer). The harmonically exacting music came with confidence and overwhelming authority. In the ’80s, when Corea needed one more tune to dress out his Children’s Songs recording, he called on Kavafian and Sherry to join him in a piece he wrote called Addendum for piano, violin, and cello. The musicians recreated that piece here in a performance that brought out its fine qualities: its light and lilting theme and its dependence on sensitive interplay. The three passed phrases back and forth like skilled jugglers. The many pauses in the music that signal rhythmic and mood changes were tightly executed, and the propulsive gathering of the three instruments on the piece’s repeated descending theme was wonderfully uplifting. The last piece on the program, Not Serious Music, for piano, clarinet, violin, and cello, lived up to its title. The music seemed all about finding a comfortable place, Stoltzman’s clarinet and its simple lines casting rhythmic balance against the piano, the strings seemingly nodding in assent. At one point, Corea established shifting phrases that recalled Miles Davis’ “All Blues” as the strings pulsed behind him, but little came of it. The piece closed on a promising show of extended piano phrases but then fell, with the other instruments, into a too-sweet chord. The work seemed a coolly logical and somewhat tired extension of Addendum. It was as if the emotion had drained from its composer over the years. — Bill Kohlhaase
Lynne Goldsmith
C
omposers from Shostakovich to Wynton Marsalis have straddled the divide between classical and jazz traditions. This stance usually requires a certain rhythmic posture with one foot balanced in jazz syncopation and the other planted firmly in classical orchestration. Seldom is this blurring of categories obscured in a way that listeners can’t identify from which camp the composer originated. Pianist Chick Corea has composed from both sides since 1976, when he used string arrangements on his album The Leprechaun. More rhythmic and thematic crossover came on his 1984 release Children’s Songs, a series of brief solo piano pieces and a single piece with violin and cello that employs simple repetitive figures suggesting the kind of pentatonic constructions heard in the folk-influenced work of Béla Bártok. In the last 20 years, Corea has embraced Mozart, something that recalls his childhood piano training. He has also composed pieces that tilt both ways — jazz compositions with classical leanings and classically composed and orchestrated pieces with jazz leanings — even as he maintains a reputation as a high-energy electric jazz-rock fusionist. Corea introduced himself on the opening night of the 30th-anniversary season of Music From Angel Fire on Aug. 16, claiming that he was a composer who happened to be a pianist. His performance that night was preceded by Mozart’s Trio in C Major for Piano and Strings, K. 548, a move that seemed to reference Corea’s history with the composer (he has a jazz composition titled Mozart Goes Dancing). Performed crisply and with genuine liveliness by violinist and Angel Fire artistic director Ida Kavafian, pianist Anne-Marie McDermott, and cellist Peter Wiley, the piece succeeded on its own merits without giving any insight into Corea’s style. (In a humorous moment that underscored the festival’s lack of pretension, a small dog ran out from backstage to add his bark to the ovation at the end of the performance.) More revealing was the Harlem Quartet’s performance of Corea’s composition The Adventures of Hippocrates. The piece was commissioned by the Santa Fe Chamber Music Festival and La Jolla Music Society and premiered here in 2004 by the Orion Quartet (the Harlem Quartet performed it in Santa Fe in January 2012 in a performance sponsored by the Santa Fe Concert Association). The work fuses a number of Corea’s signature styles into its five movements. The quartet seemed comfortable with it, bringing out its blues and Spanish touches, playing with a sharp ear for its brusque rhythms and interwoven harmonies. After intermission, Corea came out to combine an intimate stage presence with sensitive, considered presentations of original and standard material. He worked his way slowly into “Armando’s Rhumba,” a tune written for his father, which reflects a lifelong interest in flamenco music. Its theme came first in a sprightly right-and-left hand unison and then evolved through repeated variations into a dense harmonic statement. He introduced Jimmy Van Heusen’s “It Could Happen to You” by declaring the influence that pianist Ahmad Jamal’s reading of the standard had on him. But his approach was more from the Bud Powell school, with its considered, deep harmonies, unexpected intervals, and the gentle but persistent rhythmic nudge from his left hand. He applied his variations to Alexander Scriabin’s Prelude, op. 11, no. 5, drawing out the piece’s emotional content while emphasizing its songlike qualities. He announced four and then played five selections from Children’s Songs, each piece decidedly different in it own rhythmic way, the lot building on simple left-hand figures over which the pianist built increasingly harmonic but attractively lyrical lines. The final piece was unpinned
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Bill Kohlhaase I The New Mexican
Maria de Barros sings the music of CapeVerde aria de Barros has traveled the world, but her heart is in Cape Verde. Born in Senegal and raised in Mauritania and the United States, the singer, who appears at the Lensic Performing Arts Center on Thursday, Sept. 12, speaks Portuguese and French and their Creole variants as well as Spanish and English. Her situation isn’t unusual. There have been waves of emigration from the tiny island nation, mostly because of its endemic poverty, since it was colonized by the Portuguese. There are now more Cape Verdeans living abroad than in the country itself. This fact has affected the country’s music. Its most prevalent form, the morna, reflects this displacement and longing for the homeland with its somber minor-key moods and blues-like lyrics. “A morna usually tells a sad story,” de Barros said on the phone from her home in Marina del Rey, California. “The word, of course, comes from ‘mourning.’ It’s the story of unrequited love, the story of a lost sibling or lost mother, of a lost love. It’s a story about losing Cape Verde from your life. This has been its theme for years and years. Now, you will hear songs in which the writers will tell someone they love them, but it doesn’t necessarily work out. These songs about love and loss are symbolic of the greater longing for one’s lost home.” But there’s another kind of Cape Verdean song, one that reflects the spirit of its people as much as does the morna. “Coladeira rhythms are often compared to salsa; they’re more lively, more uptempo. The songs will talk about anything, but they’re more the kind of stories that are happy, uplifting, celebratory. It isn’t a fast morna. Morna is slow, sad. The coladeira is upbeat and has several types of rhythms.” De Barros grew up listening to a wide array of sounds in West Africa. “The radio stations played all kinds of music. I heard French and cabaret songs, Cuban music, Arabic, African, everything but Cape Verdean music. That I heard at home. My parents missed their country and made sure they surrounded themselves and me with not only the music but the culture, the food. We were not allowed to speak French or any of the African dialects. We had to speak [Portuguese] Creole.” When de Barros was 12 the family moved to New Bedford, Massachusetts, a traditional landing place for Verdeans in the United States (many early Verdean immigrants arrived in New Bedford on whaling ships that had stopped in Cape Verde). The family eventually landed in Providence, Rhode Island, where her grandparents lived. She began singing a variety 20
PASATIEMPO I September 6 -12, 2013
of world music and pop material as a teenager. After relocating to Los Angeles, she added Latin music to her repertoire. But she never abandoned her roots, and she cites the popular Europe-based ensemble A Voz de Cabo Verde and the Verdean vocalist Bana as her biggest youthful inspirations. Her view of Cape Verdean music gained a sharper focus when she met Cesária Évora, popularly known as the “barefoot diva” and the best-known proponent of the morna. Évora spent the first part of her career singing for drinks and small change in her hometown of São Vicente. She left the country in her mid-40s, landing in Paris, where she began recording and ending up capturing the continent with her sad, soulful songs. By the early 1990s, she was touring in the U.S. She always performed barefoot as a show of solidarity with those in living in poverty back in Cape Verde. “I first met her in Cabo Verde in 1988 in some bar, and we started playing together and really connected. My mother knew her, and we went to see her when she came to America. We became very close.” De Barros said that Évora unofficially claimed her as goddaughter. “People would see the two of us together and want to know who I was, and I’d start telling them my story. And she finally said, ‘Stop explaining all that to them. I’m your godmother and that’s it.’ From then on, that’s what I told them.” De Barros’ admiration for Évora is unmistakable. “She was such a loving and wonderful human being — so funny, so hilarious, so very flirtatious. That’s the thing I feel bad about. The fans never really got to see her sense of humor. Her life was happy, but she sang these sad mornas. It did not really reflect her true spirit.” Évora’s legacy has had a deep affect on the singer. “She is someone who always advised and pushed me to bring Cape Verdean music to the world,” de Barros said. “She would tell me, ‘One day I’m going to be gone, and I don’t want people to say the music died with me. I want you to continue to bring it to everyone.’ She loved her country, she brought her music to the world in a dignified way, in a way that brought honor and developed pride in her country. I wouldn’t have had the life I’ve had in the last 10 years, taking the music to people in other cultures, if not for her. And, at the same time, she’s brought me closer to my culture through her music.” Évora died in 2011. Even with such influence from Cape Verde’s most recognized purveyor of the morna tradition, de Barros doesn’t concentrate on that form. Her music is more from the coladeira tradition with the added influence of Cuban and even Arabic rhythms. Her first major recording, Nha Mundo (My World): Music of Cabo Verde, released in 2003, shows off her cosmopolitan side, working reggae and Afro-Cuban rhythms in with songs that reflect her heritage. The 2009 date Dànça Ma Mi (Dance With Me) is a lively collection that mirrors her live performances, in which she’s a constantly moving presence no matter the tempo of the music. Her most recent recording, 2009’s Morabeza, seems an authentic expression of her direction. “Morabeza is a word, a noun, that expresses the quality you have when you feel at home. Someone who has morabeza is very friendly, very welcoming; it describes the Cape Verdean soul. In hard times, Cape Verdeans would never let you go without eating. They would take you in, give you food and a place to sleep and make you feel warm and welcome.” In that spirit, de Barros sponsors three schools in Cape Verde that not only supply education but also healthcare. “I have no children of my own, but I always say I have some 300 children in Cabo Verde.” She is also involved with obtaining supplies for disabled children and speaking out for abused women. “It’s what I can do, to lend my voice to these things that others also do. People listen to me in Verde because I’m known. I need to be a part of that.” She will see those children in November, when she returns to Cape Verde to record a new album. When asked what form it might take, she laughed. “It will be a Maria recording, from Cape Verde.” ◀
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A LEADER
WHO WILL LEAD SANTA FE SYMPHONY FACES ITS FUTURE
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Benjamin Rous
PASATIEMPO I September 6 -12, 2013
Sam Holden
Bassel Jadaa
James M. Keller I The New Mexican
Joseph Young
This is a moment of tremendous opportunity for the Santa Fe Symphony and Chorus. Its musical apparatus is ripe to be shaken up, and the roster of conductors it is trying out is filled with potential. The trick, of course, will be for the orchestra’s musicians to be open to a talented young conductor whose own desire to invigorate may surpass their own — and for that conductor to be willing to settle for a position that falls short of a true music directorship.
hen the calendar for the 30th-anniversary season of the Santa Fe Symphony and Chorus was released a few months back, something looked amiss. It wasn’t the lineup of events, since in its general contours the 2013-2014 season raises no eyebrows: 10 concerts from September through May, all but one of them on Sunday afternoon at the Lensic Performing Arts Center, plus another presentation in the Voyages of Discovery series the symphony gives in conjunction with the Santa Fe Institute. What looked strange was that the group’s long-time music director, Steven Smith, would occupy the podium for only two of those concerts, with the rest of the season mostly divvied up among a handful of young conductors who are little known to the general public but who figure on the “names to watch” list of orchestra managements. It looked like an audition year. And that’s exactly what it is. Gregory W. Heltman, the orchestra’s founder and general director, confirmed to Pasatiempo that Smith’s tenure “ended at the end of the most recent season.” The parting of ways, he said, was unremarkable: “There’s no scandal or anything like that. He had been our music director for 14 seasons, which is an extraordinary tenure; most music directors stay in their positions from five to seven years. This has been a positive artistic collaboration over a decade and a half. He serves as the full-time music director of the Richmond [Virginia] Symphony and of the Cleveland Chamber Symphony, and that created time constraints. This is an opportunity for him to spend the time he needed for those groups.” Those facts are true, at least so far as they concern Smith’s résumé. He began his post in Santa Fe with the 19992000 season, at which time he was also working as assistant conductor at the Cleveland Orchestra. His affiliation with the Richmond Symphony dates to April 2010, and his contract there runs through the 2015-2016 season. The Richmond Symphony’s website shows that he will conduct 16 performances there during the current season. The Cleveland Chamber Symphony, which he has directed since 2005, offers free concerts of contemporary music. The group has been limping along lately, apparently giving one concert in each of the past two seasons, and it currently is without a home concert hall. “I keep joking that our motto should be, ‘We’re not dead yet,’” Smith told Donald Rosenberg of Cleveland’s The Plain Dealer in June. In the same interview, he expressed hope that the group might present a 10-day modern-music festival at various locations in northern Ohio in late March and early April 2014, although funding had yet to be located. The most unusual thing about Smith’s departure from Santa Fe is the gradualness of its rollout. Even being gone, he’s not gone. The symphony’s website still lists him as the group’s conductor, and, in fact, he’ll be back in the capacity of guest conductor on Sept. 29 to lead Mozart’s Don Giovanni Overture, Shostakovich’s Violin Concerto No. 1 (with concertmaster David Felberg as soloist), and Beethoven’s Symphony No. 3 — and then he’ll come back again on April 13 for Mahler’s Symphony No. 7. That final concert (which looks as if it might fall at about the same time as the festival he’s dreaming about in Ohio) seems an act of programming pluck of the sort that was largely lacking from Smith’s tenure. Of Mahler’s nine completed symphonies, the Seventh probably qualifies as the one the general public has embraced the least, for no good reason. I recall Smith expressing serious apprehension two seasons back when he was preparing to conduct in Santa Fe the Second Symphony of Sibelius — one of the most familiar works in the symphonic repertoire. “We have talked about doing it for some time,” he said, “but we have concerns that it may be out of the mainstream for some people.” The step from Sibelius’ beloved Second (first played in 1902) to Mahler’s Seventh (premiered just six years later) is substantial, and one regrets that Smith is waiting until his final engagement to depart from the symphony’s devotion to the ultrafamiliar. he Santa Fe Symphony’s playlists have not lain entirely within the music director’s purview. “Repertoire and programming were never solely his vision,” Heltman explained. “They are the responsibility of a programming committee that consisted of seven musicians from the orchestra, me, Steven, the choral director, and two ex-officio members from the board who were supposed to provide the attendees’ point of view. I’d get the calendar together, we’d have a broad sense of the budget we had to work with, and we’d kick around ideas and come to a consensus about whether to include something more experimental or unusual.” He pointed out that the organization’s whole concept of governance is not that of traditional symphony orchestras in which a music director exerts top-down control but instead approximates the more democratic model of such groups as the St. Paul Chamber Orchestra or New York’s Orpheus, in which the musicians call most of the shots when it comes to personnel and repertoire. That will extend to the selection of Smith’s successor — who, it seems, will hold the title “principal conductor” rather than “music director,” a change in designation that realistically implies the limited power the person will have in forming the group’s artistic profile. “The principal conductor will have a strong voice,” Heltman said, “not the final arbiter, but a leader of assuring artistic growth and excellence going forward.” The selection of this leader will lie largely in the hands of the players, and the process could lead in several directions. “It may be that we find a candidate who is so multidimensional they can lead the various kinds of music we may present, but we’re open to the possibility of doing things another way,” Heltman said. For example, the group may select one person as principal conductor for the main symphonic programs, while also entering into official relationships with other conductors for pops programming and chorus-and-orchestra repertoire. The process will extend across multiple seasons. “After each is finished rehearsing and conducting their program,” Heltman said, “they will be evaluated by the orchestra. If somebody comes out with a strong majority, they’ll be invited back for a second appearance in a different sort of repertoire. After the second appearance, those finalists will have another evaluation from the orchestra. The entire process will take two or perhaps three seasons. The last time we went through this process, it took three seasons before we came around to Steven.”
James Feddeck
continued on Page 24
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Santa Fe Symphony, continued from Page 23 f this season’s conductors, Smith is obviously not auditioning. Neither (Heltman suggested) is the orchestra’s concertmaster Felberg, who on Nov. 2 leads the Voyages of Discovery program postponed from last season, which is supposed to underscore the connection between music and mathematics. Tom Hall, director of the Baltimore Choral Arts Society since 1982, seems odd man out in the lineup. Considerably more senior than the others, his work is well known to the organization; he has appeared here in the past leading the group’s annual performance of Handel’s Messiah, which he will do again on Nov. 24. He returns on May 17 and 18 to lead Brahms’ Tragic Overture and Beethoven’s Ninth Symphony. He is officially listed as a candidate, but one imagines that the symphony is eyeing him more as an ancillary conductor for choral repertoire. That leaves Benjamin Rous, Joseph Young, James Feddeck, Robert Treviño, and Case Scaglione, all of whom are definitely in the running. Rous opens the season on Sunday, Sept. 8, at the Lensic. This is the symphony’s annual Showcase of the Stars event, which is designed to bring in soloists you might possibly have heard of. In terms of repertoire, this year’s go-round is duller than dishwater: Liszt’s Hungarian Rhapsody No. 2, Rachmaninoff’s Piano Concerto No. 3 (featuring Vadym Kholodenko, the most recent laureate of the Van Cliburn International Piano Competition), and popular morsels by Saint-Saëns and Sarasate (played by violinist Chee-Yun). Rous, whose background includes work as a violinist in historically informed performance while an undergraduate at Harvard, is currently associate conductor of the Virginia Symphony and prior to that was assistant conductor of the Phoenix Symphony. Young will lead a Christmas pops program on Dec. 15: again, hardly a test for serious technical fettle, but sometimes conductors get assigned to a certain repertoire niche not because they are essentially suited to it but rather because that’s where they’re getting the offers. A product of the Peabody Conservatory of the Johns Hopkins University, he went on to all the right conducting master classes and spent stints as assistant conductor for the Buffalo Symphony and resident conductor of the Phoenix Symphony. Feddeck takes on a more formidable challenge on Jan. 19: Mozart’s pleasant little motet Exsultate, jubilate, but then Bruckner’s massive Symphony No. 4 — again, a piece we hardly expect to hear from the Santa Fe Symphony, a masterwork that will rise or fall on the conductor’s ability to infuse it with logic and not let the orchestra wrest away the reins. Feddeck has just ended a term as assistant conductor of the Cleveland Orchestra, and in May he was honored with the Sir Georg Solti Conducting Award, a biennial prize awarded by the Solti Foundation U.S. The previous recipient was Scaglione, who is now assistant conductor of the New York Philharmonic. He’ll be here on March 23 to lead Borodin’s Polovtsian Dances (with the Symphony Chorus assisting), Bruch’s Violin Concerto No. 1 (with soloist Clara-Jumi Kang, winner of the Indianapolis Violin Competition), and Rachmaninoff’s Symphony No. 2. In between Feddeck and Scaglione comes Treviño, associate conductor of the Cincinnati Symphony, who has some experience in opera as well as in orchestral music; his program on Feb. 16 will include two pieces that have to do with Abraham Lincoln — Copland’s Lincoln Portrait (with N. Scott Momady narrating) 24
PASATIEMPO I September 6 -12, 2013
Irene Haupt
Chris Lee
Case Scaglione
Robert Treviño
and a suite of John Williams’ music for the recent Spielberg film as well as a work by George Walker and Dvoˇrák’s Symphony From the New World. All of these contenders hold, or have held, positions as assistant, associate, or resident conductors at various orchestras. This is a standard step in the careers of developing conductors. People who hold these positions — the titles are generally interchangeable, depending on the hiring organization — typically conduct youth orchestras, oversee community events, serve as cover conductors (presumably prepared to fill in for a scheduled maestro at moment’s notice), and may sometimes get an occasional scheduled date in the orchestra’s subscription concerts. These candidates were all invited to Santa Fe thanks to personal recommendations. “If we had sent out an open announcement that we were looking for a conductor,” Heltman said, “we would have gotten 500 or 600 applications. Instead, we sought input from people whose opinions we trust — a musicians’ grapevine across the country — and drew up a list of perhaps 30 or 40 candidates. When you’re talking about conductors, their résumé can be impressive, but the chemistry may or may not be there. Word of mouth maybe helped provide some indication in advance. Then, of course, it was also to some degree a question of whose availabilities lined up with our schedule.” Also on the shortlist are a few names we will probably see in the 2014-2015 season. David Danzmayr is just now beginning as music director of the ProMusica Chamber Orchestra of Columbus following three years as assistant conductor of the Royal Scottish National Orchestra. Alondra de la Parra, currently director of the Jalisco Philharmonic Orchestra, made her mark through the Philharmonic Orchestra of the Americas, which she founded when she was 23; it did not survive the economic downturn but attracted a good deal of interest prior to its demise in 2011. Michael Butterman is music director of the Boulder Philharmonic and the Shreveport Symphony as well as resident conductor for the Jacksonville Symphony Orchestra, but Heltman fears that another appointment he is poised to assume may render him unavailable. (We know he’s in the running for the Charleston Symphony’s music director position.) The Santa Fe Symphony also lists as a candidate Oriol Sans, who led the ensemble as a guest conductor this past April; one assumes that the appropriate Santa Feans will make the trip south when he appears in Albuquerque conducting the New Mexico Philharmonic on Nov. 16. This is a moment of tremendous opportunity for the Santa Fe Symphony and Chorus. Its musical apparatus is ripe to be shaken up, and the roster of conductors it is trying out is filled with potential. The trick, of course, will be for the orchestra’s musicians to be open to a talented young conductor whose own desire to invigorate may surpass their own — and for that conductor to be willing to settle for a position that falls short of a true music directorship. ◀
details ▼ Santa Fe Symphony Orchestra; Benjamin Rous conducts music by Liszt, Rachmaninoff, Saint-Saëns & Sarasate with pianist Vadym Kholodenko & violinist Chee-Yun (3 p.m. talk free to ticketholders) ▼ 4 p.m. Sunday, Sep. 8 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $22-$76; 988-1234, www.ticketssantafe.org
e xh i b i t ion e nds se p t e mber 11
Georgia O’Keeffe in New Mexico:
Architecture, KAtsiNAM, ANd the LANd
Georgia O’Keeffe, Black Cross with Stars and Blue, 1929. Oil on canvas, 40 x 30 inches. private Collection © Georgia O’Keeffe Museum
M ay 1 7 – S e p t e M b e r 1 1 , 2 O 1 3
This beauTiful exhibiTion tells the little-known story of how the new Mexico landscape, and O’Keeffe’s introduction to Hispanic and indigenous art and architecture, inspired a significant creative shift in her painting. in addition to O’Keeffe’s iconic landscapes, it includes newly discovered paintings, and the work of Hopi artists ramona Sakiestewa and dan namingha.
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TERRELL’S TUNE-UP Steve Terrell
Another other side of Bob Dylan
It’s interesting that Columbia Legacy would release a two-disc “bootleg” set of unreleased Bob Dylan recordings centered around one of his most critically unacclaimed albums in his 50-plus-year career. But that’s the case with Another Self Portrait (1969-1971): The Bootleg Series Vol. 10. About half the songs are alternative versions, demos, or cutting-room-floor songs originally meant for Dylan’s 1970 album Self Portrait (it was a double album in the days of vinyl, though it all fits on a single CD). There also are several different versions of songs that appeared on New Morning (which came only months after Self Portrait) plus a smattering from Nashville Skyline and other projects. At the time of its release, Self Portrait was the most controversial thing Dylan had done since “going electric” at the Newport Folk Festival five years before. In his autobiography, Chronicles, Vol. One, Dylan described this album: “I just threw everything I could think of at the wall and whatever stuck, released it, and then went back and scooped up everything that didn’t stick, and released that too.” The critics raved. Actually, the critics ranted, and it wasn’t pretty. It was as if they felt personally that the most important artist of a generation had released a record that wasn’t a grand revelation. Instead, despite the portentous title, Self Portrait was just a fun and sometimes sloppy musical notebook of Dylan singing some favorite folk and country songs, mixed in with a few live recordings and musical experiments. “What is this doo-doo?” (I paraphrase) was the opening sentence of the review in Rolling Stone (in those days a rock ’n’ roll magazine, believe it or not) by Greil Marcus. In the liner notes for the new collection, Marcus wrote that those were “the words that were coming out of everybody’s mouth” when first hearing Self Portrait. Not everybody. I was a high school kid when Self Portrait came out, and for the most part I liked it. And for the most part, I still do. Sure there are some clunkers — his undercooked version of Simon & Garfunkel’s “The Boxer,” the bafflingly overproduced “Belle Isle,” the mediocre take on Elmore James’ “It Hurts Me Too,” and the outright
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PASATIEMPO I September 6 -12, 2013
bizarre “In Search of Little Sadie,” which sounds like a stoned private joke. And, as is the case with many other classic double albums, Self Portrait could have, should have been boiled down to a single disc. But there is so much to love in Self Portrait. The first song is the enigmatic “All the Tired Horses.” Dylan didn’t sing this. It is a chorus of three women singing, “All the tired horses in the sun/How am I supposed to get any riding done/Ummm ummm” over and over again, like some plantation dirge with a string section coming in. There is a raucous live version of “The Mighty Quinn (Quinn the Eskimo)” with The Band that sounds like a saloon fight. And there is a straight version of “Little Sadie,” in which David Bromberg on guitar sounds so much like Doc Watson that I had to check the credits. Speaking of “Little Sadie,” my favorite aspect of Self Portrait is what seems to be an Old West/frontier/gunslinger undercurrent. One of the best tunes in this vein is “Alberta #1,” a funky old folk song (I remembered it from seeing Pernell Roberts, Adam from Bonanza, perform it on some TV variety show). “I’d give you more gold than your apron could hold” sounds like a love-sick promise by the world’s horniest prospector. Dylan’s laconic version features tasty dobro by Bromberg and call-and-response vocals by the same trio that sings “All the Tired Horses.” Later in the album there is a slightly faster “Alberta #2,” and I liked that, too. (And, to get ahead of myself a little, I also like “Alberta #3” on Another Self Portrait, despite its abrupt end.) One of the most moving songs on the album is a moonshiner ballad, “Copper Kettle,” in which Dylan, in the voice of a proud, defiant hillbilly Everyman, sings, “My daddy he made whiskey, my granddad he did too/We ain’t paid no whiskey tax since 1792.” And there is The Everly Brothers’ “Take a Message to Mary,” with that haunting introduction by a female chorus, “These are the words of a frontier lad, who lost his love when he turned bad.” But best of all is Dylan’s version of “Days of 49,” an old gold-rush song about a sad forty-niner lamenting the loss of his old compadres, a motley, whoring gaggle of drunks, brawlers, and card cheats — the kind of men who built this great land of ours. “They call me a bummer and a gin-shot too, but what cares I for praise?” Dylan snarls. The verses document the lives and violent deaths of pals like Poker Bill, New York Jake, and Ragshag Bill. The devastating final verse puts it all in perspective: “Of all the comrades that I’ve had, there’s none that’s left to boast/ And I’m left alone in my misery, like some poor wandering ghost.” Makes you wonder whether Dylan has harbored a fear of being the last man standing among his glory-days contemporaries. “Railroad Bill,” a fine old American outlaw ballad included in Another Self Portrait, would have fit in perfectly among the Old West tunes on the original album. Why it was excluded while “The Boxer” was included we’ll never know. While any fan of any performer enjoys hearing outtakes and versions of familiar songs at various stages of development — “New Morning” with horns, “Wigwam” without the horns, “Sign on the Window” with orchestra — my favorite tunes on the new collection are the ones that I’d never heard Dylan do before, like “Railroad Bill.” A few of these, such as “Annie’s Going to Sing Her Song” (written by folkie Tom Paxton) and a folk song called “Pretty Saro,” can only be described as gorgeous. For sheer fun, it would be hard to beat the bluesy “Working on a Guru,” featuring George Harrison on guitar, from the New Morning sessions. And for the pure mystery of folk music, Dylan, backed by Bromberg’s guitar and pianist Al Kooper, sings a song called “Tattle O’Day,” full of nonsense lyrics about animals with fantastic powers. While I mostly prefer the familiar versions of the Self Portrait songs to the versions on the new “bootleg” collection, there are exceptions. Both “Copper Kettle” and “Belle Isle” are stripped of their overdubbed sweetening strings, leaving performances that seem more passionate. If nothing else, Another Self Portrait forces a second look at the original Self Portrait. Maybe it wasn’t as big a revelation as Highway 61 Revisited or Blonde on Blonde. But in its own strange way, it has its own revelatory power. ◀
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PASA TEMPOS
album reviews
DAVID WEISS ELGAR The‘Longed-forLight’(Somm) Endangered Species: The centennial of World War I The Music of Wayne Shorter arrives next year, and with it the (Motema) A solid drum intro by E.J. promise of historical reminiscence Strickland and then a melodious storm of about the four-year event, which jazzy horns open “Nellie Bly” on this album lingers as a dim impression for from David Weiss’ 12-member Endangered most people today. This CD of Species ensemble. The CD is a rewarding nine wartime compositions by Sir statement on (and tribute to) Shorter, who, Edward Elgar not only suggests at 80, has the hottest quartet in jazz today. the passion of those times but also serves as a history lesson, “No one can improve on the original versions in a small group reminding us of political bonds that linked Britain with some of setting,” Weiss says in the liner notes, “so why even try?” He its allies during the hostilities. Elgar’s “Land of Hope and Glory,” employs nine horn players as well as piano, bass, and drums on this a virtual anthem of wartime Britons, is too famous to require set recorded live at Dizzy’s Club Coca-Cola in New York. “Nellie Bly” inclusion here. But when is the last time you heard his Polonia overture, offers inspired solos by trombonist Steve Davis, altoist Tim Green, and which he wrote for a Polish Victims’ Relief Fund Concert, working pianist Geri Allen. “Mr. Jin” begins with a dramatically plodding vibe, out musical quotations from Chopin and Paderewski into his own sweeping of which rises the melody played in unison by several horns, then solos by phrases? John Wilson conducts the BBC Concert Orchestra in powerful, Davis and Green; the latter is obviously influenced by Shorter, at one point well-crafted performances throughout. Most of the works are short even quoting a short phrase from “Aung San Suu Kyi.” The only nonby Elgarian standards — not necessarily a bad thing, since he Shorter song is the leader’s “The Turning Gate,” and it’s a showcase could rather suffer from musical logorrhea. Three of the for twins E.J. and saxophonist Marcus Strickland, playing numbers include recitations of occasional poetry (read nearly wildly over Norbert Stachel’s three-note bari-sax by actor Simon Callow) that underscore British fascinapulse. Allen sets up the episodic closer, “Prometheus ‘Lido Pier Suicide Car’ tion with the threatened state of Belgium. An especially Unbound,” with an intro of dissonant, harplike cadences. beautiful five minutes are spent with Elgar’s Sospiri Weiss uses multiple horns to create peaceful, heraldic secbuilds carefully before (“Sighs”), a tender orchestral miniature that was premiered tions that frame the fleet, high-register Pelt solo and some only 11 days after Germany declared war on Great Britain; dazzling soprano work by Strickland. — Paul Weideman exploding, and Will Sheff the composer’s wife described it as “lovely like a breath of Okkervil River repeats of peace on a perturbed world.” — James M. Keller OKKERVIL RIVER The Silver Gymnasium (ATO) Will Sheff, frontman of Okkervil River, is at his best the title as if he is trying HUGH LAURIE Didn’t It Rain (Warner Music Entertainment) when writing songs within an overreaching concept, You’ll know a few of these songs — “The St. Louis Blues,” whether that’s the fable of 2005’s Black Sheep Boy or to find the meaning “Evenin’,” “Kiss of Fire.” The rest, even if you don’t know 2007’s reflection on fiction and career musicianship, The them, will sound familiar in the way that great music of Stage Names. The Silver Gymnasium finds his gaze trained of the phrase. this sort sounds familiar on first hearing. Despite Laurie’s backward, as he details life in the mid-1980s in his small discussion of “authenticity” in his too-clever liner notes, you’ve hometown of Meriden, New Hampshire. This proves fertile ground for inspiration, yielding little stories with dark undernever heard any of these songs quite this way before. The orchestones. The language can be impressionistic, and the specific plots are trations and arrangements are unique, giving these old-time tunes a freshness that seems to come naturally to them. Even the lyrics are somewhat vague on initial listens, but the results are as sharply evocative as Raymond Carver’s short stories. From a compositional standpoint, the songs rank different, as in “Vicksburg Blues,” which references millionaires playing the among Sheff’s best work, with “Down Down the Deep River” — one of market. Sidemen include Taj Mahal and keyboardist Larry Goldings on the album’s lyrical highlights, rich with detail and pointedly touching select cuts, with guitarist Kevin Breit and fine mandolin play from Greg on how kids process tragedy — layering 1980s-style synths and Leisz. Drummer Jay Bellerose is just enough of a laggard on the beat to spiraling back on itself, gathering momentum as it goes. “Lido Pier give the tunes an intoxicated rhythm. Vocalist Jean McClain delivers Suicide Car” builds carefully before exploding, and Sheff repeats sexy, compassionate readings even as she asks for no leniency in the title as if he is trying to find the meaning of the phrase. It’s “Send Me to the ’Lectric Chair” (sample lyric: “I done cut my good man’s throat”). The weak voice in all of this is Laurie himself, also one of many songs that recall Bruce Springsteen’s smallwho’s neither gruff nor emotional town observations — if that work came enough to convince us of anything. from a place so infused with childhood His rendition of “One for My Baby” perspective and informed by nostalgia would make Sinatra weep. You, too. that it bordered on magical realism. It’s as But don’t let that, or the mix-ups if Sheff is still piecing together fragmented in the liner note credits, stop you memories and passed the puzzle on to us. from listening to the rest of this The more we ponder, the more late some sodden Saturday night. we’ll get out of it. — Bill Kohlhaase — Robert Ker
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PASATIEMPO I September 6 -12, 2013
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PASATIEMPO I September 6 - 12, 2013
ON STAGE Kiwi country: Donna Dean
From 1992 to 1996, Donna Dean was in Rio Grande, a country band hailing not from New Mexico, Colorado, or even Texas, as one might assume, but from New Zealand. Dean’s family has a substantial musical history in the Auckland region. Her grandfather was known by the country-appropriate moniker “Banjo Mac,” and her mother was a guitarist and singer who passed her love of country on to her daughter. Dean’s music combines the upbeat and the mellow with a bit of country husk thrown into the mix. Her current band is made up of multi-instrumentalists John Egenes (dobro, guitar, banjo, mandolin, harmony vocals), John Dodd (bass, harmony vocals), and Jane Clark (fiddle). The whole gang appears at the Music Room at Garrett’s Desert Inn (311 Old Santa Fe Trail, 982-1851), courtesy of the Santa Fe Performance Exchange, on Friday, Sept. 6, at 7:30 p.m. Tickets are $20 at the door and $15 in advance by calling 800-838-3006 and from www.brownpapertickets.com. — L.B.
The weekend begins here: Jan Worden-Lackey
Concert seasons may wax and wane, but one thing that classical music lovers can count on is the TGIF series at First Presbyterian Church. Every Friday all the year round, the establishment opens its doors (at 208 Grant Ave.) to listeners for a short concert at an hour when the work week cedes to the weekend. On Friday, Sept. 6, from 5:30 to 6 p.m., the music is in the hands of Jan Worden-Lackey, who received her master’s degree as a harpschordist at Southern Methodist University and carved out a niche performing early music in Dallas before establishing herself as a busy keyboard player in Santa Fe. Her recital encompasses short harpsichord works from the 16th through 18th centuries, including depictive items by William Byrd and Louis-Claude Daquin plus a musette en rondeau by Jean-Philippe Rameau. She concludes with two famous masterworks by composers renowned for their abilities when negotiating the possibilities of the harpsichord: the Prelude and Fugue in G Minor from Book Two of Bach’s Well-Tempered Clavier and the grand Passacaille from Handel’s G-Minor Harpsichord Suite. There is no charge for the concert; donations are appreciated. Call 982-8544, Ext. 16. — J.M.K.
T.G.I.F. !
THIS WEEK
Angry potatoheads: Steve Terrell & Gregg Turner
Is this a match made in heaven or in the fiery depths of Hades? To launch the live performance aspect of the revamped Jean Cocteau Cinema (418 Montezuma Ave.; 466-4528), Gregg Turner and Steve Terrell team up for a one-night-only show on Saturday, Sept. 7, at 9 p.m. Turner has lifelong punk cred as a founding member of Angry Samoans, a 1970s-era band formed in Los Angeles. Terrell, whose humor-laced alt-country songs are compiled on the album Picnic Time for Potatoheads, has deep roots in Santa Fe. In fact, author/cinema owner George R.R. Martin and manager Jon Bowman met at a Terrell concert years ago at the long-defunct Forge. Given that both players are experienced music critics (Turner wrote for Creem in the 1980s, and Terrell currently writes for The Santa Fe New Mexican), the question remains: Who will critique the critics? George R.R. Martin, we hope. Tickets are $5 at the door. — L.B.
Make mine free: Freewheel Festival of Improvised Music
Hot chops and sincerity of purpose are two attributes to look for in musical improvisers. The Freewheel Festival of Improvised Music at Benildus Hall, Santa Fe University of Art and Design (1600 St. Michael’s Drive), holds promise. To curator Ross Hamlin, freewheeling means “when the progress of the vehicle is no longer controlled by the engine but rather by momentum and the skill and courage of the operator.” At 5 p.m. on Friday, Sept. 6, there’s a workshop ($5) with Brendan Carn and at 8 p.m., a concert featuring Carn and Dino J.A. Deane. On Saturday, Sept. 7, there’s an improvisation workshop ($5) with Brian Allen at 2 p.m.; a performance and clinic ($5) with Hamlin and Al Faaet at 4 p.m.; and a concert featuring Ink on Paper and Allen at 8 p.m. Deane’s Out of Context Electric Guitar Choir offers a free conduction rehearsal at 2 p.m. on Sunday, Sept. 8. That is followed by a workshop ($5) with Thollem McDonas at 5 p.m. and a concert featuring Wind Up Birds and Thollem’s Confluence (McDonas, solo piano) at 8 p.m. Concerts are $10. Tickets are available at the door; call 473-6196. — P.W. PASATIEMPOMAGAZINE.COM
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Moses supposes Ed Moses on not being an artist for nearly 60 years
Paul Weideman I The New Mexican
E
d Moses insists he’s a painter who experiments with pigments and other materials on canvases rather than an artist who creates things. In any case, he is a renowned artmaker. He was one of a group of painters, which included Ed Ruscha and Robert Irwin, whose careers were launched with exhibitions at Los Angeles’ Ferus Gallery in the late 1950s and early 1960s. Except for a few years when he lived in New York and Europe, he is a lifelong resident of Southern California. His portfolio — beginning with architecture-referencing drawings in the early 1950s and progressing through grids, smeared-color abstractions, and monochromes — is incredibly diverse. Descriptions of his work might include the words jazzy, peaceful, scary, elegant, densely busy, and simply unexplainable. Now 87, he paints every day at his home in Venice. The exhibition Ed Moses: Green/Bronze, at Charlotte Jackson Fine Art through Sept. 23, features his latest series of layered “crackle” paintings. The surfaces vary from high-contrast, as in B/W (2013), to pale-on-pale examples like Gold Over Green (2013). Pasatiempo: The crackled-surface patterns and circular complexes in these new works are so involving, and quite different from one piece to the next. Ed Moses: They’re unpredictable. First I paint black, white, or whatever, and then I put this material — I call it secret sauce because I don’t want
to tell people what it is — and after that dries I punch it. The reason I do that is that it makes circular tracks. I do all my paintings outside. I have two large studios, and I’ll pull them in at the end of the day kicking and screaming and then I can see what I like and what I don’t like or what I respond to and what I don’t respond to. Pasa: Look at what you’ve done over the last six decades — even in the last 10 years — and it’s hard to believe it’s the same artist. Moses: That’s one of the problems. I don’t consider myself a professional artist. In other words, I’m not an artist who works for money. I work because I love to paint, and then if they sell, so much the better, because I have my maintenance pay. That isn’t completely true, but I say it because I sort of half-believe it. I’m an explorer as a painter. I try different things. I’ll work on a series of paintings maybe a year or two, maybe three. While I’m working on these paintings, little things happen off on the side, through the process, or through an edge, and I say, Gee, that would make a nice painting. And I say I’ll get back to that after I finish this body of work, but sometimes it barks so loud I have to pursue it. I call the process mutations, because they mutate from one series to another. I like that word a lot because it sort of explains the next step in terms of the idea or attitude. Actually I don’t have ideas. One things leads to another, continued on Page 34
Ed Moses: top, Y? Copper, 2013, mixed media on canvas; opposite page, Black Over White, 2013, mixed media on canvas
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PASATIEMPO I September 6 -12, 2013
Ed Moses, continued from Page 32
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which leads to another, which leads to another. My life has been a progression of mutations and some expectations and a lot of disappointment. If they don’t pass the test, I don’t let them out. I must destroy a couple hundred paintings a year. I’m a painter. I’m not an artist, and I don’t create things. I discover things. Discovery is based on my eye, my experience. So I’m not pure by any stretch of the imagination. There’s always contradictions. I consider what I do as explorations and inventions on the spot, not creations on the spot. Pasa: What kinds of conversations did you have with Willem de Kooning, Mark Rothko, Larry Bell, and other innovators back in the day, or do you remember more about the spirit of what you all were doing? Moses: I would say the spirit, or something to do with the attitude at the time. And of course those change. Things you were interested in 20 years ago are not necessarily what you care about now. I’m a big film buff, and I’ll see films I saw 30 or 40 years ago and I didn’t like, or that I don’t like at all that I used to like. I did meet de Kooning — never knew him. Ad Reinhardt I knew the best. I met Philip Guston, but I never knew him. When he changed to figurative, all his abstract cronies criticized him for it, but I thought it was a great thing that he did. And I never had the chance to meet Jackson Pollock, because he had died a year or two before I went to New York in 1958. He was certainly one of the painters that I had great admiration for. Pasa: In a 1996 Los Angeles Times review, you said fear of public humiliation was a motive for your artmaking. Moses: That’s always one of the factors, of course. When you have an exhibit there’s always a fear you’re going to be humiliated. I don’t want to be embarrassed. I don’t want to expose myself. I still have an ego, although I’ve been a student of Buddhism for a few years. Pasa: Tell us that cool story about your first art teacher, Pedro Miller, at Long Beach City College. Moses: I was a pre-med major, and I couldn’t get the grades to get into medical school. I didn’t know what to do, but these friends of mine were going to be commercial artists and they told me, You’ve got to see this eccentric art teacher. In that day they were called bohemians. He was definitely an eccentric guy. He went in and turned the trash can upside down and started lecturing. He gave these wonderful lectures based on reproductions that were mounted on these large cardboards — it was Cézanne, Picasso, all the people of that period. This was 1948. I’d gotten out of the service in 1946. Anyway, he set up a sort of Cézanne-esque still life, and everyone had their materials. He showed us how to mix these tempera colors. Casein followed after that, and the acrylic paints. But these were just waterbased, powdered pigments. We sat on benches and had our board on the bench at an angle and with a couple clips we had paper or imitation canvas panels. I’d never taken any art classes. I didn’t know what the hell to do, but I was fascinated by him. I got all these art materials because of the GI Bill. He started to walk around shooting everybody down and as he got closer and closer to me, I thought, I’ve got to get out of here. For some reason, I don’t know why, I decided to stay, and at the last minute as he got there I stuck my fingers in the wells and did these finger-paintings all over the paper. He looked down at that and looked at me, and he took it and put it up on the wall and said, Now here’s a real artist. Everybody looked at me and looked at what I did and didn’t get it, but they all followed me around like I was a genius. That was the beginning. ◀
▼ Ed Moses: Green/Bronze ▼ Exhibit through Sept. 23 ▼ Charlotte Jackson Fine Art, 554 S. Guadalupe St., 989-8688
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ART IN
REVIEW
Carla Hemlock: Tribute to the Mohawk Ironworkers, 2008, cotton cloth, glass bead/beads, sequins, cotton thread, nylon thread, sewn, pieced, appliquéd, overlay beadwork, quilted; courtesy the National Museum of the American Indian, Smithsonian Institution, Washington, DC; Cat. No. 26/7164 Far left, Kenneth Williams Jr.: The Beauty of a Maiko, 2009, new and vintage glass beads, seed pearls, mabe pearl, rubies, Swarovski crystal, silk ribbon, vintage silk kimono fabric, wood broadcloth, brain tanned deerskin, and hand mirror
Changing Hands: Art Without Reservation 3/Contemporary Native North American Art From the Northeast and Southeast, Selected Works, Museum of Contemporary Native Arts, 108 Cathedral Place, 983-1777; through December
T
his show marks the conclusion of a comprehensive series of traveling contemporary Native art exhibitions. Art Without Reservation 3 is abbreviated from its original inception at the Museum of Arts and Design in New York, where more than 100 works by 85 artists were presented. The focus for this third exhibition in the series, guest curated by Ellen Taubman, is art east of the Mississippi, stretching from the Great Lakes region to the Northeast and Southeast regions of the United States and including parts of the subarctic region of Canada. The previous Changing Hands exhibitions, Art Without Reservation 1 and 2, focused on the arts of the Southwest, West, Northwest, and Pacific regions. While those exhibitions had a strong emphasis on traditional arts, the latest Changing Hands is squarely in the realm of the contemporary, but it does draw on the cultural background, personal histories, and issues facing Native artists and their communities. Art Without Reservation 3 is an exhibition of new media, sculpture, painting, jewelry, ceramics, textiles, and work in other mediums. An exhibition survey of contemporary Native artwork is a daunting task, and dividing the show into separate exhibits was necessary. The presentation at the Museum of Contemporary Native Arts is only a selection, but the selection is large, offers variety, and is high quality almost all the way around. Several works in the show, including Jamasie Pitseolak’s carved stone and antler motorcycle Tiger Roars Again, are finely crafted objects that delight with their intricate details. Fiber arts, ceramics, and jewelry stand out in this regard, but so do beaded works such as Kenneth Williams Jr.’s The Beauty of a Maiko, a bag depicting an apprentice geisha. Traditional tanning techniques were used for the leather, and vintage beads and glimmering Swarovski crystals decorate the borders and ties. Two works reference Mohawk ironworkers, whose dangerous occupation took them high above the streets of New York City, straddling girders on high-rise construction jobs. Carla Hemlock’s Tribute to the Mohawk Ironworkers is a mix of photographic imagery, beadwork, appliqué, and quilting, and Donald Hemlock’s Mohawk Ironworker Cradleboard takes a traditional cradleboard design and decorates 36
PASATIEMPO I September 6 -12, 2013
it with contemporary, narrative imagery. Hemlock’s cradleboard offers a bird’s-eye view above an ironworker balanced on an I-beam at a dizzying height. Strong examples of sculptural works also call attention to cultural forms. Several of Canadian artist Robert Tannahill’s pieces, for instance, reference the masks of the False Face Society of the Iroquois. Tannahill’s are rudimentarily carved wooden faces that retain a treelike appearance. The interiors are filled with blown glass that bulges from the mouths and eye sockets, a fluid medium inhabiting the masks like amorphous spirits. A nearby piece by Floyd Kuptana, Bear-Man Shaman Mask, similarly references an aspect of Native spirituality, in this case of the Inuit. The shamanic mask is a grotesque and fascinating work in soapstone that suggests metamorphosis or transformation from human to animal. Other sculptures are more abstract, such as Jason Quigno’s serpentine limestone sculpture Pillar of Tranquility. Among the works in new media is Barry Ace’s Bandolier, an atypical mix of beaded textile and video. An illuminated digital display of floral designs, partially obscured by mesh fabric, blends with similar imagery rendered in beads. Textile work and weaving are also well-represented. Gail Tremblay’s It Was Never About Playing Cowboys and Indians uses 16 mm film stock, drawing inspiration from basketry designs, and may reference the history of typecasting and stereotyping of Native people in film and photography. It must be noted that MoCNA ’s concurrent exhibition by Cannupa Hanska Luger, Stereotype: Misconceptions of the Native American, humorously riffs on the topic with a selection of portable stereos, stand-ins for objectified Native peoples, decorated with items that suggest preconceived notions of what defines “Native.” Changing Hands, for the most part, focuses on aesthetics. It’s a credit to Taubman that she shows off such a large range of talent and includes several artists with exhibit histories at MoCNA, such as Richard GlazerDanay, whose solo exhibition Shake, Rattle & Roll was displayed there last year. If you followed the last two Changing Hands exhibitions, which also passed through Santa Fe, then you can expect the same object-oriented, well-mounted presentation. There is no one emergent theme, which is a challenge when presenting a large selection of works by many artists. Instead, this final chapter emphasizes the beauty of form. — Michael Abatemarco
PASATIEMPOMAGAZINE.COM
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PASATIEMPO I ????????? ??-??, 2013
GLÜM- - MADDER THAN THE OLD MAN “This one is called To Will’s Disappointment.” Artist Robb Rael laid out a workin-progress on his gallery table — a sketch based on a photograph by Ernest Knee of Will Shuster standing at Zozobra’s feet. In the photo, Shuster is looking up at the monstrous marionette he created back in 1925, but in Rael’s sketch Shuster hangs his head in shame while Zozobra flashes a handful of bills. “It pretty much says it all, with everything that happened last year,” Rael said. He was referring to the 2012 burning of Zozobra, which received extensive, vocal criticism for its duration and a price hike that raised ticket prices to $20. The Kiwanis Club of Santa Fe has been in charge of the annual burning of Zozobra since Shuster passed on control to the organization in 1964 and insists that it made every effort to improve this year’s show and its accompanying ceremonies. New event chairman Ray Sandoval told Pasatiempo that he spent the last 12 months addressing community feedback and revitalizing the tradition in a number of ways, including reducing the cost of admission, following Shuster’s original script for the burning, and launching the first ever ZozoFest, a two-day arts festival that took place the last weekend of August. Art has always played a central role in the greater Zozobra rituals. Shuster was part of Los Cinco Pintores, a group of five modernist painters who made a name for themselves in the early 20th century and helped establish Northern New Mexico as an arts mecca. Today, besides the annual art show, which allows artists to use the trademarked imagery of Zozobra, the Kiwanis also run a much feted official poster contest — one that Rael won in 2009. But rather than participating in the official art show and poster contest, Rael has chosen to go rogue this year. He hosts his own group exhibit titled GLÜM — Madder Than the Old Man, which opens on Friday, Sept. 6, the day after the burning. Joining him are a number of artists (and some of their children) — including Consuelo Piñeda, Melissa Dominguez, Greg Lucero, and Toby Morfin — working in a variety of mediums, such as photography, ceramics, painting, and sculpture. Rael’s work will also be on view. Morfin was the 2010 poster contest winner — at least at first. According to Morfin, the honor was rescinded when the Kiwanis board and former event producer Ray Valdez (whose resignation followed last year’s controversy) learned that he had already sold the piece. “I showed up at the opening, and I was like, where’s my piece man, and they had it all wrapped up. [Valdez] said since you already sold it I can’t show it. It was weird, kind of like a blow to the heart, bro, know what I mean?” According to Valdez, there had been previous, unspecified disagreements between Morfin and the Kiwanis board. The beleaguered former producer provided Pasatiempo with an answer to one of Morfin’s questions: What happened to the numerous posters that had already been printed, featuring his original image? “They were destroyed. One thousand were printed, and 950 were burned in that year’s effigy.” GLÜM will probably reunite Morfin and Valdez for a common cause. Rael said that Valdez is “going to bring me tons of memorabilia.” However, Valdez said that he was not willing to officially verify his involvement. He went on to emphasize that many issues remain unresolved following last year’s public outcry and what amounted to a media storm (by Santa Fe standards). “My side of the story of what happened last year has not been told. You can quote me on that. My side of the story has not been told.” Valdez did say that he plans to provide Rael with a 12-foot replica of Zozobra created by Harold Gans, a friend of Shuster’s and the voice of Zozobra for 40 years. Gans helped build Zozobra over an even longer period and took on a leading role after Shuster stepped down in the mid-1960s. Valdez said that Mini-Z, as the Gans replica is known, has taken a beating over the years and is ready for the pyre. “I’m going to give them this old decrepit man that’s sitting in the yard in the weeds so they can burn it.” Valdez’s current bitterness with the tradition runs in deep contradiction to recent years, when he expressed pride in his acquired Zozobra memorabilia. He told The Santa Fe New Mexican in an Aug. 31, 2008, article that a “maquette from one of the 1960s builders is probably my most precious possession.” He suggested that Mini-Z could be incorporated into the art show after being burned, by “shellacking it and hanging it up as a decrepit symbol of the burnt hopes and wishes and dreams of
Loren Bienvenu I For The New Mexican
all the volunteers that never got paid for working on Zozobra, never got any praise for Zozobra, just got beat up by the media, got beat up by social media, got beat up by society, got beat up by city officials in their quotes, and got beat up by reporters from certain newspapers in town that didn’t get the story right.” Another featured piece that is sure to arouse controversy is the 2011 painting by Rael that gives the show it’s name. Glüm portrays a crucified likeness of Zozobra, which the artist said speaks to Zozobra’s annual resurrection. The painting is done in gouache, an opaque watercolor, and Sharpie, combining an old medium with a contemporary, graffiti-inspired approach. “In the background it’s all writing. What I wrote was about all the young people I’ve know in my life who have died at a young age. I had two cousins who died at 17 and 24. My uncle took his life at 19. So it’s a very somber piece for me.” In reaction to the piece, Sandoval (who, besides chairing this year’s event, also provides legal services for the Kiwanis) said: “I’m kind of dismayed that an artist would use Zozobra in such a way to create controversy, so they can actually sell their art. To many folks in town, putting Zozobra on a crucifix is reprehensible.” He admitted to being puzzled and confounded by Rael’s motives, saying that this year’s arts-centric ZozoFest and other changes in the Kiwanis’ approach to artist relations have addressed past complaints. “Either he’s exploiting this controversy for personal gain — or it’s some sort of vendetta against the past regime.” He cited the claim that artist compensation was too low and pointed out that this year the Kiwanis only received 25 percent of all sales from the show, compared with 50 percent in recent years. “This is the Kiwanis’ largest fundraiser, in order to help kids. So everybody gives their time and energy. In fact, it’s only the poster artist who actually gets quote unquote paid, or money value, for what they do. Every performer for Zozobra, all our bands, all our dancers, the gloomies, our torchbearers, all volunteer their time. They volunteer months of talent.” He said that the Kiwanis fall into this category as well. Rael agreed that “their causes are great. I just believe you have to care for those who are providing you with the imagery.” From Sandoval’s perspective, the Kiwanis are actually the ones providing the artists with the imagery — through licensing agreements that allow them to use Zozobra’s likeness in their work. As the attorney who filed the trademark, he affirmed that “our trademark is valid both in the state as well as federally. And we hold those valid trademarks for both Zozobra and his image.” Concerning this particular show, Sandoval said, “I’m not going to comment on any of the legal avenues we could possible take, because I haven’t had the discussion with my board yet. I don’t have the authority to talk about those things.” The Kiwanis have a history of actively protecting their trademark. During Valdez’s more than 20-year tenure as event producer, he remembered participating “in at least 50 different instances where the copyright and/or trademark of the image of Old Man Gloom was in violation, and in almost all those cases we came to some sort of licensing agreement.” These include past disagreements with Rael himself. For Rael, it’s important that the show goes forward, because he sees art as his best recourse for expressing dissatisfaction. “I’m not good with words. I was a terrible student. I was the one doodling Zozobra in my notebook while I should’ve been paying attention in class.” He said he was not intimidated by the possibility of a lawsuit, adding that Shuster created Zozobra “for the same reason I’m having this show — to stir things up, to say there’s other, better ways to handle things, better ways of treating people. My dream was to get the poster, and my dream is to get it again one day. If this show doesn’t allow me to do that because I stirred it up too much, so be it.” ◀
details ▼ GLÜM — Madder Than the Old Man ▼ Opening reception 5 p.m. Friday, Sept. 6; through Sept. 15 ▼ Get Framed, 418 Cerrillos Road, Suite 3 (in the Design Center) ▼ No charge; call 424-6996
Opposite page, Robb Rael: To Will’s Disappointment, 2013 PASATIEMPOMAGAZINE.COM
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ExtErior invEntion
Michael Abatemarco I The New Mexican
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n Katherine Lee’s paintings, human presence and activity are often suggested by locations such as exteriors of buildings shown from street level, cement-walled patios, and shop fronts. There are no people present, lending the works a certain starkness. Lee, whose exhibition New Works by Katherine Lee: With Fire, Flags, and Sacrifice is on exhibit at Eight Modern, captures moments that imply events have just transpired or are alive with possibility. Hers are built environments, places of human habitation and architectural forms around which the viewer provides a narrative, and Lee’s imagery provides the clues, enabling more to be read into the paintings than one may consider on first glance. They say much about the human condition without being explicit. “The work is intended to compel the viewer,” Lee told Pasatiempo. “I do compose with potential associations, but I view it more as a function to be handled as part of the process of constructing a painting –– sometimes delicately, sometimes roughly –– rather than a platform for conveying any specific observations. There is a commonality. But it’s a fairly abstract commonality. I am intrigued that certain aspects of the built environment seem to exist for reasons beyond decoration or function –– idiosyncratic to the era, maker, or location.” Inner contradictions are apparent, adding a touch of unease to the paintings. Exterior 22 (Settlement. A Summer Home), for instance, depicts the broad exterior steps of a regal building, perhaps a place reserved for dignitaries or members of a privileged class. The presence of a squatter’s tent at the base of the steps contrasts with the magnificent stairs and the building’s facade. Exterior 21 (War or War and Peace) is a mysterious
PASATIEMPO i September 6 -12, 2013
conflation of past and present in which ghostly figures in gray inhabit the grounds of what appears to be a motel. Some of them look like Civil War soldiers with bayonets, standing by as a body is lifted into a horse-drawn carriage. Other figures lounge by the building. One ephemeral figure tends to a garden, but garden and gardener seem to exist on two different planes — the flowers in the present and the ghostly gray visage in the past. “I am interested in how paintings can hold up to contradiction, such as existing in multiple times and tenses. Exterior 21 is mysterious to me too.” Insofar as Lee’s portraits of exteriors are actual locations, they stand as a record of her transit through these built environments, a record of what she sees. “I work from photographs that I take around where I live and when I travel. Sometimes I very deliberately stop and take a photograph of a place or object, but I will also shoot at random from a train or car window and review the photos later. Some of the source material for this latest body of work is a few months old and other images are several years old.” Lee’s paintings have an odd sense of dislocation about them. In addition to contrasting imagery, the sense of actions having just occurred or about to occur creates tension. There is a sense of absence in Exterior 23 (Overgrown Domestic Scene), for example, yet a small campfire still smolders in an unkempt, overgrown yard. An empty clothesline hints
New paintings by Katherine Lee
Left, Katherine Lee: Exterior 23 (Overgrown Domestic Scene), 2012-2013 Below, Exterior 22 (Settlement. A Summer Home), 2010-2013 Opposite page, Exterior 21 (War or War and Peace), 2010-2013 All images oil and spray paint on illustration board mounted on panel
at domestic activity but also has a feeling of barrenness echoed in the unadorned concrete walls, a leafless tree, and a rocky desert landscape in the background. But the painting never feels vacant. It’s a place of human habitation, not a place forgotten. In the paintings, the viewer is an active participant in the scene. We are the people walking down a street, noticing a bonfire reflected in a shop window, or about to step up onto the curb. That leaves the story open-ended. “I never go too far into a narrative. I don’t process life as being very narrative –– it all just happens, and then, sometimes, someone cleans some of it up and makes a story out of perceived events. I find existence to be predominantly nonsensical. This perceptual view of mine is probably why I feel comfortable leaving out links in my work.” Lee seems drawn to the man-made in her work, unlike a landscape painter who goes out of his or her way to render a pristine environment. “When [environmentalist and author] Bill McKibben identified the death of nature –– the kind of nature not impacted on some level by humans –– I was about 4. A landscape without some evidence of man in it does not really exist for me. There are still very remote places, but roads, trails, trash, and environmental changes are hard to get away from. I paint from candid snapshots, not carefully composed photographs.” Although Lee works from photographs, one wonders how much of her imagery is pure invention. In Exterior 21, the answer may be obvious, but it is less so in Exterior 27 (Death. On Isola di San Michele). A floral memorial or impromptu burial is absurdly out of place in a building that appears to be under construction or functions as some kind of warehouse. But the world is full of such strange sights, things that don’t make sense in and of themselves when divorced from context. Is this, too, a merging of elements separated by time or distance into a single composition? “The qualification of invention, as I think you mean it, is tricky for me. My exteriors are more than augmented reality but less then fictional fancies.” ◀
details ▼ New Works by Katherine Lee: With Fire, Flags, and Sacrifice ▼ Opening reception 5 p.m. Friday, Sept. 6; through Oct. 19 ▼ Eight Modern, 231 Delgado St., 995-0231
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movIng Images film reviews
Form, line, and curves Michael Abatemarco I The New Mexican The Artist and the Model, drama, rated R, in French and Spanish with subtitles, Center for Contemporary Arts, 3 chiles Fernando Trueba’s provocative follow-up to his 2010 animated feature Chico and Rita is an enchanting film about an aging French sculptor during World War II and the young Spanish model who inspires him. The opening sequences in which Marc Cros ( Jean Rochefort), the elderly sculptor, closely examines the skull of a dead bird while on a nature walk and then takes in the pulse of life around him in a café make it clear that The Artist and the Model is a film about seeing. Cros lives in a sheltered country home in the south of France with his wife, Léa (Claudia Cardinale), a former artist model. While on a trip to the market, Léa spies homeless waif Mercè (Aida Folch), a refugee from Franco’s Spain. Léa takes her in, and it isn’t long before Mercè finds employment as Cros’ model. Her apprehension about modeling in the nude, palpably expressed early on, gives way as she progresses to curiosity and interest. When Cros walks behind her to feel her shape with his hands, nothing sexual is implied. He seems instead to be “seeing” with his hands, imprinting her form in his memory to later render it in clay. His focus is inwardly directed, and he is unconcerned with Mercè’s visible discomfort as he runs his hands over her body. Mercè is not quite at ease in her new role but soon warms up to it, proving to be a natural. The war has left Cros disheartened. He has not worked in some time. His preliminary sketches of Mercè for what will later become a masterwork are unsatisfactory, and it takes some time for him to hit his stride, working first on sketches and then clay
Martin Gamet and Aida Folch
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Aida Folch and Jean Rochefort
models before beginning his work in stone. As his creativity blossoms, so too does Mercè’s appreciation for art, a world previously unfamiliar to her. The Artist and the Model follows a familiar trajectory. It’s a simple, languidly paced story, shot in black and white, of an artist and his muse. We’ve seen this formula before, most recently in Gilles Bourdos’ similarly meandering Renoir, about a summer idyll on the estate of the elderly Impressionist painter (Michel Bouquet) and the effect a beautiful young model (Christa Theret) has on his family. In fact, were it not for the absence of color, a few sequences in The Artist and the Model could be taken from that film, notably when Mercè bathes in a lake dappled with sunlight while Cros paints on a nearby bank. Like Theret, Folch plays her role mostly without clothes. The themes in Trueba’s film are different, however. While Renoir subtly deals with the objective male gaze from the point of view of three generations in the Renoir family, The Artist and the Model is about awakenings — Cros’ and Mercè’s — and the women are given stronger roles. Cardinale is particularly effective as Cros’ accommodating wife, who procures a model for him and conveys a tacit understanding about the relationship between artists and models. Her long career as a professional artist model for Cros and others informs her dispassionate worldview. She knows her aging body no longer inspires Cros the way it once did, but he assures her that no one compares. Léa explains to a curious little boy who has heard that a nude woman lives on the artist’s property that artists, like doctors, have a right to see women naked. In one of the film’s many touches of humor, the boy is prompted to ask, “What about priests?” The Cros family has been spared the ravaging effects of the war, but signs of its presence intrude on the peaceful tranquility of their lives. A bomber flies overhead, Mercè hears distant gunfire, and the radio brings news of developing events across Europe. Cros is determined not to let these things disrupt his work. He has a sculpture to complete,
with or without the war. His conversations with his model are brief philosophical discussions on art, ideas, and the intentions of artists. His description of what makes a simple line drawing by Rembrandt a masterpiece is one of the film’s best sequences. It manages to provide insight into the Dutch master while deepening Mercè and Cros’ relationship. When talk turns to war, it’s clear that Cros, who lived through World War I, is weary of the madness and savagery of men, content to live simply, eating potatoes while there are still potatoes left to eat. He knows he doesn’t have much time left. But the war comes to Cros when a wounded member of the Resistance is taken in by Mercè, who discovers him in the woods along with the dead body of an American paratrooper. Here we learn that there is more to Mercè, too. She is a member of the underground resistance, helping Jews and others cross from occupied France into Spain. This explains the scratches Cros notes on her legs while sculpting her. Her secret role as freedom fighter seems at odds with the vulnerability she shows earlier in the film. That and the tired subplot about the wounded soldier constitute the film’s few missteps. A surprise visit from a German officer, an arthistorian friend of Cros who’s writing a book about the sculptor, takes an unexpected tack. Rather than a sequence about hiding the wounded soldier from the officer, the focus is on a lively discussion between Cros and the officer about art and passion. The script, by Trueba and Jean-Claude Carrière (co-writer of The Discreet Charm of the Bourgeoisie and The Unbearable Lightness of Being) keeps the dialogue brief but thought-provoking. When Cros’ passions are aroused by Mercè’s beauty, she responds with tenderness, touching him as he touched her earlier in the film, the way one would a work of art. A question posed near the end of this quiet, emotionally satisfying film is, what’s left for the artist when the final work is complete? Cros provides a somber answer. People move on, artists stop creating, but the work remains. ◀
moving images
National Latino Behavioral Health Association
film reviews
NLBHA
Celebrating Hispanic Heritage Month Proudly Presents...
Jerry Lopez
Mis Raíces My Roots ~ A Santa Fe Homecoming Tribute lensiC PerforMing Arts Center • 211 W. San Francisco St., Santa Fe
Saturday September 14, 2013 • 7:00 pm
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Escaping Nazi Germany, a young boy struggles to make a new life in the United States
The sky and the sea
FORCED JOURNEY: THE SAGA OF WERNER BERLNGER by Rosemary Zibart
Laurel Gladden I For The New Mexican Leviathan, documentary/video-art project, not rated, The Screen, 2.5 chiles People say that the one crucial ingredient for successful fishing is patience. That’s also true about watching this movie, created by Lucien Castaing-Taylor and Véréna Paravel of Harvard University’s Sensory Ethnography Lab. It’s more an ambitious video-art project than a conventional documentary, and while sometimes it’s gorgeously captivating, at other times it’s just frustrating. Ordinarily, this is the portion of the review where I’d summarize a movie’s plot or introduce its topic, but Leviathan isn’t really “about” anything. Sure, it was filmed on a commercial fishing boat in the North Atlantic, but Castaing-Taylor and Paravel don’t feed you any information — you get no voice-over, no talking heads, no explanations, no analysis, no interviews, no statistics, no facts, no narrative. True to the word documentary, it immersively documents what happens on (and above and beside and below) the ship. Some of it is innately artful and dazzling. Discarded scallop shells and starfish tumble through the water, looking like a shaken maritime snow globe. Seagull flocks are filmed from above and below and from beneath the water’s surface in dreamy, disorienting sequences. Cameras slip and slide on the deck, rush alongside the boat, rise above it all, or plop into the water. Too many shots, though, are unfocused, dark, or tight, and it’s often impossible to tell what you’re looking at. Blurry images of nets, chains, foamy waves, and brightly colored rain jackets and boots are at first captivating abstractions, but after a while the inscrutability of it all just becomes aggravating. Crew members say very little, and nearly all of it is garbled, muted, or drowned out by sounds of the sea and the ship. One thing that is clear is the fishes’ harsh reality, and if Castaing-Taylor and Paravel have a message, it’s akin to the assertion that if slaughterhouses had glass walls, we’d all be vegetarians. A camera — and by extension the audience — bobs around with fish that have been dumped from the nets and are gasping for breath. Fish are matter-of-factly beheaded and gutted, the unwanted pieces sloshed overboard. If you’re a fan of skate wing, my hunch is that you might never eat it again. At least the fish are recognized: the end credits list their binomials along with the names of the crew members who caught them. Presumably to illustrate the exhausting dullness and monotony of the sailor’s life, the camera focuses on the haggard face of the ship’s captain as he stares across the sunny sea and the mermaid tattoo on one man’s brawny bicep as he and his crewmates shuck scallops in silence. It often lingers too long, though, and after a while, I started to grow impatient — and then I’d snap to attention with hope for another beautiful or bewildering shot. In a later sequence, one crew member sits alone in the mess hall. He’s watching The Deadliest Catch, and he seems to be so bored that he dozes off. Leviathan might be trying at times, but at least it’s never as dull as that. ◀
BOOK SIGNING AND TALK Sunday, Sept. 8, 2 pm Garcia Street Books 376 Garcia Street
(next to Downtown Subscription) Author of True Brit, winner of the 2013 NM-AZ Book Award for Historical Fiction and a Silver Nautilus Award for books that stimulate the imagination and inspire readers.
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movIng Images film reviews
Falling in love, again and again Jonathan Richards I For The New Mexican You Ain’t Seen Nothin’ Yet, drama, not rated, in French with subtitles, The Screen, 3 chiles With the words “You ain’t heard nothin’ yet!” Al Jolson ushered in the age of talkies and set the art of motion pictures rocketing on an irreversible path to the future. Alain Resnais was 5 years old at the time. A revered icon of French cinema since Hiroshima, Mon Amour (1959) and Last Year at Marienbad (1961), Resnais has brought forth his latest film, Vous n’avez encore rien vu, with the translated English title he reportedly insisted on: You Ain’t Seen Nothin’ Yet. If Jolson’s The Jazz Singer (1927) catapulted us into the future, Resnais is bent on nudging us back into the past here, on overlapping levels. He has assembled a magnificent cast of many of his favorite actors, veterans of French cinema and theater who have worked with the director often over the years, including his wife, Sabine Azéma. He introduces his cast with a device that, coming as it does before we have our bearings in this film, is repetitious to the point of irritation. Each of the actors, by their real names, receives a phone call with the identical message that a dear friend, the playwright Antoine d’Anthac (Denis Podalydès), has died, perhaps a suicide, and has left instructions requesting their presence at his country estate. Their arrivals there are similarly repetitious. Each is ushered through the door by the deceased’s butler Marcellin (Andrzej Seweryn) with a blast of wind and music into an enormous and imposing front hall. “Taste,” the first arrival, Azéma, says with an appraising look, “was the only area in which you
Sabine Azéma and Pierre Arditi
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All the screen’s a stage: Lambert Wilson, Anne Consigny, Mathieu Amalric, Sabine Azéma, and Pierre Arditi
could trust him.” When the guests are assembled and seated in a large screening room, the butler plays a taped message for them from their departed host, welcoming them and explaining why he has summoned them. So far, it’s like a setup for an Agatha Christie send-up. A provincial theater company has applied for permission to perform d’Anthac’s play Eurydice (actually Jean Anouilh’s play, written in 1942 during the German occupation of Paris). As all of the assembled actors have performed in various productions of this play in the past, d’Anthac wants them to look at the young troupe’s audition tape, and have them rule on the suitability of the proposed production. (The taped production was directed by Podalydès, a sociétaire of the Comédie Française.) As the tape rolls, the older actors, ranged on expansive couches in the screening room, begin to mouth the familiar lines, then to repeat them or speak them simultaneously with the young actors on-screen, and finally to rise to their feet, and enter fully into the scenes, sometimes in the screening room, sometimes on dreamlike sets, sometimes even interacting with the screened production. There are two sets of actors in the assembled audience for the principal roles, in addition to the young cast performing on the screen. The oldest pairing is Pierre Arditi (Mon Oncle d’Amerique) as Orpheus with Azéma (Wild Grass) as Eurydice. Both are in their 60s, but recreating the roles as they would have played them four decades earlier. The next set consists of Lambert Wilson (Of Gods and Men) and Anne Consigny (The Diving Bell and the Butterfly), who are about 10 years younger. Notable actors who appear in other roles include the great Michel Piccoli (We Have a Pope, La Belle Noiseuse) as Orpheus’ father, Anny Duperey (2 or 3 Things I Know About Her) as Eurydice’s mother, and Mathieu Amalric (The Diving Bell and the Butterfly) as the emissary of the underworld.
The device of repetition alluded to in the opening sequences is one of the key themes Resnais is playing with on an assortment of levels. Repetition is the underlying reality of theater, from an actor’s dogged learning of lines to the endless repetitions of rehearsals, the repetitions of performance, and the same thing all over again when a new production of the play is mounted. The reverberating echoes Resnais calls forth by showing us the lines of 20-something characters being spoken by actors in their 50s and their 60s with the summoned memories of youthful hearts and talents packs an eloquent poignancy. Love is the other grand scheme under scrutiny here. The love story of Orpheus and Eurydice stands in for the universal experience of first love, daily repeated everywhere, endlessly, with the same fresh sense of wonderment and discovery. Each repetition brings the same swearing of eternal devotion, shadowed by the knowledge that this eternity may last a day, a week, or a year but very seldom forever. Consigny’s Eurydice wonders why we can’t scrub the past and make a fresh start, but her Orpheus says that everything we’ve done or known or touched stays indelibly a part of us. On their first night together, Arditi’s Orpheus overhears his Eurydice mutter in her sleep the words “It’s difficult.” Well, nobody said it was going to be easy. Resnais is both playful and serious, and the movie can grab your heart, tickle your funny bone, and sometimes try your patience. In the young company’s taped production, a giant golden pendulum swings back and forth behind the action, perhaps recalling Samuel Beckett’s infamous practice of directing his plays with a metronome. The older actors plumb emotional depths, but the movie’s format never lets us forget for a moment that what we’re watching is the artifice of acting — terrific acting, but artifice nonetheless. By the way Resnais, at 91, is already deep into a new film, his 50th. You ain’t seen nothin’ yet. ◀
bernard chaet SongS of Joy
September Storm, 1984-2001, oil on canvas, 42" x 60"
raiLyard gaLLery septemBer 6-oCtoBer 13.2013 opening reception: Friday, september 6, 5:00-7:00pm
ronnie LandfieLd After the rAin
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In the Smoke, 1985, acrylic on canvas, 40" x 37"
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movIng Images film reviews
Where is thy sting? Bill Kohlhaase I The New Mexican More Than Honey, documentary, not rated, in German, English, and Chinese with subtitles, Center for Contemporary Arts, 3 chiles Say the word “bees,” and people think stings and honey. Sure, we know about the bees’ role in pollinating flowers, but do we realize that a full third of what we eat depends on that pollination? That’s the claim in More Than Honey, a documentary that, as its title suggests, reveals how important bees are, not only to our food supply but as a sort of marker — canaries in a coal mine of flowers — signaling problems with the industrialization of agriculture and the wholesale use of pesticides and herbicides. There’s been a lot of short-lived attention on the recent phenomenon of colony collapse disorder, the die-off or disappearance of bees whole hives at a time. But often the consequences of the disorder aren’t significantly emphasized: according to the film, as many as 90 percent of all hives worldwide have been wiped out. A quote popularly attributed to Einstein put the consequences in perspective years before CCD was an issue: “If bees ever die out, mankind will die out four years later.” More Than Honey, directed and co-written by Markus Imhoof, doesn’t sensationalize those consequences, but it does generate great sympathy for the tiny creatures — both as individuals and as “superorganisms,” entities that exist as a collective, their survival dependent on the contributions of each member. Amazing shots of bees at work inside the hive give fascinating looks into their work habits, from the exchange and chewing of nectar in producing honey to the queen, the only bee capable of reproduction in a hive of 50,000 or more, laying a single egg. There are also up-close shots of bees in the air. The camera sometimes follows a single bee as it makes its way over field and dale in segments
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Buzzin’ by the dozen
rivaling the birds-eye scenes of migrating geese recorded for the BBC documentary series Earthflight. Our first glimpse of the creatures is from inside the hive. To a score of plaintive violins, worker bees roam an enlarged closed cell and slowly work off its top. The queen, her abdomen larger than her accompanying females, emerges from the cell and immediately sets to work. Other, almost microscopic scenes include larvae developing inside the cells, workers inserting honey deep into a cell with their long proboscises, and rows of ghostly white pupae in development. We’re shown how bees communicate the location of nectar and pollen sources with various “dances” and how bees, after a disjointed search for new sources, determine a direct way back to the hive. This ability is tracked with the help of a bee wearing a tiny radio antenna. Its flight, followed closely from behind, seems something of a miracle. The film also steps back to give the larger view. A beekeeper who has delivered flatbed trucks’ worth of hives to a blossoming California almond farm says that the buzz of activity among the trees is the sound and smell of “freshly printed money.” At $150 a hive, he claims $600,000 in bees are at the location. They’ll soon be moved to another part of the country, loaded on trucks by men completely protected in bee suits, head veils, and thick rubber gloves. The men use industrial size smokers to confuse the bees and keep them from attacking. Compare this to the keeper high in the Swiss Alps, the son and grandson of beekeepers, who works his hive in his everyday clothes, without gloves or veil, the only smoke used coming from the cigar he smokes. He says watching the work of bees is “watching flowers have sex.” Both keepers are affected by colony collapse. The American beekeeper says he has become used to “death on an epic scale.” Reasons are right in front of his face as the almond orchard begins spraying fungicide even as the bees are still working the blossoms. He claims it doesn’t bother the individuals, even as we witness a single bee in a flower, covered in fungicide, struggle and drop from the picture. The keeper says that disease is so rampant that no
honeybee in North America can survive without antibiotics — small, hobby keepers would disagree — showing just how dependent on chemicals the industry has become. His Swiss counterpart on the other hand seems near tears as he discovers, then burns and buries frames of dead bees and brood. The film avoids pointing the finger at any one cause of CCD, but it does suggest that exposure to chemicals and other substances contributes to weakening hives, allowing bacteria and parasitic mites a foothold (earlier this year, some U.S. beekeepers sued the Environmental Protection Agency for failing to protect pollinators from pesticides). Another story from the film is telling. In an effort to control sparrows that were feasting on its grain harvest, China took the step of eradicating the birds. The result was an explosion of insects. Spraying programs to take out the harmful insects also destroyed pollinators. The solution? Hand pollination, tedious gathering, distributing, and application of pollen to blossoms by numerous farm workers. Imagine the number of agricultural employees and the immigration that would result in intensive growing areas like California’s Central Valley if that practice were followed in the U.S. The immigration implications take on another dimension when the film examines so-called killer bees. These Africanized hybrids, which originally escaped from a laboratory in Brazil and have spread north to the U.S., have garnered nothing but negative attention. But a keeper who has removed a colony from the eaves of a rural Arizona house claims, as he delivers the recovered swarm to a spot along the steel fence between Mexico and the U.S., that they are excellent honey producers, resistant to disease and killing the mites that predate on them rather than the other way around. More Than Honey isn’t strident, but it does raise issues of corporate agriculture, indiscriminate pesticide use, global commerce, and, yes, immigration. The persistence and industry of bees stands as a symbol. Using hivelike overhead urban shots, Imhoof suggests humans, too, are a superorganism. Saving the bees might just save us. ◀
you ain’t seen notHin’ yet: Fri and sat at 1:30 and 5:40; sun at 1:30; Mon tHrougH tHurs at 1:30 and 5:40
MUSEUM
LeviatHan: Friday tHrougH tHursday at 3:50
“a
HOURS MuseuM Hours: saturday at 11:15
fine documentary
on the classic-rock era’s greatest cult band.” – Will Hermes, Rolling Stone Magazine
a heartfelt tribute to the criminally .” overlooked band – Chris Nashawaty, Entertainment Weekly
”
”
destined to be a seminal rock doc in the canon.” – Katie Walsh, Indiewire
“ big
star served as a rosetta stone for a whole generation of musicians.” – Peter Buck, R.E.M.
THE DEFINITIVE STORY OF THE GREATEST BAND THAT NEVER MADE IT m agpictures.com/bigstar big star: Fri and sat at 8:00; sun at 6:00; Mon tHrougH tHurs at 8:00
BECKETT ON FILM - A FIvE WEEK SErIES
ThIS WEEK: rough for Theatre 1 & Krapp’s Last Tape Sunday at 11:00am Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®
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SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com
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movIng Images film reviews
Star crossed Bill Kohlhaase I The New Mexican Big Star: Nothing Can Hurt Me, rockumentary, rated PG-13, The Screen, 2.5 chiles Who doesn’t know Big Star? The answer — you can put your hands down now — depends on whether you listened to Top 40 or underground radio 40-some years ago, whether you religiously read Rolling Stone between 1972 and 1974, and whether you’d be turned off (in the parlance of the day) to a band and album name that smacked of arrogance and not-so-foregone conclusion. Big Star wasn’t a band that briefly burned bright before fizzling out. It fizzled from the beginning — not musically but on the business end, promotionally and in distribution, its short life squelched in the naive days when we believed that music conquered everything and that the benevolent record companies who brought us the Stones, the Byrds, the Grateful Dead, and Jefferson Airplane couldn’t possibly be inefficient, let alone evil. How times have changed. Big Star: Nothing Can Hurt Me is about a good enough band that came out of Memphis in the early 1970s to much critical acclaim and little public acceptance. The movie pokes around inside the band’s predictable arc as it comes together and then crashes hard on drink, ego, troubled-artist psychology, and the lack of commercial success. Big Star — the name seems ironic, in that there was nothing big about them in terms of popularity for many years — has a cult following today mostly because of what founding member Alex Chilton, who died in 2010, did before and after the band’s existence. In a 1978 radio broadcast, Chilton corrects the interviewer when he suggests the band’s demise was tied to the recording in 1974 of its third album, Third (aka Sister Lovers): “We actually broke up after the first album,” he says. Chilton was still in high school when he recorded the chart-topping single “The Letter” with The Box Tops, a group of Memphis studio musicians. His rough, soulful voice made more than a few of the song’s fans believe that Chilton was an older African American singer rather than a baby-faced white teen. (One of the film’s funniest moments is footage from a televised Box Tops performance with Chilton and the others showing obvious disregard for the craft of lip syncing.) His post-Big Star career was a series of stylistic jumps, from sensitive singer-songwriter to proto-punk rebel, that captured an audience eager to see musical categories smashed. The movie traces the various aspects of Chilton’s career as deeply as it documents Big Star’s brief life. The McCartney to Chilton’s Lennon is Chris Bell, portrayed as a troubled musical genius à la Brian Wilson who battled Chilton over the band’s direction. Bell was gone from the group before Third/Sister 48
PASATIEMPO I September 6 -12, 2013
Little big band: from left, Andy Hummel, Jody Stephens, Chris Bell, and Alex Chilton
Lovers, and the movie doesn’t draw out the artistic clash between these two musicians, instead sticking to their personal stories. Bell’s solo recording I Am the Cosmos, duly documented here, assured his cult status. He died in a car crash in 1978. With drummer Jody Stephens the only surviving member of the band (bassist Andy Hummel died of cancer in 2010), the Big Star story is mostly left to those around the band. Their recollections make Nothing Can Hurt Me a film about more than just the band. It gives glimpses into the Memphis pop-music scene of the mid- and late 1960s and early ’70s, a place where Elvis battled the Beatles for Top 40 superiority, and any kid with a guitar and a friend who played drums started a garage band. It is in large part the story of Ardent Recordings, started by a group of ambitious kids who bought Stax’s used recording equipment when the legendary and ill-fated soul label upgraded its technology. In turn, Stax asked Ardent to help with its overflow. Its engineers immediately went from recording garage bands to sessions with Booker T. and the M.G.s, the Staple Singers, and Isaac Hayes. When Stax mastermind Al Bell decided he needed a rock imprint, he chose Ardent. Big Star was the label’s first band. The rest, to paraphrase, is forgotten history. Big Star’s name, despite its implications (and the seemingly smug chart assumptions of the band’s first album, titled #1 Record), came from desperate need and a stoned glance across the street, to where the Memphis grocery-store chain Big Star had one of its locations. Recording the album seems to have been the easy part, and the film, with little visual record of the event, doesn’t dwell on it. It does dwell on the great critical reception the recording garnered and how it was subsequently ignored across the country — and especially in the band’s hometown. Ardent may have been a great place to record an album, but the company and the people around Big Star had no idea
of how to get the record played on radio or stocked in stores. When Stax made a distribution deal with Columbia Records (sealed with nothing more than a handshake between Al Bell and a CBS record exec), everything seemed destined to come up rosy sales figures. But Big Star, a white rock band on a subsidiary of a soul label, got little help. By then, Chris Bell was already out of the band. The group, such as it was, re-formed in 1993 for concert tours after Michael Stipe of R.E.M. and others touted its influence. Around the same time, Third/Sister Lovers was finally released to general distribution. At the time of its recording, only a handful of promotional copies were made, followed a few years later by a European issue. Much of the documentation here comes in the form of photos and audio clips buttressed by recent interviews. While the film makes many claims for the brilliance of the recordings, the reasons for that are little discussed, and we’re given few chances to decide for ourselves. The music comes in bits and pieces, a collage that never quite comes together. These bits are mostly unidentified, making Nothing Can Hurt Me something of an insider’s tale for those who can immediately recognize a riff or a single line from some lyric. Listening to Big Star today suggests the music was good but not quite as great as the film’s interviewees claim. It was a band in the wrong place at the wrong time. Memphis, fixated on Elvis and soul music, had no place for a rock band. And the Big Star sound, an amalgam of the Byrds and the Beatles (especially Abbey Road-period Beatles) was already dated in an era when the Eagles and the Allman Brothers were on the rise and groups such as Yes and Emerson, Lake & Palmer were hijacking the electronic side of prog rock. Still, by the end of the movie, when we hear the music at length, there is a sense that, if given the chance, these guys could have come up with something big. ◀
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A TRIUMPH OF VISUAL POETRY.”
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AN EXQUISITELY CRAFTED SLICE OF COMEDIC MELANCHOLIA Warmly satisfying, the performances are so enjoyable
“
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ffff! BEAUTIFUL.”
“
and unexpectedly touching.”
– David Rooney, THE HOLLYWOOD REPORTER
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MOVING IMAGES pasa pics
— compiled by Robert B. Ker
true, but not without a price — his life spirals into a cycle of drugs and crime. On the lam, Ivanhoe becomes an outlaw folk hero when his music hits the airwaves. Featuring memorable songs that helped define roots reggae in the 1970s, including some of Cliff’s best material as well as classic numbers by Toots and the Maytals and Desmond Dekker, The Harder They Come brought reggae music to the world. 8 p.m. Tuesday, Sept. 10, only. Rated R. 104 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco)
A mighty Vin: Vin Diesel in Riddick, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week THE ARTIST AND THE MODEL This emotionally rich film by Fernando Trueba is a philosophical exploration of the motivations of artists. Mercè (Aida Folch), a refugee from Franco’s Spain, agrees to model for aging sculptor Marc Cros ( Jean Rochefort) during World War II. As their relationship deepens, artist and model awaken to the essential beauty of life and love. Rated R. 105 minutes. In French and Spanish with subtitles. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) See review, Page 42. BECKETT ON FILM In 1991 Michael Colgan, artistic director of Dublin’s Gate Theatre, staged a Beckett Festival, mounting 19 of Samuel Beckett’s theater works. A few years later, when he and co-producer Alan Moloney decided to capture the Beckett repertoire on film, they rounded up an impressive collection of directors and stars. A selection of the Beckett cycle will be shown in free screenings at 11 a.m. over each of the five Sundays in September. Rough for Theatre I and Krapp’s Last Tape screen Sunday, Sept. 8, only. Not rated. Running times vary. The Screen, Santa Fe. ( Jonathan Richards) BIG STAR: NOTHING CAN HURT ME This documentary of the short-lived Memphis cult band of the early ’70s is more 50
PASATIEMPO I September 6 -12, 2013
a bio of indie rocker Alex Chilton (and to a lesser degree, Big Star’s tragic figure Chris Bell) than of the band itself. That may be because there’s so little documentation of Big Star. The film relies on still footage and audio mixed with present-day interviews to paint a picture of promise unfulfilled. Big Star was in the wrong place at the wrong time, and its musical genius may not have been all the movie cracks it up to be. Better to let the music speak for itself. Rated PG-13. 100 minutes. The Screen, Santa Fe. (Bill Kohlhaase) See review, Page 48. THE DEFLOWERING OF EVA VAN END A handsome German exchange student comes to stay with tortured adolescent Eva’s unhappy family and proceeds to upset the status quo by giving each family member what he thinks he or she needs. Despite overt allusions to Welcome to the Dollhouse, The Deflowering of Eva Van End is both softer and more emotionally nuanced than the iconic Todd Solondz film. It’s entertaining, with an engaging indie-rock score, but stymied by a lack of focus: Are we laughing with these hapless, centerless people, or are we laughing at them? Not rated. 98 minutes. In Dutch, German, and English with subtitles. Jean Cocteau Cinema, Santa Fe. ( Jennifer Levin) THE HARDER THEY COME The first international feature film out of post-colonial Jamaica, now a cult classic, charts the rise and fall of reggae musician Ivanhoe Martin ( Jimmy Cliff), a country boy who dreams of making it big in Kingston. His dreams come
LEVIATHAN People say that the one crucial ingredient in successful fishing is patience. That’s also true about watching this film by Lucien Castaing-Taylor and Véréna Paravel of Harvard University’s Sensory Ethnography Lab. Leviathan isn’t really “about” anything. It was filmed on a commercial fishing boat in the North Atlantic, but Castaing-Taylor and Paravel don’t give you any voice-over, talking heads, explanations, analysis, interviews, statistics, or narrative (although the harsh reality of fish life and death is clear). This is more an ambitious video-art project than a conventional documentary, and while sometimes it’s gorgeously captivating, at other times it’s just frustrating. Not rated. 87 minutes. The Screen, Santa Fe. (Laurel Gladden) See review, Page 43. MORE THAN HONEY Director Markus Imhoof takes us inside the hive to discover the hidden lives of bees as well as what contributes to their troubling decline. Amazing shots of bees exchanging nectar, raising larvae, and creating a new queen as well as tight shots of bees in flight explain their work and social behavior. The contrasts between old-school European beekeeping and American beekeepers who profit from big agriculture suggest causes of colony collapse disorder even as the phenomenon spreads across the globe. After seeing this often beautiful, instructive film, you’ll want to save the bees for their own sake. Not rated. 95 minutes. Center for Contemporary Arts, Santa Fe. (Bill Kohlhaase) See review, Page 46. RIDDICK Who would have thought back in 2000 that the minor-hit Pitch Black would give us a supporting character worthy of his own franchise with sequels some 13 years later? Yet Riddick is back, and he’s bald, grumbling, and embodied once more by Vin Diesel. The plot will no doubt be Riddick-ulous and involve fighting mercenaries and aliens in space. Rated R. 119 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) TAI CHI HERO Stephen Fung directed and co-stars in this kung-fu movie, which combines steampunk aesthetics with 19th-century settings and martial-arts action. This is the second part of a trilogy about tai chi master Yang Luchan (Yuan Xiaochao). In English and
Mandarin with subtitles. Rated PG-13. 102 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) TAI CHI ZERO This is the first installment in the trilogy (see listing for Tai Chi Hero) about 19thcentury tai chi master Yang Luchan. In English and Mandarin with subtitles. Rated PG-13. 100 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) TERRAFERMA As immigration remains a muchdiscussed topic in America, this film shows how it is regarded elsewhere. Two Sicilian fisherman come upon a small boat full of immigrants from North Africa and decide to help the people. They end up taking in a pregnant woman and her young son, despite the dangers of getting arrested. In Italian with subtitles. Rated R. 88 minutes. Regal DeVargas, Santa Fe. (Not reviewed) V/H/S 2 The horror genre is well suited for the short form: you set a mood, get in some scares, and move on to the next idea before welcomes are worn out. V/H/S (2012) did well enough on the cult circuit to warrant another go-round, and it’s back with solid stories about ghosts, zombies, aliens, and a cult, all presented in a “found footage” manner and sewn together with a halfhearted overarching story. The best (and bloodiest) entry is the cult story, directed by Gareth Evans (The Raid: Redemption) and Timo Tjahjanto (Macabre), which builds to total chaos with assurance and expertise. 11 p.m. Friday and Saturday, Sept. 7 and 8, only. Not rated. 96 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) YOU AIN’T SEEN NOTHIN’ YET In Alain Resnais’ new movie, a group of older actors is assembled at the request of a deceased playwright friend to watch a taped audition of his Eurydice (actually Jean Anouilh’s play) by a young company and to judge whether it is suitable for production. The older actors, playing themselves, have all performed the play in the past and find themselves entering back into their characters as they watch. Resnais is both playful and serious, and the movie can grab your heart, tickle your funny bone, and sometimes try your patience. At 91, the director is already deep into a new movie. It’s his 50th. You ain’t seen nothin’ yet. Not rated. 115 minutes. In French with subtitles. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 44.
now in theaters AIN’T THEM BODIES SAINTS Familiarize yourself with writer-director David Lowery’s name. If this feature is
any indication, you’re going to be hearing it again — probably at award ceremonies. Bob (Casey Affleck) is a small-time crook who’s in love with Ruth (Rooney Mara). After a heist goes awry, he gets a 25-year prison sentence. Then one day, a deputy (Ben Foster) stops by Ruth’s house to tell her that Bob has escaped from prison. The story isn’t really new, and Lowery’s work is heavy on mood but light on narrative and specifics. The film is visually mesmerizing, though, thanks to gifted cinematographer Bradford Young. Not rated. 105 minutes. Center for Contemporary Arts, Santa Fe. (Laurel Gladden) BLUE JASMINE Woody Allen’s latest mixes comedy and tragedy in an inspired symphony of social criticism drawn loosely from A Streetcar Named Desire. 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’s Ruth Madoff by way of Blanche Dubois, and when her world crashes 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 picture that covers 80 years of the civil rights movement in America, this film is still a major accomplishment. We see everything through the eyes of Cecil Gaines (Forest Whitaker), a man who rises from the worst of beginnings in 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. Whitaker does fine work, though he does play old a little too hard at the end. A fine cast includes Oprah Winfrey as his wife and a lot of star cameos as the presidents. Director Lee Daniels does heroic work in wrangling it all together. Rated PG-13. 132 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) CLOSED CIRCUIT Eric Bana and Rebecca Hall star as two lawyers and former lovers who are assigned to the trial of a terrorist suspect (Denis Moschitto). Issues of confidentiality, mysterious deaths, and shocking conspiracies come up before the gavel comes down. Rated R. 95 minutes. Regal DeVargas, Santa Fe. (Not reviewed) DESPICABLE ME 2 The 2010 hit gets its sequel with this story about the exvillain Gru (voiced by Steve Carell), who is called out of retirement to track down a bad guy. The animation is a step up from the first film, and the plot
is mercifully to the point. Unlike many family films, Despicable Me 2 is proudly a comedy, and it shelves the action, life lessons, and sentiment in favor of attempts at laughter. Whether or not it succeeds is up to the viewer, and the filmmakers hedge their bets by bringing slapstick for the kids and pop-culture references for the adults. Rated PG. 98 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) ELYSIUM Director Neill Blomkamp (District 9) presents a futuristic tale in which the wealthy live in a utopian space station called Elysium, while everyone else lives on Earth in what could be called “District 99%.” Matt Damon plays a man in an L.A. shantytown who fights back. The film is reminiscent of Paul Verhoeven’s satirical sci-fi films (such as Robocop) but without that sense of fun; it’s just ugly, overly violent, and deeply cynical, with nothing good to say about the human race. The special effects, however, are incredible. Rated R. 109 minutes. Regal Stadium 14, Santa Fe. (Robert Ker) THE ENGLISH TEACHER Linda Sinclair ( Julianne Moore) is a middle-aged spinster and high school English teacher. When Jason (Michael Angarano), a former student turned aspiring playwright, comes back to town, her world begins to unravel. Craig Zisk, known for his work in edgy TV comedies, goes all gooey in his feature debut. Julianne Moore has to eat, and so do Greg Kinnear and Nathan Lane; they all do the best they can here under the circumstances. Rated R. 93 minutes. Jean Cocteau Cinema, Santa Fe. ( Jonathan Richards) EUROPA REPORT In the midst of the exhausting special-effects arms race going on at the multiplex, it’s a pleasure to sit back and watch a science-fiction film that looks as if it were crafted by human hands. Ecuadorian director Sebastián Cordero’s low-budget movie — about a crew aboard a spaceship on a mission to one of Jupiter’s moons — does the trick, with its found-footage approach and nods to Kubrick and Lovecraft. The characters could be much stronger, the ending less telegraphed, but the lived-in sets and homespun effects give you much to savor. Rated PG-13. 90 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) THE GRANDMASTER Ip Man, the martial arts master who helped popularize kung-fu and taught Bruce Lee, has been the subject of several films of late. Wong Kar-Wai directed this one, though, which will undoubtedly look better than the rest — and probably better than any other film currently in theaters. Tony Leung and Zhang Ziyi star. Rated PG-13. 130 minutes. Regal DeVargas, Santa Fe. (Not reviewed) continued on Page 52
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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). Rated R. 93 minutes. Regal DeVargas, Santa Fe. (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. And so he learns how to be father at the same time that he learns how to take a fall. In English and Spanish with subtitles. Rated PG-13. 115 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE MORTAL INSTRUMENTS: CITY OF BONES You probably haven’t heard of this fantasy series unless you’re 14. The first installment centers on a girl (Lily Collins) who discovers she’s a Shadowhunter. The job has its drawbacks, such as having to fight demons. It also has its perks, such as hanging out with hunks ( Jamie Campbell Bower). Rated PG-13. 130 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) MUSEUM HOURS Working as a guard in a museum can be an intensely meditative and introspective experience. Befriending a patron named Anne (Mary Margaret O’Hara) gives Johann (Bobby Sommer), a guard at Vienna’s Kunsthistorisches Museum, an opportunity to reinvigorate his life while sharing insights into art and existence. Johann tours Vienna with Anne and gains a richer understanding of and appreciation for his city and the timeless spirit that animates it today, as it did in the time of Pieter Bruegel the Elder. Not rated. 107 minutes. In English and German with subtitles. The Screen, Santa Fe. (Michael Abatemarco) ONE DIRECTION: THIS IS US If you’re a tween who helped this boy band hit it big, you don’t need prompting to see this documentary. If you’re confused as to which direction this film’s title refers to, it’s probably not for you. Screens in 3-D and 2-D at
spicy
medium
bland
heartburn
mild
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PASATIEMPO I September 6 -12, 2013
Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) PLANES This animated film is an awful lot like Pixar’s Cars — right down to the underdog story and the uncomfortable stereotypes — and is even said to take place in the same world. Rated PG. 92 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) PRINCE AVALANCHE Director David Gordon Green returns to the arthouse with this ambling pastoral film, which finds comedic middle ground among the works of Samuel Beckett and Terrence Malick. Paul Rudd and Emile Hirsch play two men tasked with painting lines on a road that runs through a Texas landscape ravaged by wildfire. They bicker and cheer and meet some odd locals. The film looks and sounds wonderful, and it strays from the predictable path. I’d call it a return to form for Green, but no movie has had ever had a form quite like this. Rated R. 94 minutes. Center for Contemporary Arts, Santa Fe. (Robert Ker) THE SMURFS 2 Just when it looked like Grown Ups 2 would be the worst movie of the summer, this sequel to the little-loved 2011 stinkfest showed its smurfing face. Rated PG. 105 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) 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 much about teen alcoholism as it is 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 25-year-old models and light up the screen with natural, likable performances. Rated R. 95 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THIS IS THE END James Franco, Jonah Hill, Seth Rogen, Danny McBride, Craig Robinson, and Jay Baruchel are holed up in Franco’s mansion when the apocalypse hits during a raging party. These guys play themselves, often as preening, egotistical jerks. Clearly, the mileage you get out of this comedy will vary depending on how much you like these dudes. Emma Watson and Michael Cera kill in their cameos. Rated R. 107 minutes. Regal Stadium 14, 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 kept them from headliner stardom. But 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 high jinks. Rated R. 109 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE WORLD’S END Director Edgar Wright and stars Simon Pegg and Nick Frost cap their “Cornetto trilogy” (thus far 2004’s Shaun of the Dead and 2007’s Hot Fuzz) with their finest collaboration yet. Pegg plays a man who coaxes his mates to reenact a hometown pub crawl they attempted many years ago. Alas, they soon find that the local populace has been replaced by robots and feel the only way to avoid suspicion is to finish their pints. This leads to silly fighting and nods to films like Invasion of the Body Snatchers, but the film shines for its melancholic ruminations on friendship and nostalgia, not the sci-fi action. That the laughs come early and often doesn’t hurt. Rated R. 109 minutes. Regal Stadium 14, Santa Fe. (Robert Ker) YOU’RE NEXT At the 2011 Toronto International Film Festival, this horror film generated a lot of buzz. I guess you had to be there. It’s true that the flick boasts a few new twists in the standard homeinvasion story, but they’re not interesting enough to elevate it above other low-budget bloodletting pictures — some of which, like The Strangers and Them, at least handle the acting and the suspense significantly better. Not rated. 94 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker)
other screenings Jean Cocteau Cinema Breath of the Gods. Regal Stadium 14 Getaway, Jobs, Percy Jackson: Sea of Monsters (2D), 2 Guns. 7 p.m. Thursday, Sept. 12: Double feature of Insidious (7 p.m.) and Insidious: Chapter 2 (9 p.m.). 8 p.m. Thursday, Sept. 12: The Family. 10 p.m. Thursday, Sept. 12: Insidious: Chapter 2. ◀
Alec Baldwin
What’s shoWing
Cate Blanchett
Sally Andrew Michael Peter Dice Clay Hawkins Sarsgaard Stuhlbarg
Bobby Louis C.K. Cannavale
“Grade A. Powerful and Enthralling.” (Highest Rating)
-Owen Gleiberman, ENTERTAINMENT WEEKLY
Call theaters or check websites to confirm screening times. CCA CinemAtheque And SCreening room
1050 Old Pecos Trail, 982-1338, www.ccasantafe.org 20 Feet From Stardom (PG-13) Fri. to Thurs. 3 p.m. Ain’t Them Bodies Saints (R) Fri. to Mon. 1:30 p.m., 8:15 p.m. Tue. and Wed. 1:30 p.m. Thurs. 1:30 p.m., 8:15 p.m. The Artist and the Model (R) Fri. to Tue. 3:45 p.m., 6 p.m. Wed. 3:45 p.m. Thurs. 3:45 p.m., 6 p.m. The Harder They Come (R) Tue. 8 p.m. More Than Honey (NR) Fri. to Sun. 12:30 p.m. Mon. to Thurs. 1 p.m. Prince Avalanche (R) Fri. to Thurs. 5:15 p.m., 7:30 p.m. JeAn CoCteAu CinemA
418 Montezuma, 505-466-5528 Breath of the Gods (NR) Fri. 2 p.m. Wed. and Thurs. 2 p.m. The Deflowering of Eva van End (NR) Fri. 4:15 p.m. Sat. 6:30 p.m. Sun. 4:15 p.m. Mon. to Thurs. 6:30 p.m. The English Teacher (R) Sat. 4:15 p.m. Sun. 2 p.m. Wed. and Thurs. 4:15 p.m. Europa Report (PG-13) Sat. 2 p.m. Wed. and Thurs. 8:45 p.m. Tai Chi Hero (PG-13) Fri. 6:30 p.m. Sun. 6:30 p.m. Mon. 8:45 p.m. Tai Chi Zero (PG-13) Fri. 8:45 p.m. Sun. 8:45 p.m. Tue. 8:45 p.m. V/H/S/2 (R) Fri. and Sat. 11 p.m. regAl deVArgAS
562 N. Guadalupe St., 988-2775, www.fandango.com Blue Jasmine (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:50 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. Closed Circuit (R) Fri. and Sat. 1:20 p.m., 3:50 p.m., 7:10 p.m., 9:35 p.m. Sun. to Thurs. 1:20 p.m., 3:50 p.m., 7:10 p.m. The Grandmaster (PG-13) Fri. and Sat. 1:10 p.m., 4 p.m., 7 p.m., 9:30 p.m. Sun. to Thurs. 1:10 p.m., 4 p.m., 7 p.m. In a World... (R) Fri. and Sat. 1:50 p.m., 4:20 p.m., 7:20 p.m., 9:40 p.m. Sun. to Thurs. 1:50 p.m., 4:20 p.m., 7:20 p.m. The Spectacular Now (R) Fri. and Sat. 1:40 p.m., 4:10 p.m., 7:40 p.m., 9:55 p.m. Sun. to Thurs. 1:40 p.m., 4:10 p.m., 7:40 p.m. Terraferma (R) Fri. and Sat. 1 p.m., 4:40 p.m., 6:50 p.m., 9:45 p.m. Sun. to Thurs. 1 p.m., 4:40 p.m., 6:50 p.m. regAl StAdium 14
3474 Zafarano Drive, 424-6296, www.fandango.com 2 Guns (R) Fri. to Wed. 9:55 p.m. The Butler (PG-13) Fri. to Wed. 12:25 p.m., 3:45 p.m., 7 p.m., 10:05 p.m. Despicable Me 2 (PG) Fri. to Wed. 12 p.m., 2:25 p.m., 4:50 p.m., 7:15 p.m. Elysium (R) Fri. to Wed. 1:10 p.m., 4 p.m., 7:35 p.m., 10:10 p.m. The Family (R) Thurs. 8 p.m. Getaway (PG-13) Fri. to Wed. 12 p.m., 2:15 p.m., 4:30 p.m., 7 p.m., 9:20 p.m. Insidious & Insidious: Chapter 2 Double Feature (NR) Thurs. 7 p.m. Insidious: Chapter 2 (PG-13) Thurs. 10 p.m. Instructions Not Included (PG-13) Fri. to Wed.
1:20 p.m., 4:05 p.m., 4:20 p.m., 7:10 p.m., 7:20 p.m., 10:15 p.m. Jobs (PG-13) Fri. to Wed. 10 p.m.
The Mortal Instruments: City of Bones (PG-13)
Fri. to Wed. 1:05 p.m., 9:50 p.m. One Direction:This Is Us 3D (PG) Fri. to Wed. 3:20 p.m., 5:35 p.m., 7:50 p.m., 10:15 p.m. One Direction:This Is Us (PG) Fri. to Wed. 12:45 p.m. Percy Jackson: Sea of Monsters (PG) Fri. to Wed. 12:05 p.m., 2:40 p.m., 5:10 p.m., 7:45 p.m. Planes (PG) Fri. to Wed. 12:10 p.m., 2:35 p.m., 5:15 p.m., 7:40 p.m. Riddick (R) Fri. to Wed. 1:30 p.m., 4:10 p.m., 4:40 p.m., 7:05 p.m., 7:30 p.m., 10 p.m., 10:15 p.m. The Smurfs 2 (PG) Fri. to Wed. 1 p.m. This IsThe End (R) Fri. to Wed. 12:20 p.m., 3:30 p.m., 7:40 p.m., 10:10 p.m. We’re the Millers (R) Fri. to Wed. 1:25 p.m., 4:30 p.m., 7:25 p.m., 10:05 p.m. The World’s End (R) Fri. to Wed. 1:15 p.m., 4:25 p.m., 7:15 p.m., 9:50 p.m. You’re Next (R) Fri. to Wed. 10:15 p.m.
Written and Directed by Woody Allen www.sonyclassics.com
EXCLUSIVE ENGAGEMENT Santa Fe
NOW PLAYING
UA De VArgAs MAll 6 (800) FANDANGO #608
The New York Times
VIEW THE TRAILER AT WWW.BLUEJASMINEFILM.COM
“
RICHARD ROEPER
GRADE: A .
”
the SCreen
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Big Star: Nothing Can Hurt Me (PG-13) Fri. and Sat. 8 p.m. Sun. 6 p.m. Mon. to Thurs. 8 p.m. Beckett on Film: Rough for Theatre I and Krapp’s LastTape (NR) Sun. 11 a.m. Leviathan (NR) Fri. to Thurs. 3:50 p.m. Museum Hours (NR) Sat. 11:15 a.m. You Ain’t Seen Nothin’ Yet (NR) Fri. and Sat.
1:30 p.m., 5:40 p.m. Sun. 1:30 p.m. Mon. to Thurs. 1:30 p.m., 5:40 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 2 Guns (R) Fri. 5 p.m., 7:35 p.m., 10 p.m. Sat. 2:30 p.m., 5 p.m., 7:35 p.m., 10 p.m. Sun. 2:30 p.m., 5 p.m., 7:35 p.m. Mon. to Thurs. 5 p.m., 7:35 p.m. The Butler (PG-13) Fri. 4:25 p.m., 7:05 p.m. Sat. and Sun. 1:50 p.m., 4:25 p.m., 7:05 p.m. Mon. to Thurs. 4:25 p.m., 7:05 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. The Mortal Instruments: City of Bones (PG-13) Fri. 4:30 p.m., 7:15 p.m. Sat. and Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m. One Direction:This Is Us (PG) Fri. 4:55 p.m., 7 p.m., 9:40 p.m. Sat. 2 p.m., 4:55 p.m., 7 p.m., 9:40 p.m. Sun. 2 p.m., 4:55 p.m., 7 p.m. Mon. to Thurs. 4:55 p.m., 7 p.m. Planes (PG) Fri. 4:35 p.m., 7:10 p.m., 9:30 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:10 p.m., 9:30 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:10 p.m. Mon. to Thurs. 4:35 p.m., 7:10 p.m. Riddick (R) Fri. 4:50 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:20 p.m. Mon. to Thurs. 4:50 p.m., 7:20 p.m. The Smurfs 2 (PG) Fri. 4:40 p.m., 6:55 p.m., 9:25 p.m. Sat. 2:10 p.m., 4:40 p.m., 6:55 p.m., 9:25 p.m. Sun. 2:10 p.m., 4:40 p.m., 6:55 p.m. Mon. to Thurs. 4:40 p.m., 6:55 p.m. We’re the Millers (R) Fri. 4:50 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs. 4:50 p.m., 7:30 p.m. You’re Next (R) Fri. 4:45 p.m., 7:40 p.m., 9:50 p.m. Sat. 2:25 p.m., 4:45 p.m., 7:40 p.m., 9:50 p.m. Sun. 2:25 p.m., 4:45 p.m., 7:40 p.m. Mon. to Thurs. 4:45 p.m., 7:40 p.m.
“...‘THE GRANDMASTER’ IS ONE OF THE
TRULY GALVANIZING CINEMATIC EXPERIENCES OF THE YEAR...” Manohla Dargis
“SOME OF THE BEST MARTIAL ARTS SCENES SINCE ‘CROUCHING TIGER, HIDDEN DRAGON’.” ScoTt Bowles
“TONY LEUNG GIVES A MAGNETIC PERFORMANCE. ZIYI ZHANG IS LUMINOUS.” Stephanie Zacharek
M ARTIN SCOR SESE
AND
SA MUEL L . JACKSON
PRESENT
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53
RESTAURANT REVIEW Bill Kohlhaase I The New Mexican
Meats on parade
Omira Bar & Grill
1005 S. St. Francis Drive, 780-5483 Lunch 11 a.m.-2:30 p.m., dinner 5-9:30 p.m. Tuesdays-Sundays; closed Mondays Vegetarian options Handicapped-accessible Noise level: quiet to moderate Beer, wine & sake Credit cards, local checks
•
The Short Order Omira Bar & Grill is a Brazilian-style churrascaria, a place where grilled meats are brought to your table on their cooking skewers. The selections include chunks of sirloin, chuck, prime rib, roast pork, and lamb, many locally raised and minimally seasoned. There are also crisp egg rolls and stuffed grape leaves. The unique salad bar sports locally grown produce. The steam table, with its curried chicken, beans, rice, corn, and soups, means the buffet can make up your entire meal. But only vegetarians will want to forgo the surprisingly wonderful meats that keep coming until you turn off your tabletop lamp. Service is punctual and friendly. Recommended: Greek salad, kale with beets and feta, dolmades, sirloin, prime rib, lamb, pork wrapped in bacon with panko crumbs, and grilled glazed pineapple.
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.
54
PASATIEMPO I September 6 -12, 2013
We miss Ziggy’s, the international food market in the Crossroads Center, at the corner of St. Francis Drive and Cerrillos Road. But Ziggy Rzig, the market’s former owner, can now be found next door at Omira Bar & Grill, a fun concept restaurant modeled on the Brazilian churrascaria. Here, servers with loaded grilling skewers parade between diners in something of a marching mixed grill. A small lamp on your table, turned on and off with a touch of your hand, lets servers know that you’re ready for more. There’s a salad bar, too, though it’s not like those found on most buffets. Small platters of prepared dishes ranging from kale and beet salad to pastas are presented in the chilled portion, and there’s also a steam table offering hot dishes. Your dinner price includes all the meats you’ll let your server — called “carvers” here — bring you plus the salad bar. Or you can make a meal from the salad bar alone, an especially good choice at lunch. If you go away hungry, it’s your own fault. The place is stylish inside, with cool colors and a tall, black-beamed ceiling. You’re seated at one of the tables near the bar in the front room or at one of the black booths surrounding the large four-sided salad bar. Your server explains the concept and the purpose of the lamp and asks you how you like your meat grilled (we recommend medium rare). He or she then turns you loose on the salad bar. Small upright cards let you know what you’re looking at: crisp Asian coleslaw, mozzarella balls, a watermelon and cantaloupe salad in a mint dressing, big burly mushrooms barely penetrated by a balsamic vinaigrette. There’s a fine Greek salad with decent olives and a nice crumbled feta; a chunky potato salad made with locally grown fingerlings; and two kale salads, one with chopped beets and that wonderful dry feta. Around the corner are the hot dishes. The beans and the corn tend to be soupy. The chicken is fork-tender and tasty, but the mango curry sauce it swims in is thin. The Caribbean stew is beefy and flavorful. Back at your table, a pair of egg rolls (stuffed with ground turkey on one visit) are attractively presented on a small plate swirled with chile paste and a spicy-sweet hoisin sauce. They are hot and wonderfully crispy. Then come stuffed grape leaves, which your server skillfully slides off the skewer. They’re slightly sour in the Greek style and texturally forgiving, squirting spirited juices as you bite down. After that it’s a stout, distinctly flavored sausage followed by marinated Tokyo beef, a folded slice of flank steak all soy and sweetness, cooked through and a bit chewy. Then comes a chunk of locally raised sirloin, medium-rare and oozing juices as you cut in, and then an equally juicy piece of chuck steak. Both are lightly salted and hinting of pepper. A nugget of roast pork wrapped in bacon and fried in panko crumbs was a flavor bomb (at
lunch we had chicken breast prepared the same way). At dinner, you might be brought prime rib, a springy piece of filet mignon, and an almost rare square of gamy lamb. Apparently there are other pork, beef, and chicken preparations, but at some point a person has to say “No more.” You establish a relationship with your servers as they come around with their loaded skewers, explaining each selection and making a show of it. Our only disappointment with our server — a small quibble — was his inability to name any of the local meat suppliers (the pork and lamb are from Talus Wind Heritage Ranch in Galisteo, the beef from 4 Daughters Land & Cattle). Another drawback is a lack of presentation. You’re served with a flourish, but after you’ve finished one course, the next is plopped into the juices of the former. Ask for a new plate — we did, and one was gladly brought. You can also order some of the dishes à la carte, tapas style. Omira serves wine and house-made sake and has an eclectic beer selection with an emphasis on Belgian ales. Brazilian lemonade is not the sweet see-through juice you’re used to. It’s tart and opaque, with more than a bit of citrus bite. Omira offers a couple of desserts — a chocolate cake and tiramisu on one visit — but go for a slice of the grilled glazed pineapple. It’s delicious, and anyway, you’ll need some of those pineapple enzymes to help you digest all that protein. ◀
Check, please Dinner for two at Omira Bar & Grill: Meats with salad bar ....................................... $27.95 Meats with salad bar ....................................... $27.95 TOTAL ............................................................ $55.90 (before tax and tip) Lunch for two, another visit: Meats with salad bar ....................................... Salad bar only ................................................. Brazilian lemonade ......................................... TOTAL ............................................................ (before tax and tip)
$17.95 $11.95 $ 3.95 $33.85
OPEN LABOR DAY 9-5
A Most Unusual
SALE!
season opening Recital
conrad tao, pianist and composer Thursday, September 19 at 7:30pm St. Francis Auditorium, New Mexico Museum of Art champagne Reception in the courtyard following the concert Music by Bach, Ravel, RachManinoff, Monk, tao, and PRokofiev
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santa fe Pro Musica orchestra thomas o’connor, conductor conrad tao, piano Brian shaw, trumpet Saturday, September 21 at 6pm Sunday, September 22 at 3pm Lensic Performing Arts Center Haydn symphony no. 83 in G Minor “la poule” SHoStakovicH concerto in c Minor for Piano, trumpet, and string orchestra, op. 35 Mozart Piano concerto no. 9 in e-flat Major, k. 271 “Jeunehomme” Meet the Music introduction: saturday and sunday one hour before each performance at the lensic ticketS $20, $35, $45, $65 students and teachers $10 santa fe Pro Musica Box office: 505.988.4640 (ext. 1000), 800.960.6680 tickets santa fe at the lensic 505.988.1234
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55
pasa week Friday, Sept. 6
Cerrillos Hills State Park, one-half mile north of the village on County Rd. 59, meet at park entrance, $5 per vehicle, 474-0196.
gallery/museum openings
axle Contemporary 670-7612 or 670-5854. Magnetic Drift, installation by art collective Lady Minimalists Tea Society, reception 5-7 p.m., look for the van at the Railyard plaza, through Sept. 29, visit axleart.com for van locations. Collected Works Bookstore 202 Galisteo St., 988-4226. Mixed-media works by Judith Kingsley, reception 5-7 p.m. Cruz gallery 616 Canyon Rd. New sculpture by John Tuomisto-Bell, reception 5-8 p.m., through Sept. 25. eight modern 231 Delgado St., 995-0231. With Fire, Flags, and Sacrifice, new works by Katherine Lee, reception 5-7 p.m., through Oct. 19 (see story, Page 40). get Framed 418 Cerrillos Rd., Suite 3, 424-6996. Glüm: Madder Than the Old Man, New Mexico artists respond to the privatization of community events, reception 5-8 p.m., through Sept. 15 (see story, Page 38). giacobbe-Fritz Fine art 702 Canyon Rd., 986-1156. Reveal, new works by Britt Freda, reception 5-7 p.m., through Sept. 20. lewallen galleries at the railyard 1613 Paseo de Peralta, 988-3250, Songs of Joy, memorial exhibit of works by Bernard Chaet (1924-2012); After the Rain, work by Color Field painter Ronnie Landfield, reception 5-7 p.m., through Oct. 13. manitou galleries 123 W. Palace Ave., 986-0440. Paintings by Ethelinda and bronze sculpture by Jim Eppler, reception 5-7:30 p.m., through Sept. 20. new Concept gallery 610 Canyon Rd., 795-7570. Concept and Abstraction, recent work by Kathleen Doyle Cook, reception 5-7 p.m., through September. nüart gallery 670 Canyon Rd., 988-3888. Meetings With My Daemons, new paintings by Alexandra Eldridge, reception 5-7 p.m., through Sept. 22. peyton Wright 237 E. Palace Ave., 989-9888. Homage to Color, retrospective of works by Stanton MacdonaldWright (1890-1973), reception 5-8 p.m. pop gallery 142 Lincoln Ave., Suite 102, 820-0788. Pop Goes to the Dogs, group show in support of the Santa Fe Humane Society, reception 5 p.m., through Jan. 1. rotunda gallery State Capitol, Old Santa Fe Trail and Paseo de Peralta, 986-4589, group show of book art, reception 4-6 p.m., through Dec. 13. sage Creek gallery 421 Canyon Rd., 988-3444. Group show, reception 5-7 p.m., through Sept. 20.
Exhibitionism...................... 58 At the Galleries.................... 59 Museums & Art Spaces........ 59 In the Wings....................... 60 Pasa’s Little Black Book......... 61
56
compiled by Pamela Beach, pambeach@sfnewmexican.com pasatiempomagazine.com
evenTs
entrada de Don Diego de vargas 2-3 p.m., annual reenactment of the reconquest of Santa Fe in September 1692, on the Plaza. Fiestas de santa Fe on the plaza 9 a.m.-10 p.m., food booths and concerts, through Sunday, visit santafefiesta.org for full schedule of events. Fiesta Fine arts and Crafts market On the Plaza, 9 a.m.-5 p.m., through Sunday, visit santafefiesta.org for full schedule of events. pueblo of Tesuque Flea market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year.
nighTliFe
LewAllen Galleries at the Railyard shows work by Bernard Chaet, 1613 Paseo de Peralta
sugarman peterson gallery 130 W. Palace Ave., 982-0340. Spiral Pajos, new sculpture by Christopher Thomson, reception 5-7:30 p.m. Worrell gallery 103 Washington Ave., 989-4900. Expressing the Drama of the Western Landscape, paintings by Robert S. Brown, reception 5-7 p.m.
ClassiCal musiC
TgiF harpsichord recital Jan Worden-Lackey performs music of Rameau, Bach, and Handel, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., 982-8544, Ext. 16.
in ConCerT
Donna Dean Country singer/songwriter, Jono Manson opens, 7:30 p.m., The Music Room, Garrett’s Desert Inn, 311 Old Santa Fe Trail, $15 in advance online at brownpapertickets.com, $20 at the door. Fiesta Bandstand on the plaza 10 a.m.-10 p.m., including Pueblo and Aztec dancers, mariachi bands, and Matachine dances, through the weekend. Freewheel Festival 5-6:30 p.m. workshop with Brendan Carn, 8 p.m. concert with Carn and Dino J.A. Deane, O’Shaughnessy Performance Space, Benildus
Elsewhere............................ 63 People Who Need People..... 63 Under 21............................. 63 Pasa Kids............................ 63
PASATIEMPO I September 6 -12, 2013
Hall, 1600 St. Michael’s Dr., $5 workshop, $10 concert, presented by the SFUA&D Contemporary Music Program, 473-6196, through Sunday. melissa etheridge Folk-rock singer/songwriter, 7:30 p.m. Santa Fe Opera, 301 Opera Dr., $44-$81, 986-5900.
TheaTer/DanCe
A Fowl Play & A Fracking Good Time 2013 Fiesta Melodrama, an annual sendup of all things Santa Fe; early show 7:30 p.m., $20; late show 9:30 p.m., $10; Santa Fe Playhouse, 142 E. DeVargas St., 988-4262, final weekend.
Books/Talks
steve kohlhagen The author reads from and signs copies of his historical novel Where They Bury You, 6:30 p.m., Gib Singleton Museum of Fine Art, 112 W. San Francisco St., second floor, 995-9713 (see Subtexts, Page 12).
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. star party Explore the night sky above Cerrillos, green laser tour and viewing through telescopes, 8 p.m.,
(See Page 61 for addresses) 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, featuring Bryan Lewis on drums, 7:30 p.m.-close, no cover. Cowgirl BBQ The Bootleg Prophets, spicy Americana, 8:30 p.m., no cover. el Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. hotel santa Fe Ronald Roybal, flute and classical Spanish guitar, 7-9 p.m., no cover. la Casa sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la posada de santa Fe resort and spa Nacha Mendez Duo, pan-Latin rhythms, 6:30-9:30 p.m., no cover. legal Tender at lamy railroad museum Buffalo Nickel Band, country and honky-tonk, 6-9 p.m., no cover. low ’n slow lowrider Bar at hotel Chimayó de santa Fe Jazz off the Plaza, revolving jazz trio with Loren Bienvenu on drums, 9:30 p.m.-close, no cover. The mine shaft Tavern Nu Methods, neo-soul, 8 p.m., call for cover. The palace restaurant & saloon C.S. Rockshow featuring Don Curry, Pete Springer, and Ron Crowder, 9:30 p.m., call for cover. pranzo italian grill Geist Cabaret with jazz pianist John Rangel, 6-9 p.m., call for cover.
calendar guidelines Please submit information and listings for Pasa Week
no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@sfnewmexican.com, or by fax to 820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 986-3019; or send an email to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. See our calendar at www.pasatiempomagazine.com, and follow Pasatiempo on Facebook and Twitter.
Second Street Brewery Arizona bordergrass band Way Out West, 6-9 p.m., no cover. Second Street Brewery at the Railyard Todd and the Fox, norteño folk rock, 7-10 p.m., no cover. Tiny’s Guitarist Chris Abeyta, 5:30 p.m.; The Jakes, classic rock, 8:30 p.m., no cover. The Underground at Evangelo’s Reggae Dancehall Friday with Brotherhood Sound System featuring Don Martin, 9 p.m., call for cover. Upper Crust Pizza Songster Michael Combs, 6 p.m., countryfolk acoustic duo EagleStar, 7 p.m., no cover. Vanessie Pianist Doug Montgomery, jazz and classics, 6-8 p.m.; Todd Lowry and Kari Simmons, 8 p.m.-close; call for cover.
7 Saturday gallERy/mUSEUm oPEningS Jay Etkin gallery 703 Camino de la Familia, 466-2366. Genoneonology, mixed-media works by Tanmaya Bingham, reception 5-7 p.m., through Sunday Sept. 8.
in ConCERT
Fiesta Bandstand on the Plaza 10 a.m.-10 p.m., including Pueblo and Aztec dancers, mariachi bands, and Matachine dances, through the weekend. Freewheel Festival 2-3:30 p.m. improv workshop with Brian Allen, 4-5:30 p.m. performance and clinic with Genresplosion, 8 p.m. concert with Ink on Paper and Brian Allen, O’Shaughnessy Performance Space, Benildus Hall, 1600 St. Michael’s Dr., afternoon workshops $5 each, concert $10, presented by the SDUA&D Contemporary Music Program, 473-6196, continues Sunday. Steve Terrell and gregg Turner Performances by the local guitarists/songwriters, 9 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., $5 at the door, 466-5528.
ThEaTER/danCE
A Fowl Play & A Fracking Good Time 2013 Fiesta Melodrama, an annual sendup of all things Santa Fe; early show 7:30 p.m., $20; late show 9:30 p.m., $10; Santa Fe Playhouse, 142 E. DeVargas St., $20, 988-4262, final weekend.
BookS/TalkS
Bali and lombok Slide presentation by Seth Friedman, 5 p.m., Travel Bug Books, 839 Paseo de Peralta, 992-0418.
oUTdooRS
Walatowa Red Rock Guided 1.5-mile hike at Jemez Pueblo, 7:30 a.m.-12:30 p.m., meet at Pajarito Environmental Education Center to carpool, 3540 Orange St., Los Alamos, $6, advance registration required, visit PajaritoEEC.org or call 662-0460 to register.
EVEnTS
desfile de los niños/Children’s Pet Parade 9 a.m.-10:45 p.m., the annual tradition (since the 1920s) culminates with an awards ceremony on the Plaza, visit santafefiesta.org for a map of the downtown route.
Fiestas de Santa Fe on the Plaza 9 a.m.-10 p.m. food booths and concerts, visit santafefiesta.org for full schedule of events, continues Sunday. Fiesta Fine arts and Crafts market On the Plaza, 9 a.m.-5 p.m., through Sunday, visit santafefiesta.org for full schedule of events. gran Baile de la Fiesta 7:30 p.m., annual musical event honoring Fiesta royalty, Santa Fe Community Convention Center, 201 W. Marcy St., $15, 988-1234, ticketssantafe.org. green Chile Cheeseburger Smackdown Cookoff between seven Santa Fe restaurants for Best Green Chile Cheeseburger and People’s Choice Award honors, 10:30 a.m.-1 p.m., Santa Fe Railyard Plaza, $15 People’s Choice tickets available at the event or by calling 955-6214. Santa Fe artists market 8 a.m.-1 p.m. Saturdays at Railyard Park across from the Farmers Market, through November, 310-1555. Santa Fe Farmers market 7 a.m.-noon; 1607 Paseo de Peralta, 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. 75th la merienda de la Fiesta 3-5 p.m., fashion show of La Sociedad Folklórica’s collection of traditional and antique dresses, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $8 at the door.
FlEa maRkETS
Pueblo of Tesuque Flea market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year. The Santa Fe Flea at the downs 8 a.m.-3 p.m. Saturdays and Sundays through September, south of Santa Fe at NM 599 and Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com.
nighTliFE
(See Page 61 for addresses) Café Café Los Primos Trio, traditional Latin tunes, 6-9 p.m., no cover. ¡Chispa! at El mesón Flamenco Conpaz Troupe, 7-10 p.m., call for cover. Cowgirl BBQ Broomdust Caravan, juke-joint honky-tonk, biker-bar rock ’n’ roll, 8:30 p.m., no cover. El Cañon at the hilton Gerry Carthy, tenor guitar and flute, 7-9 p.m., no cover. El Farol R & B jam band Tone and Company, 9 p.m., call for cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la Fiesta lounge at la Fonda Los Wise Guys, rock ’n’ roll, 8 p.m., no cover. la Posada de Santa Fe Resort and Spa Jazz guitarist Pat Malone, 8-11 p.m., no cover. legal Tender at lamy Railroad museum Connie Long with Fast Patsy, country rock, bluegrass, and rockabilly, 6-9 p.m., no cover. molly’s kitchen and lounge Fiesta edition of Mesa Recording with DJs Dawn Quiyote and Brian Mayhall, 9 p.m., 21+, call for cover.
pasa week
continued on Page 61
September 6-8 FiESTaS dE SanTa FE EVEnTS Fiestas de Santa Fe on the Plaza 9 a.m.-10 p.m. Friday and Saturday, 9:30 a.m.-9 p.m. Sunday, food booths and concerts, visit santafefiesta.org for full schedule of events. Bandstand on the Plaza 10 a.m.-10 p.m. Friday through Sunday, including Pueblo and Aztec dancers, mariachi bands, and Matachine dances. Entrada de don diego de Vargas 2-3 p.m. Friday, annual reenactment of the reconquest of Santa Fe in September 1692, on the Plaza. desfile de los niños/Children’s Pet Parade 9 a.m.-10:45 p.m. Saturday, the annual tradition (since the 1920s) culminates with an awards ceremony on the Plaza, visit santafefiesta.org for a map of the downtown route. 75th la merienda de la Fiesta 3-5 p.m. Saturday, fashion show of La Sociedad Folklórica’s collection of traditional and antique dresses, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $8 at the door. gran Baile de la Fiesta 7:30 p.m. Saturday, annual musical event honoring Fiesta royalty, Santa Fe Community Convention Center, 201 W. Marcy St., $15, 988-1234, ticketssantafe.org. Solemn Procession of la Conquistadora 9:30-10 a.m. Sunday, Marian figure brought to Santa Fe circa 1626; procession begins at the Palace of the Governors on the Plaza and ends at Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Pl. desfile de la gente (historical/hysterical Parade) 1-3 p.m. Sunday, marching and mariachi bands, floats, and past and present Fiesta royalty, visit santafefiesta.org for a route map. Closing Ceremonies 5:15-5:30 p.m. Sunday, on the Plaza. mass of Thanksgiving and Candlelight Procession 7-9 p.m. Sunday, final event of the fiesta, Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Pl., visit santafefiesta.org for route map.
Pet Parade during Fiesta, Santa Fe, New Mexico, circa 1955, New Mexico Magazine photo, courtesy Palace of the Governors Photo Archives (NMHM/DCA), HP.2007.20.681
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exhibitionism
A peek at what’s showing around town
Ronnie Landfield: Shifting Winds, 2012, acrylic on canvas. LewAllen Galleries at the Railyard (1613 Paseo de Peralta) presents After the Rain, an exhibit that commemorates the survival of Ronnie Landfield’s work after the effects of Hurricane Sandy, which flooded his studio, threatening decades worth of paintings, prints, and drawings. Landfield’s Color Field abstractions convey a feeling of landscape while remaining nonobjective. The show runs concurrently with Songs of Joy, an exhibit of paintings by Bernard Chaet. There is an opening reception for both shows on Friday, Sept. 6, at 5 p.m. Call 988-3250.
Alexandra eldridge: Guardian of the New Souls, 2013, mixed media on panel. Meeting With My Daemons, an exhibit of paintings by Alexandra Eldridge, opens at Nüart Gallery (670 Canyon Road) on Friday, Sept. 6. The show includes work with animal and symbolic imagery. There is a 5 p.m. reception at the gallery. Call 988-3888. 58
PASATIEMPO I September 6 -12, 2013
the Lady minimalists tea society: Magnetic Drift (detail), 2013, mixed media. Axle Contemporary’s Magnetic Drift is the latest exhibit by The Lady Minimalists Tea Society, a collaborative of six New Mexico artists: Shaun Gilmore, Dara Mark, Diane McGregor, Danielle Shelley, Signe Stuart, and Janice Wall. The interactive exhibit consists of small tiles made by the artists that can be rearranged by visitors into new configurations. Axle will be at the Railyard shade structure near the Santa Fe Farmers Market (1607 Paseo de Peralta) for the opening on Friday, Sept. 6, at 5 p.m. Visit www.axleart.com for the mobile gallery’s daily schedule or call 670-7612.
Christopher thomson, Spiral Pajos #2, 2013, steel. SugarmanPeterson Gallery (130 W. Palace Ave.) presents Spiral Pajos, an exhibit of work by Christopher Thomson. The artist is known for his forged-steel home furnishings but has turned to sculpture using techniques developed in his furniture making. “I work with steel in a direct way,” he writes, “allowing the hammering, stretching, and bending of the forming process to add to the design.” There is a 5 p.m. reception on Friday, Sept. 6. Call 982-0340.
Jim eppler: Raven III D, 2013, bronze. Manitou Galleries (123 W. Palace Ave.) presents an exhibition of work by Jim Eppler and Ethelinda. Eppler’s lifelike bronzes of animals include ravens, mountain lions, and coyotes. Ethelinda paints Native portraits, still lifes, landscapes, and wildlife, particularly horses. The show opens Friday, Sept. 6, with a 5 p.m. reception. Call 986-0440.
At the GAlleries Anishnaabensag Biimskowebshkigewag (Native Kids Ride Bikes) Installations by Métis artist Dylan Miner, shown at First National Bank; Museum of Contemporary Native Arts; Santa Fe Place Mall; and Santa Fe Community Gallery through Sept. 27. Call Santa Fe Art Institute for information, 424-5050. Bellas Artes 653 Canyon Rd., 983-2745. Pozos Azules, work by textile artist Olga de Amaral, through Sept. 28. Charlotte Jackson Fine Art 554 S. Guadalupe St., 989-8688. Green/Bronze, mixed-media paintings by Ed Moses, through Sept. 23 (see story, Page 32). Chiaroscuro Contemporary Art 702½ Canyon Rd., 992-0711. Headwater, Emmi Whitehorse’s paintings; contemporary Native group show, including Rick Bartow, Rose B. Simpson, and Harry Fonseca; through Sept. 14 . David Richard Gallery 544 S. Guadalupe St., 983-9555. Ted Larson: Some Assembly Required; Peter Demos: Ten Paintings; Matthew Penkala: There’s No Shame in It; Lilly Fenichel: High Contrast; through Saturday, Sept. 7. Ellsworth Gallery 215 E. Palace Ave., 989-7900. The Invisible Thread, paintings by Elise Ansel, through Oct. 26. Gebert Contemporary 558 Canyon Rd., 992-1100. Keiko Sadakane: Geometric Paintings After Piero della Francesca, through Tuesday, Sept. 10. GVG Contemporary 202 Canyon Rd., 982-1494. Sculpniture, works by Ernst Gruler, Jamie Monroe, and Dean Pulver, through Sept. 16. Houshang’s Gallery 50 E. San Francisco St., 988-3322, paintings by Judy Morgan, through Sunday, Sept. 8. James Kelly Contemporary 550 S. Guadalupe St., 989-1601. Enrique Martínez Celaya: The Pearl, site-specific installation, through Sept. 21. Jane Sauer Gallery 652 Canyon Rd., 995-8513. Abstract Rhythms, ceramic sculpture by Sheryl Zacharia, through Sept. 16. Legends Santa Fe 125 Lincoln Ave., 983-5639. Paintings by Ben Wright, through Sept. 18. Totem and the Animal Within, works by Marla Allison and Robert Spooner Marcus, through Sept. 16. Longworth Gallery 530 Canyon Rd., 989-4210. Rumi on Canvas, work by Rahileh Rokhsari, through September. Marji Gallery 453 Cerrillos Rd., 983-1012. Expressionist paintings by Johannes Boekhoudt; work by glass artist Bruce Pizzichillo; Australian Aboriginal art, through September. Mark Sublette Medicine Man Gallery 602-A Canyon Rd., 820-7451. Kodachrome Memory, exhibit of photographs by Nathan Benn, through Sept. 13. Matthews Gallery 669 Canyon Rd., 992-2882. Figurative and Landscapes, work by Jamie Chase, through Thursday, Sept. 12. Meyer Gallery 225 Canyon Rd., 983-1434. Re-Collections, Southwest landscapes by Robert Daughters, through Thursday, Sept. 12.
Monroe Gallery of Photography 112 Don Gaspar Ave., 992-0800. Those Who Dared, portraits of historical figures and other noteworthy individuals, through Sept. 22. The Owings Gallery 120 E. Marcy St., 982-6244. New paintings by Ed Mell, through Sept. 14. Photo-eye Gallery 376-A Garcia St., 988-5159. Storms, Mitch Dobrowner’s cloud studies, through Sept. 21. Santa Fe Clay 545 Camino de la Familia, 984-1122. Works by ceramicists Priscilla Mouritzen, Monica Rudquist, and Hide Sadohara, through Saturday, Sept. 7. Santa Fe Public Library Main Branch, 145 Washington Ave., 955-6784. Migration: Ebb and Flow, book art and prints by Trina Badarak, through September. Scheinbaum & Russek 812 Camino Acoma, 988-5116. Beyond Reality, works by photographers Minor White (1908-1976) and Walter Chappell (1925-2000), through October 12. Silver Sun Gallery 656 Canyon Rd., 983-8743. Chigiri-e, Japanese torn-paper work by Hisae Tamura, through Tuesday, Sept. 10. TAI Gallery 1601-B Paseo de Peralta, 984-1387. Two Roads Diverge in a Bamboo Forest: Oita’s Art Movement, bamboo art, through Sept. 21. Turner Carroll 725 Canyon Rd., 986-9800. New paintings by Rex Ray, through Sept. 29. Wade Wilson Art 217 W. Water St., 660-4393. Active Sight and the Landscape, work by Jim Woodson; Conflicting Scales: Musicality and Dissonance, encaustic paintings by Winston Lee Mascarenhas; through Sept. 25. William R. Talbot Fine Art, Antique Maps & Prints 129 W. San Francisco St., second floor, 982-1559. Indian Summer, 18301940, works by Karl Bodmer, George Catlin, Peter Moran, and Datus Myers, through Saturday, Sept. 7. William Siegal Gallery 540 S. Guadalupe St., 820-3300. Nauticus, works by Karen Gunderson, David Henderson, and Tom Waldron, through Sept. 14. Yares Art Projects 123 Grant Ave., 984-0044. Energy Fields, sculptural video installations by Susanna Carlisle and Bruce Hamilton; Four Square, abstracts by painter Penelope Krebs, through October 28. New work by jewelers Yazzie Johnson and Gail Bird, through Sept. 21. Zane Bennett Contemporary Art 435 S. Guadalupe St., 982-8111. Common Language, collaborative works by Susan Davidoff and Rachelle Thiewes; Regeneration, Davidoff’s works on paper; through Sept. 20.
MuseuMs & Art spAces refer to the daily calendar listings for special events. hours subject to change on holidays and during Fiestas de santa Fe. Center for Contemporary Arts 1050 Old Pecos Trail, 982-1338. Making Places, interdisciplinary installation by Linda Fleming and Michael S. Moore, through Sept. 22. Gallery hours available online at ccasantafe.org or by phone, no charge. El Rancho de las Golondrinas 334 Los Pinos Rd., 471-2261. Living history museum and historic paraje on El Camino
Museum of international Folk Art exhibits Japanese kites through March 2014.
Real, the Royal Road to Mexico City. Open 10 a.m.-4 p.m. Wednesday-Sunday through September. $8; seniors and teens $5; ages 12 and under no charge. Georgia O’Keeffe Museum 217 Johnson St., 946-1000. Works from students of the museum’s 2013 Art & Leadership Programs for Girls and Boys, through Friday, Sept. 6 • Georgia O’Keeffe in New Mexico: Architecture, Katsinam, and the Land, through Wednesday, Sept. 11. Open 10 a.m.-5 p.m. Saturday-Thursday, 10 a.m.-7 p.m. Friday. $12; seniors $10; NM residents $6; students 18 and over $10; under 18 no charge; no charge for NM residents first Friday of each month. Museum of Contemporary Native Arts 108 Cathedral Pl., 983-1666. Changing Hands: Art Without Reservations 3/Contemporary and Southwest, group show (see review, Page 36) • 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 students $5; 16 and under and NM residents with ID no charge on Sundays. Museum of Indian Arts & Culture 710 Camino Lejo, Museum Hill, 476-1250. 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. Tuesday-Sunday. 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, 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 March 2014 • New World Cuisine: The Histories of Chocolate, Mate y Más
• Multiple Visions: A Common Bond, collection of toys and folk art. Open 10 a.m.-5 p.m. Tuesday-Sunday. $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, 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., 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. TuesdaySunday; 5-8 p.m. Friday. 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., 476-5072. Shiprock and Mont St. Michel, Santa Fe photographer William Clift’s landscape studies, through Sunday, Sept. 8 • Back in the Saddle, paintings, prints, photographs, and drawings of the Southwest, through Sept. 15 • It’s About Time: 14,000 Years of Art in New Mexico, through January 2014. Open 10 a.m.-5 p.m. Tuesday-Sunday; 5-8 p.m. Friday. 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; free on Sundays for NM residents. Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Pl., 988-8900. A Straight Line Curved, paintings by Helen Hardin (1943-1984), through September. Open 10 a.m.-5 p.m. TuesdaySunday. $10 admission. Poeh Museum Fashion designs by Patricia Michaels, through November. 78 Cities of Gold Rd., Poeh Center Complex, Pueblo of Pojoaque, 455-3334. 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, 989-1199. Enrique Martínez Celaya: The Pearl, site-specific installation, through Oct. 13. Open 10 a.m.5 p.m. Tuesday-Saturday; 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, 982-4636. The Durango Collection: Native American Weaving in the Southwest, 1860-1880, through April 13, 2014. Open 10 a.m.-5 p.m. daily.
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In the wings MUSIC
Santa Fe Music Collective The jazz series continues with flutist Ali Ryerson, 7 p.m. Friday, Sept. 13, doors open at 6 p.m., Museum Hill Café, 710 Camino Lejo, Milner Plaza, $25, 983-6820. Neko Case Singer/songwriter, 7:30 p.m. Friday, Sept. 13, the Lensic, $29-$39, ticketssantafe.org, 988-1234. Peace Talks Radio benefit KUNM Radio’s series celebrates ten years with an event including performances by Americana singer/songwriter Mary Gauthier and Iraqi oud player Rahim Alhaj, 7:30 p.m. Friday, Sept. 13, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., general admission $25, 6:30 pre-show reception $44, tickets available online and at the door, peacetalksradio.com. Jerry Lopez Singer/songwriter, 7 p.m. Saturday, Sept. 14, the Lensic, $20-$35, 988-1234, ticketssantafe.org. McFish Duo Harpsichordist Kathleen McIntosh and violist Marlow Fisher perform music of Bach, Brouwer, and Alex Shapiro, 3 p.m. Sunday, Sept. 15, Santa Fe Woman’s Club, 1616 Old Pecos Trail, $5 at the door, for more information call 670-8273. David Finckel, Philip Setzer, and Wu Han Beethoven, Shostakovich, and Dvoˇrák piano trios, 7:30 p.m. Monday, Sept. 16, the Lensic, $20-$75, 988-1234, ticketssantafe.org.
Honky-tonk veteran Joe ely performs in the shortgrass music Festival held in cimarron, Friday-sunday, sept. 20-22, call 888-376-2417 or visit shortgrassfestival.com for details and tickets.
Santa Fe Pro Musica season Conrad Tao: piano recital, music of Bach, Ravel, and Rachmaninoff, 7:30 p.m. Thursday, Sept. 19, St. Francis Auditorium, New Mexico Museum of Art; the chamber orchestra performs a program of Haydn, Shostakovich, and Mozart, featuring Tao and trumpeter Brian Shaw, Saturday and Sunday, Sept. 21-22, the Lensic, $20-$65, 988-1234, ticketssantafe.org. Blondie: No Principals Tour Rock band, X opens, 7 p.m. Monday, Sept. 23, Santa Fe Opera, 301 Opera Dr., $38-$86, 986-5900, proceeds benefit the Española Valley Humane Society. Notes on Music Illustrated presentations; music of Richard Strauss, with soprano Gina Browning, Tuesday, Sept. 24; pianist/conductor Joseph Illick on Verdi, Tuesday, Oct. 22; United Church of Santa Fe, 1804 Arroyo Chamiso Rd., $20, 988-1234, ticketssantafe.org.
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PASATIEMPO I September 6 -12, 2013
Natalie Maines Singer/songwriter, 7 p.m. Friday, Sept. 27, Santa Fe Opera, 301 Opera Dr., $42-$94, 986-5900, santafeopera.org. Billy Cobham and Spectrum 40 Veteran jazz-fusion drummer/composer, 7 p.m. Saturday, Sept. 28, Albuquerque’s KiMo Theatre, $40-$50 in advance online at holdmyticket.com; 7 p.m. Sunday concert in Taos; Taos Center for the Arts, $30 and $60, 575-758-2052. Visit nmjazz.org for more information. Canticum Novum Chorus & Orchestra The 10th season opens with music of Pergolesi, Mendelssohn, and Donizetti, performers include soprano Cecilia Leitner and baritone Tim Wilson, 4 p.m. Saturday and Sunday, Oct. 5-6, Scottish Rite Center, 463 Paseo de Peralta, Oliver Prezant pre-concert lectures on both dates, $25 and $35 in advance and at the door, discounts available, 988-1234, ticketsantafe.org Yuja Wang Pianist; music of Prokofiev, Chopin, and Stravinsky, 7:30 p.m. Thursday, Oct. 10, the Lensic, $25-$95, 988-1234, ticketssantafe.org. 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, 988-1234. Michael Franti & Spearhead Funk/reggae/jazz fusion band, 7:30 p.m. Wednesday, Oct. 23, Santa Fe Community Convention Center, $30, ticketssantafe.org, 988-1234, $35 at the door, 21+. Steve Vai Rock guitarist, 7:30 p.m. Thursday, Oct. 24, the Lensic, $29-$51, ticketssantafe.org, 988-1234.
THEATER/DANCE
Two Sisters and a Piano Teatro Paraguas presents Nilo Cruz’s play set in 1991 Cuba, 7:30 p.m. Friday and Saturday, 2 p.m. Sunday, Sept. 13-29, 3205 Calle Marie, $12 and $15, Sundays pay-what-you-wish, 424-1601. Antonio Granjero and EntreFlamenco Company The third season opens at the Lodge in Santa Fe Sept. 18 and continuing Wednesdays-Saturdays through Oct. 12, $25$45 in advance, ticketssantafe.org, 988-1234. Good People Santa Fe Performing Arts presents the play by David Lindsay-Abaire, 7:30 p.m. Thursday-Saturday, 4 p.m. Sunday, Sept. 19-29, 1050 Old Pecos Trail, $20, discounts available, holdmyticket.com, call 982-7992 for reservations, Sept. 18 dress rehearsal, pay-what-you-wish. Vanya and Sonia and Masha and Spike Fusion Theater presents Christopher Durang’s comedy, 8 p.m. Friday and 2 and 8 p.m. Saturday, Sept. 27-28, the Lensic, $20-$40, student discounts available, 988-1234, ticketssantafe.org. Hungarian State Folk Dance Ensemble 7:30 p.m. Thursday, Oct. 3, the Lensic, $25-$45, 988-1234, ticketssantafe.org.
Upcoming events 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. Wednesday, Oct. 9, the Lensic, general admission $15, reserved seats $50, 988-1234, ticketssantafe.org. I Hate Hamlet Santa Fe Playhouse presents a play by Paul Rudnick, directed by Robert Nott, 7:30 p.m. Thursday-Saturday, 4 p.m. Sunday, Oct. 11-27, 142 E. DeVargas St., 988-4262. Te Amo, Argentina Multimedia performance with tango dancers Miriam Larici and Leonardo Barrionuevo, The Capitol Ensemble, with pianist Brian Pezzone and double bassist Pablo Motta, 7:30 p.m. Friday, Oct. 11, the Lensic, $20-$40, 988-1234, ticketssantafe.org. 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, 988-1234.
HAPPENINGS
Hungry Mouth Festival Hosted by St. Elizabeth Shelter in celebration of its 27th anniversary; chef-led cookoff, music, and auction, 6-9 p.m. Saturday, Sept. 14, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, $100, 982-6611. Museum of International Folk Art Fall Harvest Festival and 60th-birthday celebration Presented in conjunction with the exhibit New World Cuisine: The Histories of Chocolate, Mate y Más, 1-4 p.m. Sunday, Sept. 15, 706 Camino Lejo, Museum Hill, 476-1200; by museum admission. 12th Annual Stewart Udall Legacy Dinner Honoring N. Scott Momaday with the Stewart Udall Environmental Award; 4:30-8 p.m. Sunday, Sept. 15, National Park Service Building, 1100 Old Santa Fe Trail, $175, 989-7019, proceeds benefit the Santa Fe Conservation Trust, visit sfct.org for more information. Station to Station: A Nomadic Happening National, train-traveling, multimedia public-art event; including singer/songwriters Cat Power and Nite Jewel and performance artist Doug Aitken, 6-10 p.m. Wednesday, Sept. 18, Santa Fe Farmers Market Pavilion, $25 in advance online at stationtostation.com.
New Mexico Museum of Art openings Collecting Is Curiosity/Inquiry; A Life in Pictures: Four Photography Collections; 50 Works for 50 States: New Mexico; opening at no charge Friday, Sept. 20, 107 W. Palace Ave., 476-5072. Cowboy Movie Night: John Wayne Join Santa Fe New Mexican journalist Robert Nott for a discussion and screening of the 1972 film The Cowboys in conjunction with the New Mexico History Museum exhibit Cowboys Real and Imagined, 5:30-8 p.m. Friday, Sept. 20, museum auditorium, 113 Lincoln Ave., no charge, 476-5200. Santa Fe Renaissance Fair Juggling/fire-eating/magic troupe Clan Tynker, medieval combat reenactments, vendors, and food, 10 a.m.-6 p.m. Saturday and Sunday, Sept. 21-22, El Rancho de las Golondrinas, call for tickets, 471-2261. Radius Books Artist Party Sixth-anniversary celebration with artists including Sam Abell, James Drake, Victoria Sambunaris, and Janet Russek; also, a book sale, signings, video shorts, and a silent auction, 5-8 p.m. Saturday, Sept. 21, Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, call 953-4068 for information. 23rd Annual Santa Fe Wine & Chile Festival Luncheons, tours, and seminars, Sept. 25-29, visit santafewineandchile.org or call 438-8060 for tickets and details. Lannan Foundation: In Pursuit of Cultural Freedom series Tim DeChristopher, climate justice activist and co-founder of Peaceful Uprising, in conversation with Terry Tempest Williams, 7 p.m. Wednesday, Sept. 25, the Lensic, $6, students $3, 988-1234, ticketssantafe.org. Dale Chihuly The Institute of American Indian Arts alumnus and glass artist presents a public lecture on his work, 10:30-11:30 a.m. Friday, Sept. 27, IAIA auditorium, 83 Avan Nu Po Rd., no charge, 424-2300. A Little Magic Under the Big Top Benefit gala for Big Brothers Big Sisters; dinner prepared by Chef Charles Dale of Bouche French Bistro, art auction, and a performance by circus arts and puppetry troupe Wise Fool New Mexico, 6 p.m. Saturday, Oct. 5, Buffalo Thunder Resort & Casino, visit bbbsnorthernnm.org or call 983-8360 for tickets and details.
Jazz-fusion veteran Billy cobham performs sept. 28 at the Kimo theatre in Albuquerque and sept. 29 at the taos center for the Arts.
pasa week
continued from Page 57
7 Saturday (continued) Second Street Brewery Appalachiancountry duo Hot Honey, 6-9 p.m., no cover. Second Street Brewery at the Railyard Arizona bordergrass band Way Out West, 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, 7 p.m.-close, call for cover.
performance by McDonas and Wind Up Birds, O’Shaughnessy Performance Space, Benildus Hall, 1600 St. Michael’s Dr., $5 workshop, $10 concert, presented by the SFUA&D Contemporary Music Program, 473-6196.
THEaTER/dancE
A Fowl Play & A Fracking Good Time 2013 Fiesta Melodrama, an annual sendup of all things Santa Fe; 4 p.m., guest pianist David Geist, Santa Fe Playhouse, 142 E. DeVargas St., $20, 988-4262.
BooKS/TalKS
8 Sunday
on Public Banking and its Role in Reviving democracy Lecture by lawyer and author Craig S. Barnes, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. Rosemary Zibart The author reads from and signs her novel Forced Journey: The Saga of Werner Berlinger, 2 p.m., Garcia Street Books, 376 Garcia St., 986-0151.
claSSical mUSic
EVEnTS
Santa Fe Symphony Featuring pianist Vadym Kholodenko and violinist Chee-Yun in a program of Rachmaninoff, Saint-Saëns, and Sarasate, 4 p.m. pre-concert lecture 3 p.m., the Lensic, $22-$76, 988-1234, ticketssantafe.org (see story, Page 22).
in concERT
Fiesta Bandstand on the Plaza 10 a.m.-10 p.m., including Pueblo and Aztec dancers, mariachi bands, and Matachine dances. Freewheel Festival 2-4 p.m. rehearsal with J.A. Deane’s Out of Context Electric Guitar Choir; 5 p.m. workshop with Thollem McDonas; 8 p.m. solo piano
317 aztec 150 317 Aztec St., 820-0 nter dinner ce ng pi op Sh agora courtyard de, 466-1270 7 Avenida Vista Gran the inn at agoyo lounge 3 E. Alameda St., 30 a ed am al e on th 984-2121 Betterday coffee 5-1234 55 905 W. Alameda St., nch Resort Ra e Bishop’s lodg Lodge Rd., & Spa 1297 Bishops 983-6377 café café 6-1391 500 Sandoval St., 46 ó ay casa chim 8-0391 409 W. Water St., 42 ón es m ¡chispa! at El 983-6756 e., Av ton ing ash 213 W cowgirl BBQ , 982-2565 319 S. Guadalupe St. te café The den at coyo 3-1615 98 , St. r 132 W. Wate lton El cañon at the Hi 811 8-2 100 Sandoval St., 98 Spa Eldorado Hotel & St., 988-4455 o isc nc Fra n Sa . W 309
desfile de la Gente (Historical/Hysterical Parade) 1-3 p.m., marching and mariachi bands, floats, and past and present Fiesta royalty, downtown, visit santafefiesta.org for a route map. Fiestas de Santa Fe on the Plaza 9:30 a.m.-9 p.m., food booths and concerts, visit santafefiesta.org for full schedule of events. Fiesta Fine arts and crafts market On the Plaza, 9 a.m.-5 p.m., full schedule of events available online at santafefiesta.org. mass of Thanksgiving and candlelight Procession 7-9 p.m., final event of the fiesta, Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Pl., visit santafefiesta.org for route map.
Pasa’s little black book El Farol 3-9912 808 Canyon Rd., 98 ill Gr & r Ba El Paseo 2-2848 208 Galisteo St., 99 Evangelo’s o St., 982-9014 200 W. San Francisc Hotel Santa Fe ta, 982-1200 1501 Paseo de Peral la Boca 2-3433 72 W. Marcy St., 98 ina nt ca na Se la casa 988-9232 125 E. Palace Ave., at la Fonda la Fiesta lounge , 982-5511 St. o 100 E. San Francisc a Fe Resort nt la Posada de Sa e Ave., 986-0000 lac Pa E. 0 33 a and Sp at the The legal Tender eum us m d oa ilr lamy Ra 466-1650 151 Old Lamy Trail, g arts center in rm lensic Perfo o St., 988-1234 211 W. San Francisc e lodge Th lodge lounge at Francis Dr., St. N. 0 75 Fe a at Sant 992-5800 l rider Bar at Hote low ’n Slow low Fe 125 Washington a chimayó de Sant Ave., 988-4900
Railyard artisans market 10 a.m.-4 p.m.; live music by songster Michael Combs, 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. Solemn Procession of la conquistadora 9:30-10 a.m., Marian figure brought to Santa Fe circa 1626; procession begins at the Palace of the Governors on the Plaza and ends at Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Pl.
FlEa maRKETS
Pueblo of Tesuque Flea market 9 a.m.-4 p.m., 15 Flea Market Rd., 670-2599 or 231-8536, pueblooftesuquefleamarket.com, Friday-Sunday through the year. The Santa Fe Flea at the downs 8 a.m.-3 p.m. Saturdays and Sundays through September, south of Santa Fe at NM 599 and Interstate 25 Frontage Rd., 982-2671, santafetraditionalflea.com.
niGHTliFE
(See addresses below) cowgirl BBQ Zenobia, gospel, R & B, and soul, noon-3 p.m., Haymarket Squares, Arizona punkgrass, 8 p.m., no cover. El Farol Nacha Mendez, pan-Latin chanteuse, 7 p.m., no cover. Evangelo’s Tone & Company, R & B, 8:30 p.m., no cover. la casa Sena cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover.
The matador 116 W. San Francisco St., 984-5050 The mine Shaft Tavern 2846 NM 14, Madrid, 473-0743 molly’s Kitchen & lounge 1611 Calle Lorca, 983-7577 museum Hill café 710 Camino Lejo, Milner Plaza, 984-8900 music Room at Garrett’s desert inn 311 Old Santa Fe Trail, 982-1851 The Palace Restaurant & Saloon 142 W. Palace Ave, 428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 986-0022 Pranzo italian Grill 540 Montezuma Ave., 984-2645 Rouge cat 101 W. Marcy St., 983-6603 San Francisco Street Bar & Grill 50 E. San Francisco St., 982-2044 Santa Fe community convention center 201 W. Marcy St., 955-6705 Santa Fe Sol Stage & Grill 37 Fire Pl., solofsantafe.com Second Street Brewer y 1814 Second St., 982-3030
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. mine Shaft Tavern The Barbwires, soulful blues, 3-7 p.m. no cover. Second Street Brewery at the Railyard Broomdust Caravan, cosmic Americana, 1-4 p.m., no cover. The Underground at Evangelo’s Names Divine with Alamo Sun, 9 p.m., call for cover. Vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.
9 Monday GallERy/mUSEUm oPEninGS
in/Visible Borders: new mexico Photographers Atrium Gallery, Marion Center for Photographic Arts, SFUA&D, 1600 St. Michael’s Dr., 473-6341. group show, reception 4:30-6:30 p.m., through Dec. 13.
BooKS/TalKS
investigating chocolate Use in chaco canyon: Reopening the cylinder Jar Room in Pueblo Bonito A Southwest Seminars’ lecture with Patricia L. Crown, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 466-2775. Jan Fawcett The author reads from and signs copies of his novel Living Forever, 6 p.m. Collected Works Bookstore, 202 Galisteo St., 988-4226. ▶▶▶▶▶▶▶▶
Second Street Brewer y at the Railyard 1607 Paseo de Peralta, 989-3278 Steaksmith at El Gancho 104-B Old Las Vegas Highway, 988-3333 Sweetwater Harvest Kitchen 1512-B Pacheco St., 795-7383 Taberna la Boca 125 Lincoln Ave., Suite 117, 988-7102 Thunderbird Bar & Grill 50 Lincoln Ave., 490-6550 Tiny’s 1005 St. Francis Dr., Suite 117, 983-9817 Tortilla Flats 3139 Cerrillos Rd., 471-8685 The Underground at Evangelo’s 200 W. San Francisco St., 819-1597 Upper crust Pizza 329 Old Santa Fe Trail, 982-0000 Vanessie 427 W. Water St., 982-9966 Veterans of Foreign Wars 307 Montezuma Ave., 983-9045 Warehouse 21 1614 Paseo de Peralta, 989-4423 Zia diner 326 S. Guadalupe St., 988-7008
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12 Thursday galleRy/MUSeUM oPeningS
David Richard gallery 544 S. Guadalupe St., 983-9555. Any Position Limits the View (We Are Only Here for a Spell), text- and language-based art by Allan Graham (aka Toadhouse), reception 5-7 p.m., through Oct. 19.
in ConCeRt
Brian haas Local jazz pianist/composer, with percussionist Dave Wayne, 8 p.m., Gig Performance Space, 1808-H Second St., $15 at the door, gigsantafe.com (see Sound Waves, Page 16). Maria de Barros Jazz and traditional Cape Verde coladeira singer, 7:30 p.m. the Lensic, $15-$35, 988-1234, ticketssantafe.org (see story, Page 20).
BookS/talkS
Diablo Canyon Walk, by Robert S. Brown, Worrell Gallery, 103 Washington Ave.
nightlife
(See Page 61 for addresses) Café Café Guitarist Michael Tait Tafoya, 6-9 p.m., no cover. 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 Jimmy Stadler Duo, country rock, 7:30-11 p.m., no cover. Vanessie Pianist Doug Montgomery, jazz and classics, 7 p.m.-close, call for cover.
10 Tuesday BookS/talkS
Cybersecurity: Computer immune Systems Santa Fe Institute Stanislaw Ulam Memorial Lecture with Stephanie Forrest, 7:30 p.m., James A. Little Theater, 1060 Cerrillos Rd., no charge, 984-8800. Richard Moe The author reads from and signs copies of his book Roosevelt’s Second Act, 6 p.m. Collected Works Bookstore, 202 Galisteo St., 988-4226 (see Subtexts, Page 12). Uranium Mining threatening Mount taylor Discussion with community activist Nadine Padilla and attorney Eric Jantz, 3-4 p.m., School for Advanced Research, 660 Garcia St., 954-7213.
eVentS
Santa fe farmers Market 7 a.m.-noon; market-fresh cooking demos with members of the Santa Fe Culinary Academy, 1607 Paseo de Peralta, 983-4098. Santa fe farmers Market on the Southside 3-6 p.m., Santa Fe Place Mall, Zafarano Dr. entrance, 913-209-4940.
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PASATIEMPO I September 6 -12, 2013
nightlife
(See Page 61 for addresses) ¡Chispa! at el Mesón Argentine Tango Milonga, 7:30 p.m.-close, call for cover. Cowgirl BBQ Chris Chickering Band, folk rock, 8 p.m., no cover. el farol Canyon Road Blues Jam 8:30 p.m.-midnight, no cover. la Casa Sena Cantina Best of Broadway, piano and vocals, 6-10 p.m., no cover. la fiesta lounge at la fonda Jimmy Stadler Duo, country rock, 7:30-11 p.m., no cover. Second Street Brewery at the Railyard Acoustic open-mic night with Case Tanner, 7:30-10:30 p.m., no cover. the Underground at evangelo’s Karaoke and dance party with DJ Optamystik. Vanessie Pianists Doug Montgomery, 6-8 p.m., and David Geist, 8 p.m., no cover.
11 Wednesday ClaSSiCal MUSiC
Serenata of Santa fe My Spanish Heart, an evening of eclectic chamber music, art, and dance; guest dancers from The Dance Station; 5-7 p.m., Cloud 5 art and performance space, 1805 Second St., $75, 989-7988, serenataofsantafe.org.
BookS/talkS
Contemporary native Beadwork Ken Williams (Arapaho/Seneca) and Orlando Dugi (Navajo) talk about their work, 2:30 p.m., Wheelwright Museum of the American Indian Library, 704 Camino Lejo, 982-4636, $10.
los Cinco Pintores: Will Shuster New Mexico Museum of Art’s weekly docent talks continue, 12:15 p.m., 107 W. Palace Ave., by museum admission, 476-5075. Robert Boswell The author reads from and signs copies of his novel Tumbledown, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226 (see story, Page 14). Software engineering: evolving Computer Programs Santa Fe Institute Stanislaw Ulam Memorial Lecture with Stephanie Forrest, 7:30 p.m., James A. Little Theater, 1060 Cerrillos Rd., no charge, 984-8800.
nightlife
(See Page 61 for addresses) ¡Chispa! at el Mesón Flamenco guitarist Chuscales, 7:30-9:30 p.m., no cover. Cowgirl BBQ The Littlest Birds, folk and old-time music, 8 p.m., no cover. el farol Pan-Latin chanteuse Nacha Mendez with Santastico, 8 p.m.-close, 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. la Posada de Santa fe Resort and Spa Omar Villanueva, Latin fusion, 7-9:30 p.m., no cover. tiny’s Mike Clymer and Nick Wimett’s electric jam, 8:30 p.m.-close, no cover. the Underground at evangelo’s Rising Lion, 9 p.m., call for cover. Vanessie Bob Finnie, pop standards piano and vocals, 7 p.m.-close, no cover. Zia Diner Gary Gorence, acoustic rock, 6-8 p.m., no cover.
Jeffrey Michael laing The author reads from and signs copies of Bud Fowler: Baseball’s First Black Professional, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 988-4226. Modeling the internet: ecology and Policy Santa Fe Institute Stanislaw Ulam Memorial Lecture with Stephanie Forrest, 7:30 p.m., James A. Little Theater, 1060 Cerrillos Rd., no charge, 984-8800. nickel Stories open Mike Local writers read five-minute stories, sign in 6 p.m., readings 6:15 p.m., Op. Cit. Bookstore, 500 Montezuma Ave., 670-9269.
eVentS
Ring World Santa Fe Community College Planetarium program on the Cassini-Huygens mission to Saturn and its largest moon, 7-8 p.m., $5, discounts available, SFCC, 6401 Richards Ave., 428-1744.
nightlife
(See Page 61 for addresses) ¡Chispa! at el Mesón Jazz pianist Bert Dalton with Milo Jaramillo on bass, 7:30-9:30, no cover. Cowgirl BBQ Lori and the Santa Fe Players, blues, jazz, funk, R & B, and classic rock, 8 p.m., no cover. evangelo’s Rolling Stones tribute band Little Leroy and His Pack of Lies, 9 p.m., call for cover. la Boca Nacha Mendez, pan-Latin chanteuse, 7-9 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 Jazz guitarist Pat Malone, 6:30-8:30 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. Second Street Brewery Joe West Trio, psychedelic country, 6-8 p.m. Second Street Brewery at the Railyard Songwriter Dave Maeslon with Mo Kaufmann on mandocello, 6-9 p.m., no cover. tiny’s DJs Feathericci and Bacon spinnin’ hip-hop and electronica, 8 p.m.-close, no cover. Zia Diner Swing Soleil, Gypsy jazz and swing, 6-8 p.m., no cover. the Underground at evangelo’s DJ Guttermouth, 9 p.m., call for cover.
▶ Elsewhere
dimensional pieces are eligible; deadline for entry forms is Monday, Sept. 16; call 955-6707 or visit santafeartscommission.org for more information. New Mexico Arts 2013 Purchase Initiative Artwork (ranging from $1,000 to $40,000) sought from artists of all media residing in Arizona, Colorado, New Mexico, Oklahoma, and Texas; galleries located in these states may submit work by artists regardless of residency; submission deadline 11:59 p.m. Monday, Sept. 23; application and selection process online at callforentry.org. Portrait artist license available Santa Fe City Office of Constituent Services is accepting applications for one license in the Santa Fe Plaza Park Artist/Artisan Program for the next five-year term valid from September 2013 through December 2017; pick up applications at City Hall, 200 Lincoln Ave., Constituent Services Office, Room 102, or download forms at santafenm.gov; submission deadline 5 p.m. Wednesday, Sept. 25. 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, 603-0558, skpierpont@yahoo.com.
Abiquiú
Abiquiú Studio Tour Preview Show Exhibition of work by 80 Abiquiú artists, reception 4-6 p.m. Sunday, Sept. 8, through October, Galeria Arriba, Abiquiú Inn, NM 84, 505-685-4454.
AlbuquErquE Museums/Art Spaces
Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255. Estampas de la Raza: Contemporary Prints From the Romo Collection, through Sept. 29 • 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. Inpost Artspace Outpost Performance Space, 210 Yale Blvd. S.E., 505-268-0044. Power Line, recent paintings by Santa Fe artist Nina Elder, reception 5-8 p.m., Friday, Sept. 6, through Oct. 25. UNM Art Museum Center for the Arts, 505-277-4001. Three exhibits of works from the permanent collection in celebration of the museum’s 50th anniversary: From Raymond Jonson to Kiki Smith • Andy Warhol’s Snapshots and Takes • From Rembrandt to Pollock to Atget, reception 6-8 p.m. Thursday, Sept. 12. Open 10 a.m.-4 p.m. Tuesday-Saturday; $5 suggested donation.
Events/Performance
Volunteers
Paintings by John Farnsworth, at David Anthony Fine Art, 132 Kit Carson Rd., Taos
Chatter Sunday All About Brass, music of Vivaldi, Bach, and John Cage; poetry reading by Erika Wurth follows; 10:30 a.m. Sunday, Sept. 8, The Kosmos, 1715 Fifth St. N.W., $15 at the door only, discounts available, chatterchamber.org.
Carl Struck Taos folk-rock songwriter, 7:30 p.m. Saturday, Sept. 7, $10, Peñasco Theatre, 15046 NM 75, 575-587-2726.
EspAñolA
tAos
Bond House Museum 706 Bond St., 505-747-8535. Preserve the Old, but Know the New: Traditional and Contemporary Native American Art, through Sept. 20. Historic and cultural treasures exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Open noon-3:30 p.m. Monday-Wednesday, noon-4 p.m. Thursday and Friday, no charge. Misión Museum y Convento 706 Bond St., 505-747-8535. A replica based on 1944 University of New Mexico excavations of the original church built by the Spanish 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
Gordon’s Summer Concerts The weekly series continues with big-band-era swing with the LA Big Band, 7 p.m., and country dance music from the Renegade Mountain Band, 8:40 p.m. Friday, Sept. 6, Rover Park, White Rock, no charge, gordonssummerconcerts.com. Pajarito Environmental Education Center 3540 Orange St., 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.
mAdrid
Johnsons of Madrid Galleries 2843 NM 14, 471-1054. Group show of fine arts and fiber arts, reception 3-5 p.m. Saturday, Sept. 7.
pEñAsco
Michael Hearne’s Big Barn Dance Music Festival 2013 Including performances by Michael Hearne & South by Southwest, Zane Williams Band, The Rifters, and Trout Fishing in America; music starts at 2 p.m. Friday, Sept. 6, and continues Saturday, Taos Ski Valley, for schedule and tickets visit michaelhearne.com. David Anthony Fine Art 132 Kit Carson Rd., 575-758-7113. Forty-fourth annual exhibition of John Farnsworth’s kachina paintings, reception 5-7 p.m., Friday, Sept. 6, through September. 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 Taos art colony is celebrated with four exhibits, Woody Crumbo: The Third Chapter; Jim Wagner: Trudy’s House; R.C. Gorman: The Early Years; and Fritz Scholder: The Third Chapter; through Sunday, Sept. 8. Open 10 a.m.-5 p.m. Tuesday-Saturday, noon-5 p.m. Sunday. $10; seniors and students $8; ages 12 and under no charge; Taos County residents with ID no charge on Sunday. Historic E.I. Couse and J.H. Sharp properties studio and garden open house The Couse Foundation hosts the event; 5-7 p.m. Saturday, Sept. 7, 146 Kit Carson Rd., no charge, 575-751-0369.
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 $8; under 16 $4; children under 5 no charge. Millicent Rogers Museum 1504 Millicent Rogers Rd., 575-758-2462. Turquoise Legend Jewelry Show, reception 5:30-8 p.m. Friday, Sept. 6, $30; show runs through Sunday; also, Taos National Society of Watercolorists group exhibition, through Sept. 29. Museum 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. Colors of New Mexico, works by watercolorist Bill Binger and painter Kak Norton, reception 4-7 p.m. Saturday, Sept. 7, through Oct. 4. Taos Art Museum and Fechin House 227 Paseo del Pueblo Norte, 575-758-2690. Open 10 a.m.-5 p.m. Wednesday-Sunday. $8, Taos County residents with ID no charge on Sunday.
▶ people who need people Artists
City of Santa Fe Arts Commission call for entries Common Ground annual prize and exhibit; open to amateur and professional artists ages 18 and older residing in Santa Fe County; framed two- and three-
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 428-1353. Santa Fe Community Farm Help with the upkeep of 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; email sfcommunityfarm@gmail.com or visit santafecommunityfarm.org for details. Spanish Colonial Arts Society Office and grounds workers; plus, docents needed all year long at the Museum of Spanish Colonial Art; contact Linda Muzio, 982-2226, Ext. 121, education@spanishcolonial.org.
▶ under 21 Santa Fe Art Institute graffiti workshops Geared to ages 11-19; 11 a.m.-1 p.m. Saturdays, continuing into the fall, call 424-5050 to register. Science Café for Young Thinkers A year in the life of the Curiosity Mars rover, discussion for students ages 13-19 led by Los Alamos National Laboratory fellow Nina Lanza, 6 p.m. Wednesday, Sept. 11, Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., no charge, 946-1039.
▶ pasa Kids Santa Fe Children’s Museum Preschool Prime Time: Colors & Shapes, 10 a.m.noon Friday, Sept. 6, monthly first Fridays; Who the Wild Things Are, make masks and improvise a play, 2-3 p.m. weekly on Fridays; 1050 Old Pecos Trail, 989-8359, visit santafechildrensmuseum.org for scheduled events. Rhythms and Rhymes Musical storytime with FamJam director Devi Borton, 11 a.m. Saturday, Sept. 7, Bee Hive Books, 328 Montezuma Ave., 780-8051. Preschooler’s Story Hour 10:45 a.m. weekly on Wednesdays and Thursdays, Collected Works Bookstore, 202 Galisteo St., 988-4226. ◀ PASATIEMPOMAGAZINE.COM
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B E S T S E L E C T I O N … B E S T P R I C E S … B E S T S E RV I C E desktop Grow light
$24.99
sunshine potting soil
SALE
SALE 2 cubic foot bags $13.99 Regularly $19.99
25lb Bags $17.99 Regularly $28.99
Regularly $42.99
planters ii Now is the time to apply Planters II on all evergreens and shade trees. Planters II provides hard to get micro nutrients like iron and magnesium to your landscape and should be applied every fall.
yum yum mix
safer soap
SALE TiME To uSE NoW
Safer Insectidal Soap is the safe way to control aphids organically indoors and out without the use of harmful pesticides.
soil Builder
SALE
40lbs $19.99 each Regularly $24.99
32oz. RTU $6.99 Regularly $8.99 each
2 cubic foot bags $5.99 or 5 for $25.00 Regularly $6.99
lilacs
perennial vinca
rain Barrels
T DrougAhNT ToLEr ND grou r covE
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Jaguar Drive
NEWMAN’S Newmans
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Ocate Road
Walmart
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fall crops of lettuce and other cool season greens. It is always a good idea to mix in compost and organic Yum-Yum mix when seeding these greens (even if you did so earlier this spring). September is also the time gophers become extra active as they get ready for winter. They expand their territory while eating the roots of trees and shrubs in the landscape. A good application of Mole Go will help keep them away. If you have a large number of gophers you may need to trap them to rid your landscape from their harmful presence.
Family Owned & Operated Since 1974
rri
Pete Moss’ Garden Tip: September is the time to start seeding
50 Gallon Barrels $99.99 Regularly $156.99
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sR oa
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Good thru 09/12/13 • while supplies last • stop by today and see our Great selection.
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PASATIEMPO I September 6 - 12, 2013
5 I-2
7501 Cerrillos rd.
471-8642