Pasatiempo April 25, 2014

The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture April 25, 2014

Poetics of Light exploring pinhole photography

Lensic Presents Grammy-nominated singer/songwriter

Perla Batalla

May 5 | 7:30 pm | $15–$35 Discounts for Lensic members

“Perla Batalla, a Los Angelina of Mexican descent, is possessed of a vocal gift so deeply expressive as to belong in a class alongside some of the best singers of our age.” —Amazon.com Editorial Review

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PASATIEMPO I April 25 - May 1, 2014

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THE SANTA FE NEW MEXICAN

April 25 - May 1, 2014

www.pasatiempomagazine.com

ON THE COVER 28 View finder More and more people today only think of the camera as part of a smartphone, yet there is renewed interest in the simplest type: the pinhole camera. On Sunday, April 27, the New Mexico History Museum opens a fascinating exhibit, Poetics of Light: Pinhole Photography, showing nearly 225 pinhole photos and 40 cameras as well as a camera obscura — basically a room-sized pinhole camera. On the cover is Front View of Ben Conrad Wearing Pinhole Suit and Helmet With 135 Pinhole Cameras, a self-portrait from 1994; courtesy Palace of the Governors Photo Archives (NMHM/DCA), Negative No. HP.2012.15.1398.

MOVING IMAGES

BOOKS 14

36 Finding Vivian Maier 38 Jodorowsky’s Dune 40 Joe 42 Pasa Pics

In Other Words Mad Men, Mad World: Sex, Politics, Style & the 1960s

MUSIC AND PERFORMANCE 18 20 22 24 27 32

Sound Waves The Bad Plus Pasa Reviews Baroque Holy Week Pasa Tempos CD reviews Terrell’s Tune-Up Chuck E.’s back Onstage Theater of Death Future perfect Ballet Next

CALENDAR 49

AND 10 13 46

PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com

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Assistant Editor — Madeleine Nicklin 505-986-3096, mnicklin@sfnewmexican.com

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Glenn Giron, NDI New Mexico, circa 1999

Chief Copy Editor/Website Editor — Jeff Acker 505-986-3014, jcacker@sfnewmexican.com

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

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Calendar Editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com

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

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CONTRIBUTORS Loren Bienvenu, Taura Costidis, Ashley Gallegos-Sanchez, Laurel Gladden, Peg Goldstein, Robert Ker, Jennifer Levin, James McGrath Morris, Robert Nott, Jonathan Richards, Heather Roan Robbins, Casey Sanchez, Michael Wade Simpson, Steve Terrell, Khristaan D. Villela

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PRODUCTION Dan Gomez Pre-Press Manager

The Santa Fe New Mexican

© 2014 The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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Mixed Media Star Codes Restaurant Review: Wow Dawgs Eatery

ADVERTISING: 505-995-3852 santafenewmexican.com Ad deadline 5 p.m. Monday

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

by The New Mexican. Our offices are at 202 E. Marcy St. Santa Fe, NM 87501.

Editorial: 505-986-3019. E-mail: pasa@sfnewmexican.com

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Pasa Week

Ginny Sohn Publisher

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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007

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MARKETING DIRECTOR Monica Taylor 505-995-3824

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GRAPHIC DESIGNERS Rick Artiaga, Jeana Francis, Elspeth Hilbert, Joan Scholl

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ADVERTISING SALES - PASATIEMPO Art Trujillo 505-995-3852 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830

Ray Rivera Editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

SOUTHWESTERN ALLURE

FOrMerLy THe SANTA Fe CONCerT ASSOCIATION

The Art of the Santa Fe Art Colony neW name, neW looK, neW SeaSon! As one of the premier presenters in the Southwest, we bring celebrated and legendary musicians, along with some of the world’s greatest dancers and actors to Santa Fe. It fits our mission to put performance first and to call ourselves what we are:

Performance Santa fe.

And what performers! During our 2014-15 season, we will present Stars of American Ballet, the Globe Theatre from London, Audrey Luna, Academy of St. Martin in the Fields, the sizzling jazz sensation Hot Sardines, a special evening with New Mexico’s own international diva, Susan Graham, and much more. Our popular Family Concert Series continues, as do Notes on Music talks, our free Community Opera, and three concerts by the Performance Santa Fe Orchestra.

Performance santa fe — simPly World-class

OPENING RECEPTION FRIDAY, APRIL 25 · 5:30 TO 7:30 PM Hosted by the Women’s Board of the Museum of New Mexico.

The exhibition will be on view through July 27, 2014.

107 West Palace Avenue · www.nmartmuseum.org · (505) 476-5072 Andrew Dasburg, Pueblo Village (New Mexico Village, Adobe Village) (detail), c. 1926 – 1928, oil on canvas. Collection of Gerald and Kathleen Peters, Santa Fe, New Mexico. Southwestern Allure: The Art of the Santa Fe Art Colony is curated by Dr. Valerie Ann Leeds and organized by the Boca Raton Museum of Art.

Performance Santa fe, 324 PaSeo de Peralta, Santa fe, nm 87501 (505) 984-8759 W W W.P e r form an cesan taf e.org

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LIGHTING CONTROL

Saturday, April 26 @ 10AM Ever wonder how a lighting control system could work for you, or what a “Wireless Lighting Control System” really is? Join us for an informative seminar on current trends in lighting control.

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irector Jeremy Seifert had questions— questions about GMO’s and how they might affect his children, our planet, and our freedom of choice. So he set out on a journey from his dinner table to foreign countries and the lobby of agribusiness giant Monsanto in search of the answers.

Téa Obreht

Friday, April 25, 2014 7:30 p.m.

Great Hall, Peterson Student Center St. John’s College Admission is free

7:00 pm at Santa Fe Farmers’ Market Pavilion Admission: General Admission: $12/Institute Members, Seniors & Students over 18: $10/ Under 18 and Santa Fe Farmers’ Market Vendors: Free Tickets: 505.983.7726 or info@farmersmarketinstitute.org

SFFMI is a nonprofit organization

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Téa Obreht’s first novel, The Tiger’s Wife, won the 2011 Orange Prize for Fiction and was a finalist for the 2011 National Book Award. She has been named by The New Yorker as one of the twenty best American fiction writers under forty and included in the National Book Foundation’s list of 5 Under 35. She will read from her work and talk about her craft.

This evening is part of The Carol J. Worrell Annual Lecture Series on Literature.

Special thanks to our generous sponsors:

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PASATIEMPO I April 25 - May 1, 2014

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ASL

NMSD & AmeriCorps host

American Sign Language & Deaf Culture Event

Deaf Art ASL Storytelling

MIXED MEDIA

Activities for Kids NMSD Museum

FREE May 3, 2014 10AM – 3PM

New Mexico School for the Deaf Campus · 1060 Cerrillos Rd. · Santa Fe

NDI New Mexico dancers rehearsing for Broadway Bound!; right, National Dance Institute founder Jacques d’Amboise with NDI New Mexico kids, 1990s

Moving on: NDI New Mexico at 20 Glenn Giron is happily immersed in the musical-theater scene in and around New York City. He’s appeared in many regional productions, including Anything Goes and My Fair Lady. “If it wasn’t for the training I received at the National Dance Institute [NDI New Mexico], my life would be completely different,” said Giron, who began taking classes with NDI when he was a fourth grader at Nava Elementary School. While most of the thousands of New Mexico students who go through NDI’s statewide program don’t become professional stage performers, many of them benefit from the support and training they receive.

NDI was founded in New York by Jacques d’Amboise, while he was still a principal dancer with New York City Ballet. He began teaching boys ballet, creating a method for helping children develop discipline, standards, and a belief in themselves through the performing arts. D’Amboise took his program into the city’s schools, and in 1976, NDI was formally established.

Catherine Oppenheimer, a New York City Ballet alum, started NDI New Mexico in Santa Fe in 1994 with the help of d’Amboise and founding board chair, Val Dicker. “Jacques’ New York program was successful, so when I moved to Santa Fe to start NDI New Mexico, I knew I was bringing something tried and true.”

NDI New Mexico began with one school. Today, it offers in-school and after-school training, advanced instruction, and a summer program to 7,650 children, 70 percent of them living in poverty, in urban, rural, or Native American communities from Dulce to Deming. This year, NDI-NM celebrates its 20th anniversary. “Children learn how to work together as a team, how to memorize steps, and how to respect one another,” said Russell Baker, NDI-NM’s executive director. By the time kids reach the end-of-the-year show, the culmination of the in-school program, they know how to dance by themselves on stage as well as with 500 other students.

This year’s Santa Fe event, Broadway Bound!, takes place at 6 p.m. on Thursday, May 1; 5 and 7 p.m. on Friday, May 2; and 2 and 5:30 p.m.

Saturday, May 3, at the Dance Barns (1140 Alto St.); and continues May 8 to May 10 with another group of children. Tickets are $10 and $15; call 505-983-7661 for reservations and May 3 gala information. Visit www.ndi-nm.org for details about the Albuquerque and Pojoaque shows.

— Emily Van Cleve

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PASATIEMPO I April 25-May 1, 2014

Photos NDI New Mexico

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

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Paper trail Santa Fe artist Kevin Box gives permanent form to traditional Japanese origami in his large-scale metal sculptures. Origami in the Garden, an outdoor exhibition of his work, opens on Sunday, April 27, at the Santa Fe Botanical Garden at Museum Hill (715 Camino Lejo).

Box begins each piece using a single, blank sheet of paper. He uses a lost-wax-casting method to capture the intricate folds of origami in bronze, aluminum, or stainless steel. “It took two years of tireless experimentation for me to develop the process of casting paper into bronze, another seven years to perfect, and it continues to evolve today,” Box writes on his website, www.outsidetheboxstudio.com. After casting, each piece is finished by hand to reproduce the look of the original paper design. Box’s sculptures, placed in locations throughout the garden, include horses, bison, cranes, and everyday items such as wrinkled sheets of paper and scissors. The exhibition also includes collaborations with origami artists Robert J. Lang, Te Jui Fu, and others The opening reception for Origami in the Garden is from 9 a.m. to 5 p.m. on Sunday, April, 27, which has been designated Community Day at the Botanical Garden. There is no charge for New Mexico residents and students during the event. Afterward, admission is $7 with discounts available; children under 12 get in for free. The exhibition runs through Oct. 25. Call the Santa Fe Botanical Garden at 505-471-9103. — Michael Abatemarco

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Santa Fe Science Café For Young Thinkers “Conserving Otters of the World”

Melissa Savage

Four Corners Institute Wednesday, April 30 6 – 7:30 PM O’Keeffe Museum Education Annex 123 Grant Avenue, Santa Fe Otters are top carnivores in river ecosystems and wetlands throughout the world. There are 13 species worldwide, in almost every habitat, from Alaska and Siberia to the Amazon and Congo basins. In places where their populations have declined, because of hunting or pollution, those aquatic ecosystems have become unbalanced and unhealthy. Top carnivores maintain ecosystem stability by regulating food chains, maintaining tropic cascades. The case of the fall and rise of sea otters off the coast of California illustrates the role of otters as a keystone species. But otters are resilient animals, and where they have been restored, they thrive. We will discuss three successful otter restoration projects: the sea otter, the North American otter and the giant otter of the Amazon.

The Lensic & FUSION Theatre Company present

PAJAMA MEN Just the Two of Us Sketch comedy from Shenoah Allen and Mark Chavez, the internationally acclaimed Pajama Men.

April 27 | 7:30 pm | $15–$35



“One of the most dazzling displays of comedy theatre I’ve ever seen.

It’s weird. And it’s wonderful.” —The Times, London

Admission is Free. Youth (ages 13-19) seating a priority, but all are welcome.

Melissa is a retired professor of ecology from UCLA and Director of the Santa Fe nonprofit Four Corners Institute. She is an officer of the Otter Specialist Group of the International Union for the Conservation of Nature and a partner in the Himalayan Otter Network. She worked with conservation partners to restore otters in the Rio Grande River in New Mexico, and recently completed the first survey for otters in Bhutan.

Go to www.sfafs.org or call 603-7468 for more information.

Help Support New Mexico Mothers

Join Us May 9th, 2014 Sharing Wisdom With Many Mothers Spirited Conversation with Families Served and Their Volunteers Silent Auction* Appetizers & Wine 5-7pm Santa Fe Women’s Club 1616 Old Pecos Trail Santa Fe, NM 87505 $40 per person Tickets may be purchased online at www.manymothers.org *THE place to find Mother’s Day gifts.

Many Mothers provides free in-home support to any Santa Fe family with a newborn. Our experienced volunteers nurture a mother so she can better nurture her child. Many Mothers’ “village”approach creates a brighter future for our children and our community.

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PASATIEMPO I April 25 - May 1, 2014

D r A f t s & L Au g h s CO m e Dy tO u r – f e At u r I n g t h e s A n tA f e B r e w I n g CO m pA n y

Tradition // Innovation // Excellence

Tickets: 505-988-1234 www.TicketsSantaFe.org

the lensic is a nonprofit, member-supported organization

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

FUSIONTheatre Company

STAR CODES

Heather Roan Robbins

We’re beginning a new astrological chapter this fertile week, so it’s a

good time to plant a new crop in our lives. Although so much will stay unsettled and evolving for the next year, we can feel the fresh winds arriving and begin to plant and build.

Two major aspects are now shaping our world — a season-long deconstructing grand square and a grand trine in intuitive water signs. Our lives and our world will not be the same; it may take a while for the scenery to change, but decisions made and inventions produced this spring will take us to a whole new landscape.

Both patterns focus on Jupiter in Cancer; Jupiter encourages us to free ourselves. As the song goes, freedom can be just another word for nothing left to lose. Sometimes we’re freed unintentionally as we lose our job, car, or something that has weighed on us even as it gave us security. We can use the positive aspects of Jupiter in Cancer to expand our ability to care for one another and to nurture our home, garden, and family. We may feel something greater than ourselves working through us.

Tuesday brings the most fertile planting moment, a waxing new moon in Taurus. Wait until after the new moon that morning at 12:14 a.m., because it also brings a solar eclipse (seen only near the South Pole) that asks us once again to compost what didn’t flourish before we embrace new possibilities.

Friday, April 25: Opportunities swirl around us like pollen on the wind. It’s good to stay engaged and connected even though we may feel overextended as the sensitive Pisces moon conjuncts Venus. Tonight we can reach a new understanding and plant fertile ideas as the sun conjuncts Mercury in Taurus.

my desert aCademy story skills and leader“shipCommunication abilities were the two most valuable things Desert Academy and its International Baccalaureate program gave me as I headed off to Washington University in St. Louis. Since the

jOSh LOChNer, 201 0 DeSerT ACADeMy grADUATe

IB program stresses the connectedness of the classes to each other, I’m able to relate what I am learning in one class to other subjects and, as result, explore concepts in a deeper way. The absolute best thing about Desert Academy is the teachers. They’re invested in the students’ success; they are approachable, and they teach with creativity and enthusiasm.

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7300 Old Santa Fe Trail Santa Fe, New Mexico 87505 (505) 992-8284, ext. 14 College PreParatory grades 6-12 www.desertacademy.org College PreParatory grades 6-12 College PreParatory grades 6-12 International Baccalaureate World School

Saturday, April 26: Because our interior voice becomes loud, we can be insensitive to other people’s experiences under an unsubtle active Aries moon. Bursts of enthusiasm and questionable ideas can spark lively projects or a real conflagration. Love, accept, listen deeply, dance, and share.

Sunday, April 27: Unsettling transits overnight can leave us brooding this morning as the Aries moon conjuncts Uranus. Although the beauty of spring can touch our soul, we may have little patience for details and want to engage something wonderful and important as the sun sextiles creative Neptune. The numen calls us.

Monday, April 28: Prepare the ground; plow the fields for future efforts as the waning moon enters earthy Taurus. No one wants to be rushed, but everyone needs to step toward their goal. People’s strategic moves illustrate their direction and motivation. Eat well, stretch often, and cuddle more.

Tuesday, April 29: The mood is kind, fertile, sensual, and stubborn. Clues are revealed. An overnight solar eclipse and new moon in Taurus plow the fertile loam — now we are ready to plant. Back away from arguments and put attention elsewhere as Mercury trines Pluto. Let creativity flow.

Wednesday, April 30: As Mercury sextiles Jupiter, we can see new possibilities even if it means leaving familiar territory. Attention spans are long in the morning but shorten later as the moon enters nervy Gemini.

Notice an old communication pattern or thought habit that no longer fits — let it go and try a fresh approach.

Thursday, May 1: Share a flower basket this optimistic, fuzzy, morning as the moon trines Neptune. Then be alert for small but decisive moves that shift larger patterns midday as the moon trines Mars. The conversation sparkles but is scattered. Stay centered — this is a fertile time to brainstorm ideas, but don’t get distracted from primary goals. ◀ www.roanrobbins.com

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IN OTHER WORDS Mad Men, Mad World: Sex, Politics, Style & the 1960s edited by Lauren M.E. Goodlad, Lilya Kaganovsky, and Robert A. Rushing, Duke University Press, 421 pages Now that Don Draper, Peggy Olson, and their entourages have returned to the small screen following almost a year’s absence, fans are again scheduling their Sunday evenings around the Mad Men slot and trading reactions with friends the following mornings at water coolers real or virtual. It turns out that there is a community that has not fallen silent about Mad Men since the series premiered in 2007, even during periods when the show has. That would be the academics.

Courses centered on the show are now offered at several American colleges and universities, and this naturally leads to professors musing in print about its details.

Mad Men, Mad World: Sex, Politics, Style & the 1960s offers 16 essays on numerous Mad Men-related subjects, plus a lengthy introduction by co-editors Lauren M.E. Goodlad, Lilya Kaganovsky, and Robert A. Rushing (all of whom teach at the University of Illinois,

SUBTEXTS A literary pilgrimage How would Jefferson Long Soldier, the returning Iraq War veteran and central character of Sarah Stark’s novel Out There (Leaf Storm Press), have taken last week’s news of the passing of Gabriel García Márquez?

Márquez is Long Soldier’s savior and the object of his motorcycle pilgrimage from Santa Fe to Mexico City. He carries Márquez’s novel One Hundred Years of Solitude with him wherever he goes and believes “every single word” in it has saved his life. He chants lines from the book to steady and place himself. When people ask him about his Iraq experience, he replies, “You cannot understand where I have been.” He also carries a list of the deaths he’s experienced and a need to tell someone his story. With the help of a “pseudo-

book reviews Urbana-Champaign), plus an afterword that critiques the essays that have come before, plus a lengthy interview with Phil Abraham, who frequently serves as the show’s director and cinematographer. A lot is packed into this volume, and nobody is likely to reach the end feeling shortchanged. The contributors are a multidisciplinary bunch, drawn from various universities’ departments of English, comparative literature, media studies, architecture, art history, African-American studies, communications, and history, to cite just a sampling. These people know their Mad Men chapter and verse, and normal mortals will probably need to have their complete Blu-ray set at the ready if they hope to keep up with the discussion.

Since the contributors consider the show through the prisms of their specific expertise, Mad Men ends up being about fashion, race, feminism, consumerism, or a number of other topics, depending on the essay.

A reader intuits that these writers all know one another, that they have crossed paths (and maybe swords) at academic conferences, and that they know how to push one another’s buttons in the spirit of academic brinksmanship without endangering their own careers. One suspects that the co-editors are to thank for keeping

the verbiage comprehensible to nonacademics, if just barely. Each essay has something to offer in the way of close reading. In “Mod Men,” Jim Hansen (University of Illinois) explores Don Draper as a stand-in for Oscar Wilde before turning to sartorial considerations of Cary Grant in Hitchcock’s North by Northwest and pondering the role that clothing plays for people who are caught between conflicting identities. In “‘Maidenform’: Masculinity as Masquerade,” Kaganovsky observes that “While the male may be ‘locked into sexual identity,’ masculinity too is a decorative layer that conceals a nonidentity, and this truth is signaled to us by the multiple mirror reflections that split the image of Don into fragments.” “Mad Men’s Postracial Figuration of a Racial Past” by Kent Ono (University of Utah) suggests that this obviously is and yet isn’t necessarily a “white show.” He writes, in a clubby co-contributorial spirit, “The show addresses a complex notion of racial identity through Don, who is so identified with marginalization that Michael Szalay (in this volume) likens him to a ‘white negro.’” So it goes. This is no giddy fanzine, to be sure, but for folks who take their Mad Men seriously it opens worthwhile paths of inquiry.

— James. M. Keller

doctor,” it’s decided that Márquez is that person. What follows is a glowing road-trip of magical realism. Stark shows love for the revered writer in both knowledge of his work and reflection of his style. She reads from Out There at 6 p.m. on Friday, April 25, at Collected Works Bookstore (202 Galisteo St., 505-988-4226).

car, or opening herself to exploration in a way that transcends simple submission: “reach your fingers/ down my throat, grope/past the lungs.” Hunt’s poems ring with internal rhyme, consonants that pop against one another, and vowels that slip like sand through her phrases. Her writing has texture:

Lines with texture The poems in Robyn Hunt’s The Shape of Caught Water, published by Santa Fe’s Red Mountain Press, are of place and presence. Nelson Mandela is in a grocery store handling apples. Hunt’s husband is inside the house on a Saturday, muttering through a movie. Bob Dylan drives down the poet’s street with a woman named Betty, who can roll her own cigarettes with one hand. Where is Hunt in all this? We mostly find her cozy in not-so-cozy situations, throwing an arm across her daughter as she hits the brakes in her

What of missives written to the distant, transparent living? Questions to distracted mothers who whistle.

Regrets to thought-furrowed fathers. These are the forgotten, sweet tooth promises, piñatas and childhood exhalations.

— from “Return” She joins more than a dozen other poets for Poetry Storm 3.0: Wind , presented by the Cut + Paste Society at 2 p.m. on Saturday, April 26, at the Santa Fe Community Gallery, 201 W. Marcy St. The event is free.

— Bill Kohlhaase

Steve elmore IndIan art 14

PASATIEMPO I April 25-May 1, 2014

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I am asked about the founda“tionWhen of my success, my story always begins with the staff and coaches from Desert academy. Prior to Desert, I never excelled in sports and did not understand the advantages of being challenged academically. I ended up TaMara Wheeler, 2009 graduating as Senior athlete of the DeSerT acaDeMy graDuaTe year and received a generous scholarship to my first choice—the college of Idaho—with a Bachelor of arts in anthropology and Sociology. During college, I lived with one of Desert academy’s first international students and her family in Spain for two months. currently, I am the Program administrator for the seven sites that comprise the Boys & girls clubs of Santa Fe/Del Norte.

Desert’s infinite support has provided me with lifelong friendships, an endless passion for learning, and all the necessary tools needed to pave the path I will walk towards achievement.

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MAIN SPRING BOOK SALE • 145 Washington Ave. Saturday, April 26

Sunday, April 27

Members Only 10 am - Noon Open to the Public Noon - 4 pm Discount Books in the Tatum Community Room Specially Priced Books in the Southwest Room

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EXHIBIT OpeninG eVenTS • Sunday, april 27 Celebrate Worldwide pinhole day!

1 pm “Passion, Light and Pinhole Photography,” by guest curators Nancy Spencer and Eric Renner in the museum auditorium.

2–4 pm Book signing and reception in museum lobby. Free photo booth. Free with admission; Sundays always free to NM residents.

pluS FaMily eVenTS all year lOnG Friday, May 30 6 pm, “Santa Fe Poets 5,” a reading hosted

by Jon Davis with Chee Brossy, Joan Logghe, Carol Moldaw, Henry Shukman, and Farren Stanley. Free.

Sunday, June 1 1–4 pm “The Poetry of Light,” a writing workshop with Santa Fe Poet Laureate Jon Davis. Free; reservations, 505-476-5096.

Saturday, June 14 2 pm, “Pinhole Photography—Projections, Contraptions, Thoughts and Afterthoughts,” a lecture by photographer Scott McMahon. Free with admission.

Sunday, July 20 2–4 pm, “Make a Camera Obscura,” a hands-on, family-friendly workshop with Santa Fe photographer Jackie Mathey. $50; reservations, 505-476-5087.

Friday, august 8 6 pm, “Pinhole to Pixel,” a lecture by pinhole artist Peggy Ann Jones. Free.

Sunday, October 12 2 pm, “From Pinholes to Black Holes,” a lecture by Los Alamos National Laboratory astrophysicist Ed Fenimore. Free with admission; Sundays free to NM residents.

Sunday, October 26 2–4 pm, “Cameras from the Kitchen,” a drop-in, family-friendly workshop. Bring a coffee can, oatmeal box, potato chip can or shoebox with lids. We will provide the rest.

Free with admission; Sundays free to NM residents.

16

PASATIEMPO I April 25 - May 1, 2014

April 24 – 26 at 7 pm April 27 at 2 pm

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my desert aCademy story

While I’m officially a student pur“suing a degree in International Relations at Wheaton College in Norton, Massachusetts, I have spent my junior year studying abroad in Copenhagen, Denmark observing the both lauded and criticized Scandinavian welfare model and taking an in depth look NAThAN ShERIDAN, 201 1 at the political institutions of Europe.

DESERT ACADEMy gRADUATE For this summer I have been offered an internship at the US Embassy in Copenhagen to work in their Political Economy department assisting in American-Danish relations. I have to say now that upon reflection, Desert Academy and the International Baccalaureate program were some of the most influential factors that shaped me into the global citizen I am today. With courses specifically designed to encourage critical thinking and engagement in world affairs and a faculty that helped me find my passions, I walked away from Desert Academy with a confident understanding of myself, my place in the world, and some friends for life.

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SOUND WAVES Loren Bienvenu

Three-man orchestra: The Bad Plus

When Ethan Iverson talks about “the daily practice,” he is not referring to running scales at the keyboard or hashing out difficult scores to the ticking of a metronome. He uses the term much like a doctor or lawyer, to specify the exercise of a profession — or perhaps even to specify the perpetuation of a lifestyle. The pianist is best known as one of the three founding members of The Bad Plus (along with bassist Reid Anderson and drummer David King), an avantgarde jazz trio that first turned heads when it landed a major-label deal in the early 2000s. The group continues generating media interest from sources as disparate as Rolling Stone and JazzTimes, largely because of its nontraditional approach to covers and its heavy-hitting, complex originals. The Bad Plus has its New Mexico debut at Albuquerque’s Outpost Performance Space, with sets on Thursday and Friday, May 1 and 2.

Despite the buzz surrounding the group’s recordings of songs like Radiohead’s “Karma Police” and Nirvana’s “Smells Like Teen Spirit,” The Bad Plus did not invent the concept of reinterpreting popular music. The very act of cultural merging and scavenging is fundamental to jazz, beginning with the appropriation of show tunes for their harmonic structures and the repurposing of their forms to serve as blueprints for improvisation. An example is Rodgers and Hart’s “My Funny Valentine,” composed for the 1937 musical Babes in Arms and since recorded by countless jazz luminaries, from Ella Fitzgerald and Miles Davis all the way up to The Bad Plus.

But “My Funny Valentine” is a rare standard for a band famous for tackling more contemporary material

like Black Sabbath’s “Iron Man,” and the hype generated by such selections has not been universally positive.

While some critics heralded the young Midwestern trio as the next saviors of contemporary jazz (a particularly snarky Esquire review of 2003’s These Are the Vistas asked, “Can one album single-handedly make jazz relevant again?”), others complained that the group was too loud and didn’t swing. The tiebreaker concerning that last charge would seem to come from the adoption of the individual trio members into more traditional but equally prominent small improv groups. Iverson, for example, plays regularly with legendary jazz drummers Billy Hart and Tootie Heath.

It seems safe to assume that these two innovators — definers of the very concept of swing — would not be working with the pianist if he couldn’t keep up.

Iverson discussed versatility with Pasatiempo during a short break that followed several tour dates in Europe and preceded a six-night run at the Jazz Standard in Manhattan. “I know Keith Jarrett said that if he is practicing classical music, he can’t play jazz, and if he’s playing jazz, he can’t think about classical music. He has these real divisions that he sets up in his private life in the studio. That I don’t understand. For me it all just sort of goes next to each other. Whether it’s The Bad Plus, or classical music, The Rite of Spring, or with Tootie Heath, the essential feeling, the daily practice, remains similar to me.”

The Rite of Spring is one of The Bad Plus’ most recent and ambitious undertakings. Iverson explained that the concept originated from the group’s residency at Duke University in 2010. The band first discussed ideas for a jazz commission with Aaron Greenwald, head of the The Bad Plus

Duke Performances program, and “kicked around a lot of ideas. A lot of bad ideas. Then, when The Rite of Spring came up, it was sort of like, oh, yeah, that’s clearly what we’ve got to do. It already sounds like us anyway.” The ballet shocked early audiences with its narrative concept, Nijinsky’s modernist choreography, and Stravinsky’s musical accompaniment — the score employs rhythm and harmony to such daring, even jarring, effect that the 1913 Paris premiere devolved into chaos. Retroactive observers commonly agree that the work was years ahead of its time. “The Rite,” music critic Alex Ross writes in his 2007 book The Rest Is Noise: Listening to the Twentieth Century, “prophesied a new type of popular art — lowdown yet sophisticated, smartly savage, style and muscle intertwined.”

In its own live and recorded interpretations of The Rite of Spring, The Bad Plus sticks surprisingly close to the actual score, even though the trio is filling in for an entire orchestra. Iverson originally based his part on a four-hands piano version written by Stravinsky and said that he and the other musicians focused on ways to whittle down the orchestral score to its most salient elements. “The main thing is you’ve got to sort of figure out what the argument of each movement is. You’re going to leave a lot out, but a lot of it is just orchestral color and very fast counterpoint. I’m actually impressed, listening back to it, how much of the piece is there in our performance.”

The group stays its impulse to improvise and thus minimizes any variations in each individual part from performance to performance. “You can move things around a little, but it’s more about placement than changing notes.” King might be expected to have a little more leeway on drums, but “he is really playing a part too. I’m not saying he’s not improvising at all; it’s more like he has options at certain places. The music is very tight.” Though the recorded version of the work just came out in March, The Bad Plus has been performing The Rite of Spring since 2011, and Iverson did not expect it to be part of the program at The Outpost. He said that the band is already pushing ahead to the next project — one that does not include covers of Sabbath, Stravinsky, or anybody in between — because original composition remains an integral part of the daily practice for the three bandmates. “We actually have another record already recorded called Inevitable Western, an album of all-original music, coming out in the fall. It’s sort of a companion piece to The Rite of Spring. With three composers in the band, there’s always new music. We’re all always writing.” ◀

Jay Fram

The Bad Plus plays at the Outpost Performance Space (210 Yale Blvd. S.E., Albuquerque) at 7:30 p.m. on Thursday and Friday, May 1 and 2. Tickets, $25, $20 for students, are available from www.outpostspace.org.

Call 505-268-0444.

18

PASATIEMPO I April 25-May 1, 2014

Lensic Presents

s e b i tr

FUSIONTheatre Company Tradition // Innovation // Excellence

Call to Auction

MAY 2 & 3

Friday 8 pm, Saturday 2 pm* & 8 pm

$20-$40

Di s c o u n t s f o r Lensic members

The Horse Shelter’s Annual Auction Benefit on May 18th, 2014 at 12 p.m.

ine a R a

by N i n

We are looking for quality items including art, jewelry, trips, air tickets and gift certificates for our auction.

They do not have to be horse related.

Tickets $75 per person (90% tax deductible), luncheon by restaurant martín

Drama Desk Award for Outstanding Play 2012 New York Drama Critics Circle Award 2011-2012

This is our biggest annual fundraiser and our success depends on YOUR support and attendance!

*performance includes ASL interpretation

‘

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

R E G I S T E R

1600 Lena St, C.10, Santa Fe, NM 87505 • 505-471-6179 info@thehorseshelter.org • www.thehorseshelter.org

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

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The Horse Shelter

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SFCC put me on a path to career advancement.

There wasn’t one class that wasn’t useful. The college was there to welcome me and help me pick my path. Everyone, from staff to professors to deans — all helped me succeed.

Marcos Zubia Manager, 1st National Bank SFCC Class of 2008 A.A. in Business Administration/Banking Marcos is just one success story out of thousands. Since 1983, Santa Fe Community College has empowered students and strengthened community.

LEARN MORE. www.sfcc.edu 505-428-1000

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19

SPrinG EVEnTS aT ThE BOTaniCal GarDEn

Origami in the Garden | Apr 25–Oct 25 Sculpture exhibition by Kevin Box SFBG Members Only Day | SAt, Apr 26, 9AM–5pM Guided tours with the artist 11am & 3pm Memberships for sale at the door

PASA REVIEWS

Community Day/Earth Day Celebration | SUN, Apr 27, 9AM–5pM

Baroque Holy Week concert: Santa Fe Pro Musica Loretto Chapel, April 18

Free to NM residents & students, fun for the whole family, origami making noon–2pm

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20

PASATIEMPO I April 25-May 1, 2014

S

anta Fe Pro Music Baroque Ensemble offered an evening of wellcrafted delights in the latest installment of its annual Baroque Holy Week music-making. Most aficionados of Baroque music are probably not in the market for extravagant adventure (although the 17th and early-18th centuries hold plenty of it), and this program did not shake up expectations, offering characteristic pieces by five well-known figures: Purcell, Pergolesi, Corelli, Bach, and Handel.

That’s not to say that all the music was familiar. Handel’s Gloria in excelsis Deo, for soprano, two violins, and basso continuo, was doubtless new to nearly everyone in attendance, since it was only authenticated and publicized in 2001. The score was tucked away in a volume of Handel arias in the library of London’s Royal Academy of Music, where it slumbered for nearly three centuries before anyone paid much attention to it. Handel may have composed this six-movement cantata while a teenager in Halle, Saxony, or more likely in 1707 in Rome, where he spent time as a journeyman composer. It is a technically admirable work, rich in vocal bravura, that neither augments nor diminishes the composer’s reputation. Here it was performed by soprano Kathryn Mueller, with violinists Stephen Redfield and Karen Clarke; cellist Sally Guenther and organist David Solem performed the continuo part. Mueller boasts a limber voice notable for virginal purity rather than expressive breadth. She was at her best in the sustained cantilena of the “Qui tollis peccata mundi” movement.

Earlier in the program, Mueller offered an appealing rendition of Pergolesi’s Stabat Mater, a work from the Neapolitan composer’s 26th (and final) year. As in the Handel, her coloratura was clearly articulated and her pitch was on target — she would be a choirmaster’s dream — yet her sustained singing left the stronger impression. In this case, it arrived with the “Et Jesum benedictum” movement, which unrolled with the pleasant lilt of 6/4 meter; by the end, it did indeed convey the composer’s marking of Andante amoroso — a “loving Andante.”

The rest of the program was devoted to instrumental pieces. An unusual entry in Bach’s catalog is the Solo pour la Flûte traversière; sometimes encountered under the name Partita, it is Bach’s only composition for unaccompanied flute. There has been speculation that he may have written it for the famous French flutist Pierre-Gabriel Buffardin, who was working in Dresden (not far from Leipzig, where Bach was living). Its four movements are stylized takes on French courtly dances, and although the program notes underscored this connection, Carol Redman (playing on a warm-toned Baroque flute) did not. Hers was an imaginative, abstracted take that essentially deconstructed the dances, constantly bending their tempos to make harmonic points and taking the allemande and sarabande at very slow tempos that might have proved undanceable.

Purcell’s much-loved Golden Sonata bounced along with quirky cheerfulness. Violist Gail Robinson joined the other string players to fill in the proto-orchestral texture. The ensemble’s approach sounded just a bit old-fashioned now that cutting-edge Baroque performance style has grown to emphasize rhetorical inflections, but its rendition of Corelli’s Sonata da chiesa in F Major, op. 1, no. 1, from 1681, was welcome in its warmheartedness, a lovely reminder of the elegance its composer achieved when the modern harmonic system was just becoming established with both feet on the ground.

— James M. Keller

A lecture series on political, economic, environmental, and human rights issues featuring social justice activists, writers, journalists, and scholars discussing critical topics of our day.

IAN RATOWSKY DUAL REALITIES

SANDRA STEINGRABER with LAURA FLANDERS

WEDNESDAY 7 MAY AT 7PM LENSIC PERFORMING ARTS CENTER From the right to know and the duty to inquire flows the obligation to act.

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Sandra Steingraber, Ph.D., is an ecologist, author, cancer survivor and an internationally recognized authority on the environmental links to cancer and human health. Her acclaimed book Living Downstream: An Ecologist’s Personal Investigation of Cancer and the Environment presents her research on, and personal experience with, environmental pollution and cancer. She has also written Having Faith: An Ecologist’s Journey to Motherhood and Raising Elijah: Protecting Our Children in an Age of Environmental Crisis. Heralded as “the new Rachel Carson,” she speaks extensively and is a columnist for Orion Magazine.

APRIL 25 - MAY 24 2014

RECEPTION FRIDAY APRIL 25 5 - 7 PM

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21

PASA TEMPOS

album reviews

CLINT MANSELL WOODS With Noah: Music From the Light and With Love Motion Picture (Nonesuch) Clint (Woodsist) The boys in the Mansell’s mood music for Darren Brooklyn band Woods — particularly Aronofsky’s take on the great flood recalls singer-guitarist Jeremy Earl — hustle some of his earlier work for the direclike few others do. They release an tor, especially the 2000 soundtrack to the album every year or so and tour like addiction-ruins-everything study Requiem for maniacs. Earl’s Woodsist label releases a Dream and the 2006 time-jumping sci-fi albums and singles at a swift clip. epic The Fountain. All three employ the Kronos There’s too much organization for the Quartet in programs that use the strings to bring out the tragedy band to be the ambling weirdos that they sound like on record, and melancholy of Aronofsky’s material. Mansell has simplified but they nonetheless stitch together a freak flag that capably his approach for Noah’s story even as he’s created music as grand as emulates the shaggy aesthetic of hippie-rock. “Shepherd” opens Genesis’ tale of creation. The majority of themes here are of two and With Light and With Love with a steel guitar that sounds much like three notes, repeated statements that echo the back-and-forth shifting of Crosby, Stills, Nash & Young, while “Full Moon” features guitar tones waves at sea and the toil of construction, backed by percussive clanking that recalls George Harrison’s All Things Must Pass. “With Light and that suggests the breaking of stones. The nearly 80 minutes of music are With Love,” the record’s biggest song, initially sounds like early Pink broken into four sections — “Wickedness,” “Innocence,” “Judgment,” and Floyd before breaking into a jam that isn’t unlike that of the Rolling Stones’ “Mercy” — that generally define the music’s tone without overdoing epic “Can’t You Hear Me Knocking.” The songs are often better their associated emotions. The grander pieces gain depth and when you can’t place the influence; “Moving to the Left” is a dimension with additional strings and brass. They’re tempered fuzzy, stomping anthem and the best track here by a mile. by synthesizer and prepared piano played by the composer, Otherwise, all Woods albums are fundamentally similar; touches that dilute the music’s heaviness. Patti Smith’s lyric some noodle around more than others, but they’re all on “Mercy Is” (written with Lenny Kaye), her bitter tones of the same quality, with a handful of terrific songs, a Anderson and Roe draw framed somberly by the quartet, makes for a surprisingly few forgettable ones, and Earl’s fragile voice occasionbeautiful finale. Though reminiscent of his earlier scores, ally wearing out its welcome. I’d be hard pressed to evocative webs of sound from Noah marks Mansell as one of the most consistently recommend any one over the others, yet it’s always accomplished film music composers. — Bill Kohlhaase nice when a new one comes around. — Robert Ker their instruments, sporting ANDERSON & ROE PIANO DUO An Amadeus FEATHERICCI The Woods (Mesa Recordings) Mesa razor-sharp and uncannily Affair (Steinway & Sons) When the piano duo of Greg Recordings has released another strong, dance-inspiring Anderson and Elizabeth Joy Roe performed in Santa Fe two full-length, this time featuring label co-founder and local well-matched techniques. seasons back, they had just released their first Steinway & DJ Feathericci. His debut record as a solo act (Feathericci Sons CD, When Words Fade. I found it well played but annoymoonlights as the drummer of D Numbers), The Woods is ing in some of its pop-crossover attitude. In their follow-up an electronic homage to the natural world. Track names like release, they get the balance just right. The playing is top-drawer “The Arroyo” and “The Snow” are well-matched to their content throughout this entertaining collection of music by or arranged rather than randomly selected to perpetuate a theme. Feathericci is from Mozart. Anderson and Roe draw evocative webs of sound from interested in taking his time with these compositions. None dip below the their instruments (which are Steinways, of course), sporting razor-sharp and five-minute mark, and none stagnate. “Bark Beetles” is the longest, at about uncannily well-matched techniques. Mozart’s D-Major Sonata for Two Pianos seven-and-a-half minutes, opening with an aural approximation of these (K.448) is one of the great party pieces for musicians, and this pair makes insects before quickly transitioning into a mid/uptempo beat that persists it sparkle with memorable luster. Broad smiles also accompany Busoni’s for several minutes. On tracks like album opener “The Brush” (featuring Duettino concertante, which is that composer’s riff on the rollicking finale Cara Levick), the rare vocal refrain serves as a reminder of the human of the F-Major Piano Concerto (K.459), with a hilarious cadenza that presence amid the birds and beetles. “The Rocks” is fittingly percusbrings listeners into the 20th century. Anderson & Roe present their sive, with Feathericci drawing on his background as a drummer own transcriptions of operatic excerpts from Mozart’s operas Così by interspersing syncopated parts from an arsenal of percussion fan tutte and Die Zauberflöte, including an instruments (shakers, triangles, drums, extended “Gran Scherzo” drawn from the cymbals) over deep, sustained chords. first-act finale of the former, rendered with The Woods asks that you listen as much irresistible wit and élan. The recital’s hairas it asks you to dance — it’s easy to raising climax is Liszt’s famous Réminiscences imagine a crowded dance floor reacting de Don Juan, a Don Giovanni fantasy that to the fluctuations of each individual is by turns demonic and seductive, here track, but perhaps more appropriate in the composer’s rarely encounto visualize a more remote gathering tered version for two pianos. under nighttime desert skies.

— James M. Keller — Loren Bienvenu

22

PASATIEMPO I April 25-May 1, 2014

tonight . april 25, 26, 2014 2013 . 5-7pm

l as t fr i daY a r t Wal k In Santa Fe’s Vibrant Railyard Arts District LASt fRIDAy EvERy Month

Zane Bennett conteMPorarY art Dual Realities, works by Ian Ratowsky

charlotte jackson fine art David Simpson, Heaven and Earth

daVid richard GallerY Michael Scott, FOUND Gloria Graham, 3PM Sensations

eVoke conteMPorarY Spring Fever, curated selection of works by Louisa McElwain

tai Modern Kajiwara Aya, Guiding Waves, Bamboo

WilliaM sieGal GallerY Karen Gunderson

jaMes kellY conteMPorarY Stuart Arends, Kid Block #5

leWallen Galleries Emily Mason, Opened Jars

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Gather your friends and join us tonight for Tom Marioni’s The Act of Drinking Beer is the Highest Form of Art. Guests are invited to enjoy a beer in Marioni’s bar installation and listen to jazz.

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eVoke daVid richard charlotte jackson

WilliaM sieGal

Zane Bennett

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The Railyard Arts District (RAD) is comprised of eight prominent Railyard area galleries and SITE Santa Fe, a leading contemporary arts venue. RAD seeks to add to the excitement of the new Railyard area through coordinated events like this monthly Art Walk and Free Fridays at SITE, made possible by the Brown Foundation, Inc., of Houston.

We invite you to come and experience all we have to offer.

PASATIEMPOMAGAZINE.COM

23

TERRELL’S TUNE-UP Steve Terrell

Chuck E.’s back

Deal the cards, roll the dice, if it ain’t that old Chuck E. Weiss. That’s right, the craggy-faced, mop-topped hierophant of the hipster underground (and yes, kids, I’m using the original connotation of “hipster” and not the pathetic thing it’s turned into) is back with a new album called Red Beans and Weiss, and it’s full of stripped-down rock ’n’ roll, R & B, blues, laughs, post-beat cool, hard-earned wisdom, and flashes of sheer insanity.

Most people my age probably first heard of Weiss in 1979 when he popped up on the edges of the national consciousness as the unlikely romantic lead in Rickie Lee Jones’ first hit, “Chuck E.’s in Love.” Of course, those of us who were Tom Waits fans back then had known the name for years. Waits name-checked him on the song “Nighthawk Postcards (From Easy Street)” on the album Nighthawks at the Diner — which also contains the song “Spare Parts I: A Nocturnal Emission,” which Weiss co-wrote — and waxed nostalgically for his company in “I Wish I Was in New Orleans (In the Ninth Ward)” on Waits’ album Small Change.

Weiss, Waits, and Jones got to be pals in the ’70s when they lived at the infamous Tropicana Motel in Hollywood. But Weiss had already established a music career. As a teenager in Denver, he used to hang out at the Ebbets Field blues club, eventually becoming the drummer for the house band. The band backed bluesman Lightnin’ Hopkins one night, and Hopkins was apparently so impressed that he hired Weiss as his tour drummer. Eventually Weiss played with some other major names in American music including Muddy Waters, Howlin’ Wolf, Dr. John, and former Tesuque resident Roger Miller.

Unfortunately, his recording career can only be called sporadic — and that’s being charitable. His first album didn’t come until 1981, two years after “Chuck E.’s in Love,” and that was a bunch of demo tapes reportedly released against his will. (I recently listened to it on Spotify, and it’s good stuff. Dr. John plays keyboards on it, and Larry “The Mole” Taylor, an original member of Canned Heat who played with Waits for years, is on bass.) Weiss’ first proper, official album, Extremely Cool, wasn’t unleashed until 1999. Between that and Red Beans there have only been two others, Old Souls & Wolf Tickets (2001) and 23rd & Stout (2007).

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PASATIEMPO I April 25-May 1, 2014

As with all his works since Extremely Cool, on Red Beans Weiss is backed by his cronies, a tough and tight band known collectively as The Goddamn Liars — which includes former Santa Fean Tony Gilkyson, who has played with X and Lone Justice, on guitar.

The album kicks off with a rowdy rocker called “Tupelo Joe,” on which Weiss alternates between a gravelly baritone and a comical mock-doo-wop voice.

He milks the idea that “Tupelo Joe went to the show ... Tupelo Joe ain’t no schmo” for all it’s worth, and it sounds wonderful. The pace slows down immediately for “Shushie,” a beatnik-jazz excursion with sax and standup bass.

This is followed by a slow-burner called “Boston Blackie.” Here, Weiss proclaims himself to be just like the old TV detective, a “friend to those who have no friends.” Weiss and band did this tune on a recent episode of Jimmy Kimmel Live. In the middle of the song, Weiss’ old friend Johnny Depp came out with a guitar.

Weiss and his Liars get funky on “That Knucklehead Stuff” (”I’m sittin’ on a stool tryin’ to be cool, tryin’ not to show any interest/Heard this snickering sound, and my body shook the ground, and I knew the stuff had no limits./The knucklehead stuff”). Then they take an

inebriated detour to the barrio for “Hey Pendejo,” which I’ll nominate for the greatest pseudo-Mexican tune by gringos since The Pogues’ “Fiesta.” ( This would have made a great campaign theme last year for unsuccessful Albuquerque mayoral candidate Pete Dinelli.)

The sole cover song on the album is “Exile on Main Street Blues,” which was an outtake recorded by the Rolling Stones during their Exile on Main Street sessions. It’s full of the titles of and cheesy allusions to songs on their greatest album. But I bet the Rolling Stones wish they had done the stomping blues rocker “Dead Man’s Shoes,” which Weiss cowrote with Gilkyson.

For sheer tomfoolery, Weiss goes for the goofy gold in “Willy’s in the Pee Pee House.” I’m assuming this refers to prison. On this crazy little New Orleanssoaked singalong, the Goddamn Liars sound like Professor Longhair’s band at the end of a three-week bender, while Weiss sings in an exaggerated Buck Owens-on-Quaaludes drawl. But it works. (And yes, that is the Rocky and Bullwinkle theme you hear on the piano at one point. I’m just not sure why.)

But for all the good-time craziness, one song on Red Beans is dead serious. That’s “Bomb the Tracks,” a crunchy rocker in which Weiss sings, “Why didn’t you bomb the tracks, Jack/Why didn’t you stop the train, James.” To be sure, the song contains some surreal imagery: FDR in Maine “doing the boogaloo chicken,” Joe Stalin drawing “futuristic pictures of Huckleberry Hound,” and whatnot.

In a recent interview on his publicist’s website, Weiss talked about what the song means to him.

“I’m the first generation born after the war, and one of the first things I ever learned in life was that Hitler had killed members of my family. ... When I was about 17 or 18 it occurred to me that, okay, these trains are going down the tracks to the death camps, and Russia and the U.S. and England have planes, so why didn’t we bomb those tracks?

So trains couldn’t get to death camps. ... What really started to bother me as a much older person was to make a god out of Roosevelt. To the Jews, Roosevelt was God, bigger than Al Jolson, man. Know what I’m saying?”

You got to watch those fingerpoppin’ daddies. Sometimes there’s some sharp insights hiding in their happy fog of jive. For more about the world of Weiss, check out www.anti. com/artists/chuck-e-weiss. ◀

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PASATIEMPO I April 25 - May 1, 2014

ALL SHOWS 8 PM • TICKETS $15

TICKETS AVAILABLE AT THE THE CANDYMAN IN SANTA FE AND THE MINESHAFT UPPER DECK BAR • For Reservations call 505-471-1916

ON STAGE Casually hilarious: The Pajama Men

THIS WEEK

If going to work in one’s pajamas is the American dream, the comedy duo known as The Pajama Men has realized the American dream. In real life, the pair is Mark Chavez and Shenoah Allen. They met when they were in high school, at an audition for an improv group in Albuquerque in 1993, and they got serious about their act in 2000, when they appeared under the name Sabotage. Within a few years they started making the rounds of the leading fringe festivals of the English-speaking world, garnering top awards at gatherings in Sydney, Melbourne, and Edinburgh. Their acts are typically a mash-up of stand-up, sketch, and improvisational comedy. Fusion Theatre Company joins with the Lensic Center for the Performing Arts (211 W. San Francisco St.) to bring The Pajama Men to town in their newest show, Just the Two of Each of Us on Sunday, April 27, at 7:30 p.m. Tickets ($15 to $35) can be had by calling 505-988-1234 or visiting www.ticketssantafe.org. Be there or be square; or, as The Pajama Men say in their promotional video, “Better take off your shoes, because we’re gonna knock your socks off.” — J.M.K.

Give me a V: Santa Fe Symphony Chamber Ensemble and the Symphony Chorus

Apart from their alphabetical proximity, Vivaldi and Vaughan Williams would seem to have nothing in common. But there is one more thing: they share the bill for a concert presented by the Santa Fe Symphony Chamber Ensemble and the Symphony Chorus on Wednesday, April 30, at 7 p.m., at the Cathedral Basilica of St. Francis of Assisi (131 Cathedral Place). From Vivaldi come a Cello Concerto in C Minor (featuring the orchestra’s assistant principal cellist Joel Becktell) and one of the Magnificats he composed for 18th-century worshippers in Venice. Linda Raney directs the latter. From Vaughan Williams (pictured) come the Five Mystical Songs, composed between 1906 and 1911 to poems by the 17th-century metaphysical poet George Herbert. The set will be performed by baritone Tim Willson, assisted by string quintet plus piano. The concert is pay what you can. The doors open at 6:15 p.m. — so you had better be in line if you want your pick of the pews. For information, call the symphony at 505-983-3530. — J.M.K.

From George Herbert’s The Call Come, my Way, my Truth, my Life: Such a Way, as gives us breath: Such a Truth, as ends all strife: Such a Life, as killeth death.

Come, my Light, my Feast, my Strength: Such a Light, as shows a feast: Such a Feast, as mends in length: Such a Strength, as makes his guest.

Come, my Joy, my Love, my Heart: Such a Joy, as none can move: Such a Love, as none can part: Such a Heart, as joyes in love.

Terror of a tiny town: Joe West

JOE WEST’S

Joe West, the musician, actor, and cultural iconoclast behind the Santa Fe All-Stars, Joe West and the Santa Fe Revue, and Xoë Fitzgerald: Time Traveling Transvestite, now brings to the stage a unique theatrical production. Joe West’s Theater of Death is billed as “an evening of plays inspired by the Grand Guignol of Paris.” The French theater was known for putting on sensational and horrific shows and thrived during the first half of the 20th century. West writes that it even “claimed to have a ‘doctor on duty’ at all performances to treat audience members who had fainted or had heart problems from what they saw.” The production features a number of guest musicians, including Anthony Leon and Daniel Jaramillo, with shows slated to run at 8 p.m. Friday and Saturday, April 25 and 26, and Thursday to Saturday, May 1 to 3, at the Engine House Theater in The Mine Shaft Tavern (2846 N.M. 14, Madrid). Tickets, $15, are available at The Candyman Strings & Things (851 St. Michael’s Drive, 505-983-5906) in Santa Fe and at The Mine Shaft. To reserve tickets to be picked up at the venue, call 505-471-1916. — L.B.

PASATIEMPOMAGAZINE.COM

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f

Paul Weideman I The New Mexican

VIEW FINDER Poetics of Light explores pinhole photography 28

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

or nearly 30 years, San Lorenzo, New Mexico, photographers Eric Renner and Nancy Spencer collected examples of pinhole photography. By the time they donated the Pinhole Resource Collection to the Palace of the Governors Photo Archives in April 2012, there were 6,000 photographs by 500 photographers from 36 countries. “We didn’t buy any of these,” Renner said. “Probably 99 percent were ones that people contributed without us saying we like this photograph; in other words, people sent them thinking we might publish some of them. It’s not like the art collector who buys an image because he likes it. So it’s an odd collection but an interesting one.”

Nearly 225 photographs and 40 cameras from the Pinhole Resource Collection are featured in Poetics of Light: Pinhole Photography, an exhibition opening at the New Mexico History Museum. Most of the works are from 1969 to the present, although there is a historical pinhole section with an 1890 print and examples from 1917 and 1919 by Laura Gilpin. Selections from the collection are featured in Poetics of Light: Contemporary Pinhole Photography published by the Museum of New Mexico Press.

The idea of the pinhole camera and its room-size version, the camera obscura, go back more than 2,300 years. In the camera obscura, a small hole in the wall of a blackened room projects an inverted image of what’s outside the hole onto the opposite wall. The pinhole camera does the same thing in a box, capturing the image with a piece of film on the surface opposite the pinhole or aperture. On April 14, a crew was in the process of building a camera obscura in which museum-goers can witness the rear wall of the Palace of the Governors projected onto the wall opposite a small aperture in a blacked-out window.

All kinds of objects have been repurposed as pinhole cameras. In 1992, Jeff Guess placed a piece of film in the back of his mouth and exposed it via a pinhole formed with his lips. Cameras on display in the exhibit include a converted Boraxo can and a powder-puff container as well as finely made cameras. No matter the construction, a pinhole camera has no lens, no viewfinder, and no integral light meter, so determining both composition and the exposure — how long to leave the aperture open to expose the film — is tricky.

“That randomness appeals to me,” said museum photo archivist Daniel Kosharek, the coordinating curator of the exhibit. “You go out there and expose what you think you’re going to take, and when you get the film back you think, I took that? There’s a lot of quirkiness inherent in the process that ends up in the pictures.” In the hands of exhibit designers Caroline Lajoie and Natalie Baca, mounting devices and other aspects of the show design sport a low-tech industrial feel that Kosharek said is “in line with pinhole photography: you make it up as you go.”

There are pinhole photographers coming to the opening from Japan, Italy, Sweden, Germany, and Poland. Renner said he believes the museum’s pinhole collection is unique in the world, although there are museums that have collected pinhole work by certain people, such as Shi Guorui, who has an image in this show: the 10½-foot-long A View of San Francisco From Alcatraz, 18 October 2006, made by converting a prison cell into a camera obscura.

The Pinhole Resource Collection was started by Renner in 1984. “I wrote to people I knew throughout the world who were doing pinhole and said, If you’d like to contribute photographs it would be wonderful, and if we get enough we’ll publish a magazine.” “Also, when Eric started,” Spencer said, “one of the things he noticed when he was giving talks around the country was that afterward a very shy person would come up to him, the last person in line, and pull out a little box of pinhole photos. Eric thought this would end up in somebody’s closet and eventually get thrown out, so he needed to start to collect them.”

Renner and Spencer published three issues of Pinhole Journal every year for 22 years, ceasing publication in 2007.

“Some of the most interesting work happened before the time when everybody knew that pinhole was in the air, prior to Art Forum and Art in America putting pinhole images on their covers,” Renner said.

The curators are examples of photographers who do nothing but pinhole.

“Regarding the low-tech aspect, I think that’s what attracted many of us to pinhole at a time when cameras were becoming more expensive and the whole crafts movement was on the rise,” Spencer said. “But what has happened recently is that many people are putting a pinhole or a zone plate on a digital camera. In fact, Eric and I are working with that right now.”

The couple divided the museum exhibit into categories, including portraits, landscapes, multiple-pinhole imagery, scientific pinhole photography, “and just showing the enormous variety of ways that pinhole photogaphers work, which is astounding and differs enormously from person to person,” Spencer said. “There’s such ingenuity.”

One of the exhibit pieces that embodies that ingenuity is the pinhole suit

by Ben Conrad. He made it almost two decades ago during his sophomore year at the Minneapolis College of Art and Design, where he was majoring in photography. “I was 19. Photojournalism was always my passion in high school,” he said. “My heroes were the Life magazine photographers, but I was a little frustrated with the work I was doing. This was going in an opposite direction.” He made 135 little pinhole cameras, cutting, gluing, and taping pieces of bookboard, incorporating front plates of copper punctured with a brad for the aperture, than affixing the cameras to a garment. After painstakingly loading all the cameras with pieces of 4 x 5 film, he headed out.

Top, Eric Renner: Ticul Schoolyard from the Ticul, Yucatan series, 1969; Negative No. HP.2012.15.1376 Left, Peggy Ann Jones: Tufa, 1986; Negative No. HP.2012.31.18 Right, Nancy Spencer: Beth, San Francisco Hot Springs, NM, 1992; Negative No. HP.2012.15.1430 Opposite page left, Marja Pirilä: Paula, from the Camera Obscura series, 1996; Negative No. HP.2012.15.876 Opposite page right, Julie Schachter: Boraxo Can Pinhole Camera, 1984; Negative No. HP.2012.15.573 Images courtesy the Palace of the Governors Photo Archives (NMHM/DCA)

continued on Page 31

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Julie Schachter: Dusting Powder Obscura Camera, 1982; Negative No. HP.2013.08.1 (C79) Right, Margaret from the Bather series, 1982; Negative No. HP.2013.08.3

ALL THE WORLD’S A CAMERA

O

ne of the delights of viewing pinhole photographs is the inventiveness of the devices used to create the images. When it comes to pinhole cameras, almost nothing is sacred. Shirt buttons, slotted spoons, traffic cones — anything with a hole in it — can be used to make a pinhole camera. 60 pinhole cameras, along with more than 6,000 pinhole images, were gifted to the New Mexico History Museum in 2012, creating the museum’s Pinhole Resource Collection. Among these items were several hand-built cameras and many associated images by artist and photographer Julie Schachter.

For Schachter, the image and the camera used to create it have a thematic connection. “It has to relate for me,” she said. “I feel a little like I’m cheating if it doesn’t. The camera has to be something that’s naturally occurring there, or it can just sit in that environment and it wouldn’t be obtrusive as a foreign body that takes a picture.” To illustrate the point, Schachter’s photograph The Quaker’s Self-Portrait was shot using a tripod-mounted camera made from an empty Quaker Oats container. Similarly, the camera used to shoot her 100 Andies — The Soup Can’s Revenge was made from a Campbell’s soup can. The image is a tribute to Andy Warhol and his habit of making multiple representations of his subjects, such as his portraits of celebrities or his images of Campbell’s soup cans.

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PASATIEMPO I April 25-May 1, 2014

Artist Julie Schachter Schachter’s pinhole photo is a multiple of Warhol. “I figured I would be true to the way Andy portrayed the soup can. I took that one picture. It was at a book signing in Washington. I duplicated it. I guess I actually made 100 prints. They’re small. I did some darkroom disfiguring of them so that it would be reminiscent of what he does with pictures and silk-screens, the misalignments and whatever else.”

The image and camera are included in Poetics of Light: Pinhole Photography and in the accompanying catalog.

There is a simplicity to pinhole cameras, which are easy to make and use but, when it comes to shooting and developing an image, risks are involved. Quirks seem to go with the territory.

Using a round container for a shoot, for instance, often results in a warping at the edges of the image. “Anytime you use a curved camera you’re going to get that wide-angle effect. You don’t have a viewfinder, so you can’t see what the camera is going to capture. If you have that wider angle there’s a better chance you’re going to get what you want in there. It is a little more nerve-racking for me because I’m not using cheap film. I’m not going to

have 10 shots or 100 shots of the same thing. You have these precious sheets of film, and you have to change them in a changing bag if you’re on location and try not to get dust on the negative. There’s a lot of craftsmanship that goes into getting a clean print.”

Schachter’s work recalls the days of early photography. Her shots retain intimacy while suggesting the presence of the photographic medium between viewer and subject — much like antique photographs, in which, even in a clean print, the idiosyncrasies of the technology can still be detected. “I feel like a lot of pinhole photography has a historic look, because it does hark back to those early photographs where sharp focus wasn’t necessarily the thing.” Schachter owns a digital camera but prefers handmade cameras for pinhole work, developing the images in a darkroom. “There’s a small rental darkroom near where I live that I’ve used since the early days. I’m always happy that it’s quite busy at the enlargers and in the darkroom, and young people are doing darkroom work still, instead of relying on digitally generated images. Since the digital revolution and social media and all of that, it’s almost like it’s too much and too fast. Pinhole is the opposite of that to me. It makes you slow down and be in the present moment. If you’re photographing a person, they have to be still in that moment, and I think that’s healthy for all of us.”

— Michael Abatemarco

Pinhole photography, continued from Page 29 “For my first go at it, a very good friend said I should call the newspaper.

I went out on a corner in downtown Minneapolis wearing a cape covering all the cameras, then three friends took it off of me and it was about three minutes’ exposure. The next day it was on the front page of the Star Tribune, and I was like, What is happening right now? This is amazing. I come to class that day and people are clapping and it was like, Oh my god. Then right after that, Eric from the Pinhole Collection called my school and tracked me down, and there was a feature in his magazine. It was an experiment. The quality didn’t really matter. It was more about the act of doing it. But I have images, and they’re kind of interesting. It does feel almost like if the pores of your skin could take pictures.” Poetics of Light has a tower grid fashioned from 130 of Conrad’s photos and Conrad’s suit on display. Conrad has not dedicated himself to pinhole. He soon transitioned into animation and film.

His company, Logan Pictures, recently produced the movie A Girl Walks Home Alone at Night.

Another who has evolved in a different direction is Peggy Ann Jones, who has many photographs and handmade cameras in the show. She presents a lecture at the museum on Aug. 8 titled “Pinhole to Pixel.” On her website (www.pinhole.us), Jones offers detailed information about constructing pinhole cameras, about her investigations into cameraless photography and using cameras designed to leak light, and about her 1984 Sculptural Cameras series. “Most photographers who delve into this area are sort of reinventing the wheel, which allows you to work with few preconceived ideas, and that’s what made my cameras at that time so unique,” she told Pasatiempo. “I was exploring basic ideas, like how light enters a camera. I used actual funnels, after the idea that light is funneled into the camera.

“Once in a while I would look at old cameras, like I did with my Eclipse camera in the Sculptural Cameras series. I had seen the 19th-century Gray’s Vest Camera, a flat camera you could wear underneath your clothing and take surreptitious photos through a buttonhole. Like mine, it made circular images on a circular plate, but mine was a big, heavy, wooden thing with a funnel. It wouldn’t be good as a detective camera.” ◀

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details ▼ Poetics of Light: Pinhole Photography ▼ Exhibition opening & book launch 1-4 p.m. Sunday, April 27; Eric Renner & Nancy Spencer lecture 1 p.m; booksigning 2-4 p.m.; exhibition through March 29, 2015; visit www.nmhistorymuseum.org for full schedule of events ▼ New Mexico History Museum, 113 Lincoln Ave. ▼ By museum admission (no charge on Sundays to New Mexico residents); 505-476-5200

Peggy Ann Jones: 99781217-L from the Black Hole series, 1993; Negative No. HP.2012.31.04

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31

Michael Wade Simpson I The New Mexican

FUTURE PERFECT Ballet Next

32

PASATIEMPO I April 25-May 1, 2014

Photos Stephanie Berger

FOR

a ballerina, is there life after Swan Lake? At 30, Michele Wiles left a position as principal dancer with the renowned American Ballet Theatre to start a small company — Ballet Next, which appears at the Lensic Performing Arts Center this weekend. The company is presented by Performance Santa Fe, formerly the Santa Fe Concert Association, which has changed its name after 77 years, staking its claim as an organization that brings in more than musicians.

Wiles had a stellar career at ABT. She danced the Odette/Odile role in Swan Lake, was picked out of the corps by Dame Alicia Markova for a solo in her staging of La Bayadère, made her debut as a principal in Le Corsaire, and danced leading roles in The Sleeping Beauty, Giselle, Don Quixote, and Apollo. She spent 14 years with the company and was frequently partnered by David Hallberg, who, in 2011, became the first American principal dancer with Moscow’s Bolshoi Ballet.

An injury at 25, just as she was promoted to principal dancer, offered Wiles the time and space to imagine life beyond her just-achieved goal at ABT. “I’d had horse blinders on before that time. I had a moment to contemplate. I started to question everything. I realized I wanted something else — to be married, have a life, to build something. I began thinking about the future.”

Years passed and many leading roles followed before the initial urge to leave ABT became a reality. In the meantime, she told Pasatiempo, she began to change as an artist. “I was trained by Russians [at the Kirov Academy of Ballet in Washington, D.C.], and later began taking classes with [British teachers] David Howard and Georgina Parkinson, who also coached me. David Howard

Stephen Hanna and Brittany Cioce; top, Kaitlyn Gilliland and Michele Wiles

said, ‘You’re a great dancer. Now let go. Allow yourself to feel.’ ” Those words were a turning point for her, she said. “People had known me as a technician, so they were surprised when I began to take on roles like Lizzie Borden in Agnes de Mille’s Fall River Legend and Hagar in Antony Tudor’s Pillar of Fire” — both parts that have strong dramatic and psychological components.

“Before Pillar of Fire, I saw Michele as a spectacular physical dancer. But when I saw her in that dance, I became interested in her as an artist,” said Brian Reeder, who first watched Wiles up close, as a member of the corps at ABT. More

recently, he has created several pieces for Ballet Next in his role as resident choreographer.

“Every time I danced on the Metropolitan stage was intense and wonderful,” Wiles said. “Once, when I was dancing the Black Swan, I pushed myself.

I went for a triple turn in second [a turn on pointe with one leg extended to the side], and I fell flat on my face. The entire audience went silent. I think they thought they were going to have to scrape me off the stage. Somehow, I bounced back into a pirouette, and the audience went wild. I am a trouper.

“At ABT I had established myself. I was dancing the same roles every year.

The company was touring less. There were a lot less performances and more great dancers. At age 30, I realized I might get to do seven to 10 more Swan Lakes. That was not OK. I’m on a whole new path now. I’m 34 now. I have to use my brain more, as a dancer, but I think I can still improve. It’s a leap. I feel responsible for everything, not just dancing, but costumes, personalities, the atmosphere in the room. After I left ABT I read Jacques d’Amboise’s autobiography [I Was a Dancer] and was fascinated to hear about how much George Balanchine struggled to get a company [New York City Ballet] started,” Wiles said. “It’s great, but it’s a lot of work.”

Ballet Next was co-founded with Charles Askegard, a recently retired NYCB principle dancer, who has since moved on to the Minnesota Dance Theatre, where he is associate artistic director.“Our idea was simple,” Wiles said. “Live music, great dancers, and awesome choreography. I was a classical dancer, but we’re not doing things the Petipa, piqué-arabesque way anymore.”

“Ballet Next is contemporary, but that word is overused,” Reeder said.

“Michele and I both love the pointe shoe. I get Downtown Julie Brown. I see everything at PS 122. I go to BAM. But we’re not hanging upside down, nude, singing Christmas songs backward.”

“These are technically difficult ballets. There is a lot of complicated counting and steps, but Michele and Brian give dancers independence, a choice of the way we interpret things,” said Kaitlyn Gilliland, a former City Ballet dancer and now a member of Ballet Next. “What I like now is that it is easier to really work on who I want to be. We’re taking things to the next level — as a group.”

Stephen Hanna dances in the world premiere of Reeder’s ballet Strange Flowers at the Lensic with Wiles and Gilliland. The piece is a little actorly, he said. “It’s not pure dance. It’s a little Liaisons Dangereuses. There is definitely some heavy flirtation going on.” Hanna, another New York City Ballet alum, said he was frequently cast as the cavalier type at City Ballet.

He took a leave from the company to play the older Billy in the dream sequence in the Broadway hit Billy Elliot and also appeared in the Twyla Tharp musical Come Fly Away. The other pieces presented by the company in Santa Fe are BachGround by Mauro Bigonzetti and Surmisable Units by Reeder, with music by Steve Reich. All three dances have live music.

“I’ve known Michele since we were teenagers,” Hanna said. “She used to date my best friend. We were 19. We all hung out.” In January, she told him, “You have to come dance with us.” “Two days later there was an injured dancer,” he said. “She messaged me. She needed a man.” Hanna agreed to fill in. “It’s a good group of people. Everybody is there to dance.”

In a review on The New Yorker’s website, writer Andrew Boynton described a 2012 performance of Ballet Next at the Joyce. He wrote, “Wiles has an ability to attack a daunting task and achieve it, as when she whipped off three or four pirouettes while her straight arms were crossed in front of her, her standing leg rock solid, or when, toward the end of La Follia, she balanced on pointe, facing the audience, her eyes lowered or perhaps even closed, and very slowly lifted one leg to the front. The audience held its breath.”

“Ballet Next has gone through an evolution,” Wiles said. “We had to build a repertory. We didn’t have one. That takes time. But now we have a new executive director [Elizabeth Johanningmeier] and a group of musicians and dancers who have been working together for a while. It feels like a company.” ◀

details ▼ Ballet Next, presented by Performance Santa Fe

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Santa Fe High School Visual Arts Department presents

“Infusion of Soul”

An exhibition of advanced student art

Opening Reception

TONIGHT

Friday, April 25, 5-7pm Show runs from April 21- May 2

Georgia O’Keeffe Education Annex 123 Grant St. Santa Fe, NM

▼ 7:30 p.m. Friday & Saturday, April 25 & 26 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $20-$75; 505-988-1234, www.ticketssantafe.org

mixed-media piece by Noel Prandoni PASATIEMPOMAGAZINE.COM

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REGISTER FOR SUMMER CLASSES

MAY

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When I graduated, many doors opened.

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monday, may 5

Georgia O’Keeffe Museum, 217 Johnson St. Free with Museum Admission reservations required by Friday, May 2

CALENDAR OF EVENTS THURS

FRI TUES WED THURS

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WED THURS FRI SAT

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lectures & conversations

Southwestern Sleepers: Making CPAP Work 5:30 p.m., Room 433 505-438-3101 Student Writing Awards 6 p.m., Collected Works Bookstore 505-988-4226 Backyard Astronomy 8 p.m., Planetarium 505-428-1744 AARP Back to Work 50+ Info Session 10 a.m., Jemez Rooms 855-850-2525 Performing Arts Showcase 7 p.m., El Museo Cultural de Santa Fe 505-428-1731 Community Mobile Health Van 9 a.m. to 3 p.m., Main Entrance 505-995-9538 Astrophotography 8 p.m., Planetarium Opening Reception: Annual Arts + Design Juried Student 4:30 p.m., Visual Arts Gallery Student Fashion Show 5:30 p.m., The Lodge Admission: $7; children, students with ID $5.

CommUNITY Day on the Plaza 10 a.m. to 2 p.m., Downtown Plaza Spring Choral Concert 2 p.m., Jemez Rooms YouthBuild Info Session 5:30 p.m., Room 515 Astronomy with Binoculars 7 p.m., Planetarium Nurses Pinning Ceremony 1 p.m., Witter Fitness Education Center Class of 2014 Commencement Ceremony Speaker: Russel N. Contreras, AP Reporter 2 p.m., SF Indian School Pueblo Pavilion

6 Pm

imagining native survivance: a visual history of the ho-chunk nation, 1879–1960s Museum research Center, 135 Grant Ave. $5. Members and Business Partners Free friday, may 16

9 am–3 Pm

walks in the american west: exploring northern new mexico acequias with orlando romero

Meet at the Museum education Annex, 123 Grant Avenue $95. Members and Business Partners, $90. reservations required by Monday, May 12 12:3o Pm

wednesday, may 28

loo’k closer: art talk at lunchtime

Georgia O’Keeffe Museum, 217 Johnson St. Free with Museum admission 6 Pm

wednesday, may 28

interrogating Performativity: role Playing and artistic Production in 1960s los angeles

505-428-1501

Museum research Center, 135 Grant Ave. $5. Members and Business Partners, Free

505-428-1731 505-428-1271 505-428-1731 505-428-1276 505-428-1744 505-428-1323 505-428-1665

May 26— SFCC closed for Memorial Day May19-23— Mondays-Fridays, 9 a.m.-5:30 p.m. Unique film workshop: Eco Journalism and Global Sustainability. 505-428-1738, filminfo@sfcc.edu

MORE AT WWW.SFCC.EDU

workshoPs thursday, may 8

1o am–3:3o Pm

iPad Photo experimania

Museum education Annex, 123 Grant Ave. $75. Members and Business Partners, $70 Space is limited; reservations required by Tuesday, May 6 tuesday, may 13

6–8 Pm

Painting loose, colorful tropical florals

Museum education Annex, 123 Grant Ave. $8. Members and Business Partners $5

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7–9 Pm

exhibition opening reception art spring: new mexico school for the arts

Museum education Annex, 123 Grant Ave. Free

family Program

Free for children 4–12 accompanied by an adult saturday, may 17

oceans to deserts

9:3o–11:3o am

Meet at the Georgia O’Keeffe Museum, 217 Johnson St. Free

readers’ club tuesday, may 2o

6–7:3o Pm

Priceless: How I Went Undercover to Rescue the World’s Stolen Treasures

Museum education Annex, 123 Grant Ave. Free

6401 Richards Ave., Santa Fe, NM 87508

EMPOWER STUDENTS, STRENGTHEN COMMUNITY. EMPODERAR A LOS ESTUDIANTES, FORTALECER A LA COMUNIDAD. PASATIEMPO I April 25 - May 1, 2014

wednesday, may 14

505-428-1744

SFCC Governing Board Meeting 5 p.m., Board Room 505-428-1148 Board packet materials and information at www.sfcc.edu/about_SFCC/governing_board.

GED Graduation 5:30 p.m., Witter Fitness Education Center 505-428-1356 Opening Reception: Jewelry Department Certificate Graduates Exhibit 5 p.m., Red Dot Gallery 505-820-7338

LEARN MORE. 505-428-1000 www.sfcc.edu

8:3o–9:45 am

Jemez mountains restoration Project

Erica Abeyta Graphic Artist SFCC Class of 2013 A.A.S. in Media Arts

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I N THE ATTI C Paul Weideman I The New Mexican

T

Finding Vivian Maier, documentary, not rated, Center for Contemporary Arts, 3.5 chiles he startling body of work by Vivian Maier, a previously unknown street photographer, came to light a few years ago (and was the subject of a solo show staged by Monroe Gallery of Photography in 2012). In the film Finding Vivian Maier, opening Friday, April 25, at the Center for Contemporary Arts, we discover Maier the woman, and it’s no less revelatory.

John Maloof, who shares the directing credit with Charlie Siskel, begins with his experience buying boxes of photographic negatives at a Chicago thrift auction house in 2007. He has Maier’s name but can find nothing about her in a preliminary internet search.

He puts up 200 of her wonderful black-and-white images on a photo blog, and then he adds a link to Flickr. “That post went insane,” he recalls, “so I went on this mission to piece together the rest of her work.”

After finding a Maier obituary online, he tracks down a man in Highland Park, Illinois, who had her as his nanny. “A nanny,” Maloof says. “Why is a nanny taking all these photos?” Charged with a mission now, Maloof keeps scanning her negatives and begins processing the 2,700 rolls of exposed film that Maier left behind, undeveloped.

The unbelievable bottom line in her story is that she took at least 100,000 pictures and apparently never shared them with anyone during her lifetime.

This is superb street photography, mostly focusing on people on the streets of New York and Chicago. There are also thousands of photos from her 1959 travels in Thailand, India, Egypt, Yemen, and in several South American countries.

The great majority of her images are in the square format of her Rolleiflex twin-lens-reflex cameras.

These are visible in most of her self-portraits. The Rollei is a great “disguise camera,” the seasoned street photographer Joel Meyerowitz says in the film. He referred to the fact that you don’t hold a Rolleiflex up to your face like most other cameras; you hold it at belly or chest level and look down into it. “You can be kind of secretive down there,” Meyerowitz says. The way Maier used it, shooting standing people’s faces at close range from that low perspective, gave her subjects “a towering magnitude.”

“She had a great eye ... and a sense of humor and a sense of tragedy,” veteran photojournalist Mary Ellen Mark comments in the film. “She would have been a famous photographer. ... Something was wrong. A piece of the puzzle is missing.” Carole Pohn, who was one of Maier’s few friends, says, “Obviously the woman was so creative, and it must have been galling to just be a maid, wash the floors, making some lunch and dinner, taking care of kids.”

As Maloof delves into Maier’s past, a portrait of a most eccentric and mysterious woman gets clearer. For one thing, she was a pack rat. He systematically examines her boxes. “She had stuff wedged and hidden in everything that she had, almost like it’s a secret little hiding spot for all of her little things: a coupon, a note, a flier,

bus passes, the train cards, her hats, shoes, her coats, her blouses. I have uncashed income-tax checks from the government amounting to thousands of dollars.”

Among the dozens of people who are interviewed onscreen are individuals for whom she served as a nanny and others who were her employers. One of the latter was Phil Donahue. She was his housekeeper for most of a year when he was a single parent. She photographed him at home, and he remembers her taking a picture inside a garbage can. “I thought, well, you know, they laughed at Picasso,” he tells the filmmaker.

Maier was quite tall. She preferred the tailoring of men’s shirts, and she liked wearing “army boots,” which was one of her nicknames. She was a customer at Eureka! Antiques and Collectibles in Evanston. Its owner tells Maloof how Maier walked, clomping along deliberately and swinging her arms up high like “sort of a Nazi march.”

Linda Matthews, whose attic room was Maier’s home for years, says Maier had a very good lock put on the door. Another interviewee remembers Maier telling her never to open the door to her room. Matthews did have occasion to enter that attic room and found that the nanny had a very narrow path through stacks of newspapers almost to the ceiling. She says Maier believed people were spying on her at home.

One man says the nanny-photographer was mean, that she had a particular anger toward men. She reportedly was afraid of being touched, and she thought men were ready to attack her. One woman interviewed, who says Maier was her governess, mentions that she imposed on people, even taking pictures when people were crying or hurt. This woman says the photographer enjoyed “the bizarre, the incongruous, not sweetness and light,” and she claims that “Miss Maier” force-fed her and hit her. However, more than one of the interview subjects told the director that the nanny loved children, and the grown Gensburg children, whom she nannied for years, helped pay for an apartment when she became elderly. “I think her pictures show a tenderness [and an] instant alertness to human tragedies and those moments of generosity and sweetness,” Meyerowitz says.

There is a debate as to whether her “French accent” was fake or not. In one of several interview clips, Barry Wallis, a Ph.D. in linguistics, is convinced it was a fake. She stubbornly resisted providing her real name.

People who knew her said she wanted them to call her “Viv” or “Vivian,” “Miss Maier,” “B. Mayer,” “V. Smith,” and many other variations. When Barry Wallis asked her what she did, she said, “I’m sort of a spy.”

In the movie, genealogist Michael Strauss says Maier and her parents and a brother all seemed to have been private and to want nothing to do with the rest of the family. But Maloof zeroes in on her heritage. Comparing steeples in her photographs leads him to a village in the French Alps called Saint-Bonnet-en-Champsaur. The mayor tells him that people remember her because she was “completely different.” After all, in the 1950s people didn’t take pictures except at weddings.

The last of Maier’s cousins brings out her mother’s old box camera and pictures of Maier as a young girl.

Then Maloof locates a French photo lab that had made postcards for Maier from her landscape photos. In a letter, she asks if the lab will make more prints for her. Earlier in the story, Maloof confides feeling “a little uncomfortable or guilty exposing the work of a person who did not want to be exposed.” After talking to the proprietor of that lab in France, he’s feeling better about it. “Vivian knew that she was a good photographer, and she knew that these photographs were good. She wanted to show them to people. She may not have had that happen when she was alive, but we’re doing it now.”

Now the story of her life is filled out. Maier was born in 1926 in the Bronx. She lived in France during much of her childhood and in her early 20s began taking pictures with a Kodak Brownie box camera. In 1951, she returned to the United States and began working as a nanny and caregiver. She bought her first Rolleiflex TLR the following year. Later in her life, she began shooting in color, using a 35mm camera.

By the early 2000s, everything went into storage, and Maier had stopped using a camera. At times in her later years she was homeless. She went through dumpsters and ate food cold out of the can, according to a man who used to sit next to her on a park bench. He told Maloof that she fell in the park one day and was taken away in an ambulance. “Nobody in the neighborhood ever knew what happened to her,” he says. Maier died on April 21, 2009, at age 83.

As the film wraps up, Maloof says he has a New York lab scanning a few thousand of her negative frames each week. One special challenge is in editing: no one knows which frames Maier would have chosen to print. “We’re seeing work now that Vivian never saw herself,” he says. Maier’s work is now being shown around the world, including in Saint-Bonneten-Champsaur.

The end impression after seeing Finding Vivian Maier? The details of her very peculiar personality have the slight edge over her photography — unfortunately, but unavoidably. ◀ “Finding Vivian Maier” opens at the Center for Contemporary Arts (1050 Old Pecos Trail) on Friday, April 25. Call 505-982-1338 or visit www.ccasantafe.org.

Vivian Maier: Woman at the New York Public Library; opposite page, self-portrait; both courtesy the Maloof Collection

PASATIEMPOMAGAZINE.COM

37

MOVING IMAGES film reviews

A spice odyssey Michael Abatemarco I The New Mexican Jodorowsky’s Dune, documentary, rated PG-13, in English, French, German, and Spanish with subtitles, Center for Contemporary Arts, 3 chiles After the success of the cult films El Topo (1970) and The Holy Mountain (1973), producers were more than willing to finance visionary director Alejandro Jodorowsky’s next venture. When asked what kind of picture he wanted to make, Jodorowsky answered “Dune.” He had never read Frank Herbert’s beloved sci-fi opus, but he knew it was a high-water mark in the genre. After securing financial backing, what followed was an ambitious, perhaps too ambitious, undertaking. Jodorowsky’s Dune chronicles the director’s efforts to assemble cast and crew for the creation of an innovative and quixotic film. But in the end, the adaptation was never made, at least not

by Jodorowsky.

Step by step, Jodorowsky guides us through the early stages of the ill-fated film’s development. He sought out an artist to storyboard the production. French illustrator Jean Giraud, who goes by the pseudonym Moebius, signed on, and filmmaker and artist sketched out the entire production, with a script by Jodorowsky.

Early in Frank Pavich’s documentary, Dune seems fated to be made as coincidence after coincidence piles up.

Everyone Jodorowsky wanted for the project gravitated to him as if by magic. Soon, other artists came aboard, including Dan O’Bannon, who was in charge of visual effects for John Carpenter’s Dark Star (1974), and Swiss surrealist artist H.R. Giger. When it came time to begin assembling a cast, Jodorowsky went to great lengths to get his dream team. The cast included David Carradine, Mick Jagger, and Salvador Dalí — whom the director courted over months. Dalí’s fee to do the picture was $100,000 per minute of screen time. Jodorowsky also found a very overweight Orson Welles gorging on a meal in his favorite restaurant.

Welles agreed to act in the film after the director promised to hire the restaurant’s chef so Welles could eat like a king on set. Jodorowsky’s opening shot for Dune, depicted in the documentary in an animated sequence using Giraud’s original artwork, was directly inspired by Welles’ celebrated tracking shot at the beginning of Touch of Evil (1958). Jodorowsky’s son Brontis, who had appeared in El Topo, trained for two years to star as the film’s lead, Paul Atreides, learning swordplay and fighting techniques. Pink Floyd signed on to score certain sequences. Moreover, the illustrated script, replete with production notes, wardrobe details, and color reproductions of artists’ set concepts, was beautifully produced. Those who saw the script considered it a work of art in itself. Copies were sent to the major studios in Hollywood, and presumably they’re still there.

Pavich had plenty of access to Jodorowsky, who is now in his 80s, while making Jodorowsky’s Dune.

Jodorowsky’s narration dominates the film. He envisioned the project as a spiritual experience and potential masterpiece, and he brought to his adaptation of the novel a metaphysical, wildly imaginative dimension. We don’t get an opposing viewpoint, but there are hints that Jodorowsky’s ego got in his way.

There was no way the film could be cut to run in what the Hollywood studios saw as an acceptable screen time: an hour and a half. The epic sci-fi film — intended, according to the director, to produce a hallucinatory experience in the viewer, not unlike LSD — would have run at least 12 hours long. In the end, he refused to compromise his vision for what he describes at one point in the documentary as the most important film in the history of humanity.

Jodorowsky is an irascible figure in the world of cinema. El Topo and The Holy Mountain had been plagued with legal troubles after John Lennon’s manager, Allen Klein, who owned the rights to the films, refused to distribute them in retribution for Jodorowsky pulling out of another film project Klein hoped to finance. The rights to Dune were sold to producer Dino De Laurentiis, who didn’t want Jodorowsky as director, and the plans for Jodorowsky’s adaptation were scrapped. De Laurentiis got a film version of the Herbert novel made some years later, with director David Lynch at the helm.

Despite the sense that Jodorowsky’s adaptation would be reviled by Herbert fans for its extensive liberties with the source, Dune could have been a cinematic wonder. Instead, the artistic team he assembled got scooped up to work on other projects. O’Bannon, Giger, and artist Chris Foss went on to work on 1979’s Alien. Concept art for Jodorowsky’s Dune was incorporated into films as recent as Ridley Scott’s Prometheus (2012). Jodorowsky and Giraud lifted ideas from the project for later comic-book collaborations such as The Metabarons and The Incal. But Jodorowsky’s cinematic inclinations waned as he immersed himself in other projects, including the restoration of a 15thcentury tarot deck. Nine years passed between 1980’s Tusk and his psychological horror film Santa Sangre, and 23 years between The Rainbow Thief (1990) and 2013’s Dance of Reality, during which time he tried, unsuccessfully, to get financing for a sequel to El Topo.

Remaining steadfast to his ideals may mean that his films seldom got made, but for those who’ve seen the few films that make up Jodorowsky’s oeuvre, they make an indelible impression. ◀

Jean “Moebius” Giraud’s costume designs for Alejandro Jodorowsky’s Dune; top, Alejandro Jodorowsky (left) and Giraud (right)

38

PASATIEMPO I April 25-May 1, 2014

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MOVING IMAGES

“Grand isn’t Good enouGh a word for this ‘Budapest hotel.’

film reviews

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eXClusiVe enGaGement now playinG

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Rage in the Cage Robert Ker I For The New Mexican Joe, Southern gothic, rated R, The Screen, 3.5 chiles

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PASATIEMPO I April 25-May 1, 2014

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When Nicolas Cage won the Academy Award for his role in 1995’s Leaving Las Vegas, the general feeling was that the indie-film maverick had finally gotten his due and was about to graduate to prestige cinema. When he followed that up with big, muscle-bound action roles in The Rock, Con Air, and Face/Off, people reacted as if this was a betrayal of his acting pedigree.

This was confirmed in the last decade, as his unpredictable career moves and cartoonish performances completed his evolution into a punchline.

But who is the joke on? You never know where Cage’s muse will take him, which makes him exceedingly vital; he is among the bravest actors, in part because he’s so comfortable with people thinking he’s a joke.

And so it was only a matter of time before he worked with director David Gordon Green, who won over the folks at Sundance and the Criterion Collection with gems such as 2000’s George Washington before disappointing the arthouse crowd with over-the-top stoner comedies like 2011’s Your Highness. With Joe, Green and Cage tone down their absurdist side and spin a low-key Southern gothic tale that grips you tightly until the very last frame.

Cage plays the title character, an ex-con who oversees a crew that poisons weak trees so they can replace them with more-sturdy pines.

A boy named Gary (Tye Sheridan of 2012’s Mud) approaches him for work, and Joe — impressed by Gary’s work ethic and troubled by his abusive home life — takes the kid under his wing. Together, the two of them try to adhere to the goodness in their hearts rather than their angry impulses.

Theirs is an environment saturated in alcohol and violence. Even calm moments ripple with the threat of explosion, as reflected by Joe’s dog — a powerful animal that is tender with Joe but willing to bloody its fur when necessary. The film has a tone that is almost humid. The score hums like a swarm of locusts, and Tim Orr’s cinematography evokes the hopelessness of this wood and rust landscape.

Cage is exemplary; the actor reminds us what he can do when he’s not expressing character through his hair and shouting with wild eyes and his neck craned at odd angles. His performance is tempered and full of layers and history, and Joe appears to physically accumulate emotional weight as the film goes on.

This might be seen as the first step in a Matthew McConaugheylike resurgence for Cage, but not so fast. This year will see him taking on the Russian mob in Tokarev, battling a Chinese emperor in the martial-arts movie Outcast, and starring in a new adaptation of the Christian-apocalypse novel Left Behind. Start getting your jokes ready. ◀

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CENTERPIECE ©2013 RAVINE PICTURES, LLC. ALL RIGHTS RESERVED.

Fri-Sun April 25-27

12:00p 1:00p 2:15p 3:00p 4:00p 5:15p 6:15p 7:30p 8:30p -

- Particle Fever Jodorowsky’s Dune* Vivian Maier Under the Skin* Particle Fever Vivian Maier* Under the Skin Jodorowsky’s Dune* Under the Skin

Mon, Weds & Thurs April 28, 30 & May 1

2:15p 3:00p 4:00p 5:15p 6:15p 7:30p 8:30p

-

Vivian Maier Under the Skin* Particle Fever Vivian Maier* Under the Skin Jodorowsky’s Dune* Under the Skin

2:15p 3:00p 4:00p 5:15p 6:15p 7:30p

Tues April 29

-

Vivian Maier Under the Skin* Particle Fever Vivian Maier* Under the Skin NOW: In The Wings on a World Stage* 8:30p - Under the Skin

Concessions Provided by WHOLE FOODS *MARKET indicates shows will be in The Studio PASATIEMPOMAGAZINE.COM

41

MOVING IMAGES pasa pics

— compiled by Robert Ker

to the goodness in their hearts rather than their angry impulses. You may guess how successful they are, but this is gripping cinema all the same. Actor Ronnie Gene Blevins appears at the 7 p.m. Thursday, May 1, screening only. Rated R. 118 minutes. The Screen, Santa Fe. (Robert Ker) See review, Page 40.

LOCKE The latest entry in the New York Film Critics series is this thriller starring Tom Hardy as a man who receives a mysterious phone call that sets him on a drive that could unravel his whole life. Writerdirector Steven Knight (writer of Eastern Promises) and critic Peter Travers hold a simulcast Q & A after the screening. 7 p.m. Tuesday, April 29, only. Rated R. 85 minutes. The Screen, Santa Fe. (Not reviewed)

Where’d you get those peepers? The Other Woman, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week BRICK MANSIONS If you fall anywhere in the Venn diagram of those who rallied around the 2004 French action film District 13 and those who were crushed by the death of Paul Walker, you have to see this District 13 remake, which stars Walker in one of his final roles. He plays an undercover cop whose task is to infiltrate dangerous, walled-off housing projects in a dystopian Detroit. RZA is the villain, and District 13 star David Belle co-stars, in a flurry of punching, kicking, running up walls, jumping down stairwells, and so on. Rated PG-13. 90 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) FINDING VIVIAN MAIER Photography fans were astounded when the previously unknown work of Vivian Maier was discovered in the late 2000s. Here, director John Maloof interviews dozens of acquaintances of the late nanny-photographer, filling out the story of a most peculiar woman. Maloof appears via Skype following the 5:15 p.m. screenings Friday to Sunday, April 25 to 27, only. Not rated. 83 minutes. Center for Contemporary Arts, Santa Fe. (Paul Weideman) See story, Page 36.

42

PASATIEMPO I April 25-May 1, 2014

JODOROWSKY’S DUNE Visionary filmmaker Alejandro Jodorowsky’s efforts to bring an adaptation of Frank Herbert’s sci-fi novel Dune to the screen are the subject of this engaging documentary. Jodorowsky assembled a first-class group of artists to realize his vision and recruited some of his own idols, including Orson Welles and Salvador Dalí, for the cast.

Based on the director’s storyboards, Dune would have been a wonder to behold, full of the symbolic and psychedelic imagery that made his earlier films cult classics. But pressure to cut its excessive length pitted Jodorowsky against the studio, and the film was never made as he intended. Its failure leaves you aching to see what Dune could have been if it had been left in his hands. Rated PG-13. 90 minutes. In English, French, German, and Spanish with subtitles.

Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) See review, Page 38.

JOE Actor Nicolas Cage and director David Gordon Green have individually frustrated audiences with their combination of highbrow talent and lowbrow taste. Here they collaborate on a sweltering slice of Southern gothic. Cage brilliantly plays the title character, an ex-con who oversees a rural landscaping crew. A boy named Gary (Tye Sheridan) approaches him for work, and Joe — impressed by Gary’s work ethic and troubled by his abusive home life — takes the kid under his wing. Together, they try to adhere

MARTIN SCORSESE PRESENTS: MASTERPIECES OF POLISH CINEMA This series of Polish classics, most of them seldom seen in the U.S., covers three decades, from the mid-’50s to the mid-’80s. The 21 films include work by Andrzej Wajda, Andrzej Munk, and Krzysztof Kieslowski. Krzysztof Zanussi’s The Illumination (1972, 93 minutes) is shown on Saturday, April 26, and Wednesday, April 30, at The Screen, Santa Fe. Wojciech Has’ The Hour-Glass Sanatorium (1973, 124 minutes) screens on Sunday, April 27, and Tuesday, April 29, at the Jean Cocteau Cinema, Santa Fe. Not rated. In Polish with subtitles. ( Jonathan Richards) THE MET IN HD: COSÌ FAN TUTTE Susanna Phillips and Isabel Leonard star in this staging of Mozart’s opera, which is broadcast live from the Met. James Levine conducts. With Matthew Polenzani, Rodion Pogossov, and Danielle de Niese.

11 a.m. Saturday, April 26. Lensic Performing Arts Center, Santa Fe. (Not reviewed) NOW YOU SEE ME Assemble a highly watchable cast, which includes Woody Harrelson, Jesse Eisenberg, Morgan Freeman, Michael Caine, Mark Ruffalo, and Mélanie Laurent. Then roll out a crackerjack setup: four illusionists perform a trick in Las Vegas in which one of their audience members is “teleported” to Paris to rob a bank. As the FBI and an opportunist who exposes magicians’ secrets close in on the illusionists, make every scene interesting. Abracadabra! You have a movie that’s wildly entertaining, despite having to cheat to connect all the dots. Rated PG-13. 116 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) THE OTHER WOMAN Mark (Nikolaj CosterWaldau, Game of Thrones) is such a ladies’ man — and such a big jerk — that not only does he have a wife (Leslie Mann), but he has another woman (Cameron Diaz) and another other woman (Kate Upton). What happens when the women in this

comedy all find out about each other? Nothing good for Mark, that’s what. Rated PG-13. 109 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE QUIET ONES Jared Harris (the British bloke from Mad Men) plays a college professor who seeks to disprove the existence of the supernatural. He and some students retreat to an old country house (bad sign #1), where there exists a toddler who only one of them sees (#2). As they try to transfer their negative energy to a creepy doll (#3), some of them develop strange symbols on their bodies (#4). How many bad signs do you need? Get out of there! Rated PG-13.

98 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) SANTA FE FILM FESTIVAL The festival, now in its 14th year, presents a 7 p.m. Wednesday, April 30, screening of Big Significant Things, starring Harry Lloyd (in attendance) as a 26-year-old who casts off all relationships to take a solo road trip through the South. The festival opens on Thursday, May 1, with films including An Honest Liar, the story of magician James “The Amazing” Randi; Walk On, about an HIV-positive disabled man training for an AIDS Walk; Salt of the Earth, the 1954 classic about striking New Mexico miners; and I Always Said Yes: The Many Lives of Wakefield Poole, which follows Poole’s transition from dancer to director of erotic films and activist.

Most selections are paired with shorts. The festival runs through May 4. Among the events are parties and a free Jesse Bridges concert at 8 p.m. Thursday. Visit www.santafefilmfestival.com or call 505-988-7414.

Wednesday and Thursday screenings are at the Jean Cocteau Cinema, Santa Fe. (Loren Bienvenu) WALKING WITH THE ENEMY Jonas Armstrong plays Elek Cohen, a Jewish man in World War II-era Hungary who steals a Nazi uniform to go undercover and try to save what’s left of his family, along with as many other Jewish lives as he can. Inspired by a true story. Ben Kingsley co-stars. Not rated. 124 minutes.

Regal Stadium 14, Santa Fe. (Not reviewed)

now in theaters ALAN PARTRIDGE After decades of radio and TV appearances, Steve Coogan (Philomena) finally brings his talk-show-host character Alan Partridge to the big screen. In terms of the sheer number and variety of successful jokes, it is one of the funniest films in years. Partridge’s life as a small-time radio host in

Norwich requires little back story, as does his character — rich with an inflated sense of self that is swiftly shown to be tempered by insecurity about being too old to be hip. The film finds a radio station taken hostage by a gunman, and only Partridge can save the day — and, along the way, his brand. Rated R. 90 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) BEARS The Disneynature documentary series adds narratives to the lives of animals and presents the natural world in a kid-friendly way. Here, John C. Reilly tells the story of a brown bear and her two cubs making their way in the Alaskan wilderness.

Rated G. 77 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) CAPTAIN AMERICA: THE WINTER SOLDIER Following the events in The Avengers, the star-spangled superhero (Chris Evans) returns to fight an evil plan that is ridiculous even by funnybook standards. There are some neato action effects, and some supporting characters work — Robert Redford, as a world security council leader, proves he still looks better than you do in a fitted suit vest, while Scarlett Johansson once more makes the case for a Black Widow solo film. Otherwise, the humor is missing, the film is too violent for a theater full of kids, and there’s too much of the story — by the time it’s over, you’ll feel like you’ve been frozen in ice since the 1940s. Rated PG-13. 135 minutes.

Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) DIVERGENT Need something to keep you occupied until the next Hunger Games film arrives? Try this, based on the first book in Veronica Roth’s popular YA series. It’s set in postapocalyptic Chicago, where society is organized into five factions. As teenagers, everyone takes a test to determine the group for which they’re best suited, but some, such as Tris (Shailene Woodley), can’t be easily sorted. She keeps her “divergence” hidden as she begins her training, senses romantic sparks with an instructor (Theo James), and learns that one faction is plotting to overthrow the government. The performances are solid; the leads have great chemistry; and the pacing mostly keeps you engaged. But the way the story unfolds is predictable — unfortunate for a film about thinking for yourself. Rated PG-13.

143 minutes. Regal Stadium 14, Santa Fe. (Laurel Gladden) DRAFT DAY Kevin Costner has played many men with difficult jobs, from hitmen to secret-service agents, but none more difficult than this: the general

manager expected to turn around the NFL’s Cleveland Browns. This film, by director Ivan Reitman, shows us the pressure he faces balancing big egos, strong personalities, and gifted players on draft day.

Rated PG-13. 103 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) GLORIA In Santiago, Chile, an outgoing sexy divorcée (Paulina García) with a youthful spirit makes a fresh start at dating in this lighthearted but keenly observed film about the challenges of finding love later in life. After meeting a former naval officer (Sergio Hernández) who owns a paintball park, Gloria is swept into a whirlwind romance. She’s a woman seeking freedom from the past, and he’s a man who can’t let go of his.

García gives a strong but measured performance.

Rated R. 110 minutes. In Spanish with subtitles.

Regal DeVargas, Santa Fe. (Michael Abatemarco) GOD’S NOT DEAD Kevin Sorbo plays a college professor who loses his faith and teaches his students that God is dead until a plucky freshman (Shane Harper) challenges him. Willie Robertson, one of the Duck Dynasty dudes, appears as himself. Rated PG. 113 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE GRAND BUDAPEST HOTEL It is truly a joy to witness the work of Wes Anderson, who devotes such attention to his creative vision that he crafts his own singular world. This time, Anderson tells a tale of an Eastern European hotel manager (Ralph Fiennes) who is willed a priceless painting by a former lover (Tilda Swinton). This angers a relative (Adrien Brody), who feels he should be the true heir. For some of his new tricks, Anderson adds suspense worthy of Hitchcock or Carol Reed to his impeccably designed “dollhouse” aesthetic. Willem Dafoe, Jeff Goldblum, Edward Norton, Jude Law, and Harvey Keitel co-star in this caper, which plays out like a youth novel or board game. Rated R. 100 minutes.

Regal DeVargas, Santa Fe. (Robert Ker) HEAVEN IS FOR REAL This movie, based on the book Heaven Is for Real: A Little Boy’s Astounding Story of His Trip to Heaven and Back (co-written by Lynn Vincent, who helped Sarah Palin write Going Rogue), recalls the account of Colton Burpo, the young son of a Nebraska pastor (Greg Kinnear) who dies on an operating table, goes to heaven, and comes back to tell the tale. Rated PG. 100 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) continued on Page 44

PASATIEMPOMAGAZINE.COM

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MOVING IMAGES pasa pics

continued from Page 43

A HAUNTED HOUSE 2 In the 2000s, we had an endless string of lame Scary Movie films, in which some of the Wayans brothers spoofed the latest horror flicks. Now we have the lame A Haunted House films, in which one of the brothers spoofs the latest horror flicks. Rated R. 87 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) LE WEEK-END Meg (Lindsay Duncan) and Nick (Jim Broadbent) are a not-veryhappily-married couple from Birmingham who have decided to perk things up for their 30th anniversary by returning to Paris, where they spent their honeymoon in happier days. The movie’s turning point comes when they run into an old Cambridge friend of Nick’s, a successful American economist ( Jeff Goldblum). For the most part, it’s an engaging story, although we are occasionally aware of manipulative button-pushing from director Roger Michell and screenwriter Hanif Kureishi. A conscious homage to Jean-Luc Godard’s New Wave classic Band of Outsiders is at work, providing a bittersweet perspective on youth to age. Rated R. 93 minutes. The Screen, Santa Fe ( Jonathan Richards) THE LEGO MOVIE Emmet Brickowski (voiced by Chris Pratt) is an ordinary LEGO worker in a city where everyone follows instructions to build the perfect world. Then he learns from some rebels that he can build whatever he wants, and they set out to defeat the evil President. What sounds like a long commercial is one of the best family films in recent years, with subversive humor, nifty twists, wild visuals, catchy music, guest spots by the likes of Batman, and an anarchic plot that snaps together as perfectly as a certain plastic toy. Rated PG. 101 minutes. Screens in 2-D only at Regal DeVargas, Santa Fe. (Robert Ker) THE LUNCHBOX This debut feature from Ritesh Batra focuses on a woman who seeks to connect with her distant husband. Ila (Nimrat Kaur) prepares a meal to be delivered to him in a lunchbox, but the food is mistakenly sent to Saajan (Irrfan Khan), who is mourning the loss of his wife. By exchanging notes in the lunchbox, the two begin to build a relationship.

Rated PG. 104 minutes. In Hindi with subtitles. Regal DeVargas, Santa Fe. (Not reviewed)

spicy

medium

bland

heartburn

mild

Read Pasa Pics online at www.pasatiempomagazine.com

44

PASATIEMPO I April 25-May 1, 2014

THE MONUMENTS MEN During World War II, the U.S. put together a team of art scholars and academics under the aegis of the military to try to locate art treasures looted by the Nazis. As the war wound down, it became apparent that the Germans were prepared to destroy these works if they couldn’t keep them. This is gripping, funny, and moving material, and George Clooney, wearing the hats of writer, director, producer, and star, has crafted a hugely enjoyable old-fashioned war movie. Rated PG-13. 118 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) MUPPETS MOST WANTED The latest Muppet caper involves an evil Kermit doppelgänger who tries to pull off the crime of the century while the real Kermit languishes in a Siberian gulag. The jokes land more often than in typical Hollywood comedies, and the music is uniformly wonderful and plentiful. However, parents will like it more than kids, and even parents will find it too long. As the great Statler once said, “They could improve this whole show if they just changed the ending … by putting it closer to the beginning!”

Ooooh-ho-ho-ho-ho-ho! Rated PG. 112 minutes.

Regal DeVargas, Santa Fe. (Robert Ker) NOAH Darren Aronofsky follows his decorated Black Swan by turning to the Old Testament and reimagining the story of Noah’s ark. The result is an ambitious, odd movie.

The first half combines elements of classic Bible epics, Lord of the Rings blockbusters, and Terrence Malick’s art films; in the more-pensive back half, Noah (Russell Crowe) ponders the full ramifications of God’s message to him. Concepts of faith, servitude, environmental preservation, and the responsibilities of dominion give viewers a lot to meditate on, even if these ideas are burdened by more-generic subplots of romance and revenge. As expected, Noah is often dreary, grim, and monochromatic, but Crowe wears the gravity well, and many thematic and visual aspects of the film linger long after the water recedes. Rated PG-13.

138 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) OCULUS Karen Gillan plays a young woman who attempts to free her brother (Brenton Thwaites) of murder charges by proving that some kind of horrible demon in the mirror in their house was the true killer.

Apparently tackling that creepy antique mirror in your attic late at night is still preferable to dealing with lawyers. Rated R. 105 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) PARTICLE FEVER Director Mark Levinson filmed events at the Large Hadron Collider as they unfolded during the most expensive scientific experiment to date,

during which scientists from more than 100 nations sought to prove or disprove the existence of the Higgs boson, a theorized elementary particle that would help explain how matter is given mass. The discovery of the boson is a dramatic and entertaining story that opens wide the door on a mystery of the universe that has been perplexing scientists since the 1960s, and it leaves you fascinated. Not rated. 99 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) RIO 2 The first Rio film, about a macaw from Minnesota (voiced by Jesse Eisenberg) that winds up in Rio de Janeiro, was a big hit in 2011. This time, Rio and his family are relocated to the Amazon rainforest — and rolling out more crazy music and zany characters. Rated G. 96 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) TRANSCENDENCE Johnny Depp plays a scientist who, when faced with death, has his consciousness uploaded into a computer, where he soon becomes all-powerful and highly corrupt. But does he hook up with Scarlett Johansson’s operating system from Her? Rated PG-13. 119 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) UNDER THE SKIN In Jonathan Glazer’s visually stunning, unsettling, and very loose adaptation of Michel Faber’s 2000 debut sci-fi novel, an alien takes the form of a human female (Scarlett Johansson) and cruises the streets of Glasgow in a van, preying on men. Her human emotions are learned and not pervasive. As the story wears on, however, we begin to see a gradual slide toward something approaching human empathy in the alien creature. It may be that after all, the most contagious thing in the universe is humanity. Rated R. 107 minutes. Center for Contemporary Arts, Santa Fe. (Jonathan Richards)

other screenings Center for Contemporary Arts 7:30 p.m. Tuesday, April 29: NOW: In the Wings on a World Stage.

Jean Cocteau Cinema 11:15 p.m. Friday & Saturday, April 25 & 26: The Invasion of the Bee Girls.

7 p.m. Wednesday, April 30: Big Significant Things.

Regal Stadium 14 7 p.m. Thursday, May 1: The Amazing Spider-Man 2.

Screens in 3-D and 2-D. 2 p.m. Sunday, April 27: 2 & 7 p.m. Wednesday, April 30: Gladiator. ◀

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

CCA CINEMATHEQUE AND SCREENING ROOM

1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Finding Vivian Maier (NR) Fri. to Thurs. 2:15 p.m., 5:15 p.m.

Jodorowsky’s Dune (PG-13) Fri. to Sun. 1 p.m., 7:30 p.m. Mon. 7:30 p.m. Wed. and Thurs.

7:30 p.m.

NOW: In the Wings on a World Stage (NR) Tue. 7:30 p.m.

Particle Fever (NR) Fri. to Sun. 12 p.m., 4 p.m.

Mon. to Thurs. 4 p.m. g Under the Skin (R) Fri. to Thurs. 3 p.m., 6:15 p.m., 8:30 p.m.

JEAN COCTEAU CINEMA

418 Montezuma Avenue, 505-466-5528 www.jeancocteaucinema.com Alan Partridge (NR) Fri. 4 p.m. Sat. 6:30 p.m.

Sun. 4:15 p.m., 8:30 p.m. Tue. 1 p.m. Wed. 2:30 p.m., 4:30 p.m.

Big SignificantThings (NR) Wed. 7 p.m.

Field of Amapolas (NR) Thurs. 10:45 a.m.

An Honest Liar (NR) Thurs. 1 p.m.

The Hour-Glass Sanatorium (NR) Sun. 1:30 p.m.

Tue. 3 p.m.

I Always Said Yes:The Many Lives Of Wakefield Poole (NR) Thurs. 8:15 p.m.

The Invasion of the Bee Girls (R) Fri. and Sat.

11:15 p.m.

Now You See Me (PG-13) Fri. 8:30 p.m.

Sat. 4:15 p.m. Sun. 6:15 p.m.

The Salt of the Earth (NR) Thurs. 6 p.m.

Walk On (NR) Thurs. 3:30 p.m.

REGAL DEVARGAS

562 N. Guadalupe St., 505-988-2775, www.fandango.com Call theater or see website for times not shown.

Gloria (R) Fri. and Sat. 1:50 p.m., 4:40 p.m., 7:20 p.m., 9:50 p.m. Sun. 1:50 p.m., 4:40 p.m., 7:20 p.m.

The Grand Budapest Hotel (R) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7:10 p.m., 9:30 p.m. Sun. 1:10 p.m., 4:10 p.m., 7:10 p.m.

The Lego Movie (PG) Fri. and Sat. 1:20 p.m., 4:20 p.m., 6:50 p.m., 9:35 p.m. Sun. 1:20 p.m., 4:20 p.m., 6:50 p.m.

The Lunchbox (PG) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. 1:30 p.m., 4:30 p.m., 7:30 p.m.

The Monuments Men (PG-13) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:40 p.m. Sun. 1 p.m., 4 p.m., 7 p.m.

Muppets Most Wanted (PG) Fri. and Sat. 1:15 p.m., 3:50 p.m., 7:05 p.m., 9:45 p.m. Sun. 1:15 p.m., 3:50 p.m., 7:05 p.m.

REGAL STADIUM 14

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

The Amazing Spider-Man 2 3D (PG-13)

Thurs. 7 p.m., 9 p.m., 10:15 p.m.

The Amazing Spider-Man 2 (PG-13) Thurs. 7:15 p.m., 9:30 p.m., 10:30 p.m.

Bears (G) Fri. to Wed. 12:30 p.m., 2:40 p.m., 5 p.m., 7:10 p.m., 9:20 p.m.

Brick Mansions (PG-13) Fri. to Wed. 12:30 p.m., 3 p.m., 5:20 p.m., 7:40 p.m., 10:10 p.m.

Captain America:The Winter Soldier (PG-13) Fri. to Wed. 1:10 p.m., 4:20 p.m., 7:25 p.m.

Captain America:The Winter Soldier 3D (PG-13) Fri. to Wed. 10:25 p.m.

Divergent (PG-13) Fri. and Sat. 1:15 p.m., 7:20 p.m.

Sun. 7:20 p.m. Mon. and Tue. 1:15 p.m., 7:20 p.m.

Draft Day (PG-13) Fri. to Wed. 1:35 p.m., 4:35 p.m.,

7:35 p.m., 10:20 p.m.

Gladiator (R) Sun. 2 p.m. Wed. 2 p.m., 7 p.m.

God’s Not Dead (PG) Fri. to Wed. 12 p.m.,

2:40 p.m., 5:15 p.m., 7:50 p.m., 10:25 p.m.

A Haunted House 2 (R) Fri. to Wed. 12:15 p.m., 2:35 p.m., 5:10 p.m., 7:25 p.m., 9:40 p.m.

Heaven Is for Real (PG) Fri. to Wed. 12:05 p.m., 2:40 p.m., 5:15 p.m., 7:50 p.m., 10:25 p.m.

Noah (PG-13) Fri. to Wed. 12:50 p.m., 4:05 p.m., 7:20 p.m., 10:25 p.m.

Oculus (R) Fri. and Sat. 4:30 p.m., 10:30 p.m.

Sun. 10:30 p.m. Mon. and Tue. 4:30 p.m., 10:30 p.m.

Wed. 10:30 p.m.

The Other Woman (PG-13) Fri. to Wed. 1 p.m., 4 p.m., 7 p.m., 9:50 p.m.

The Quiet Ones (PG-13) Fri. to Wed. 12 p.m., 2:30 p.m., 5 p.m., 7:40 p.m., 10:10 p.m.

Rio 2 (G) Fri. to Wed. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10:10 p.m.

Transcendence (PG-13) Fri. to Wed. 1:05 p.m., 4:10 p.m., 7:15 p.m., 10:15 p.m.

Walking WithThe Enemy (NR) Fri. to Wed. 12:50 p.m., 4:15 p.m., 7:25 p.m., 10:20 p.m.

“JOE

REMINDS US THAT NICOLAS CAGE IS A NATIONAL TREASURE.” “

HHHH”

ACADEMY AWARD ® WINNER

NICOLAS CAGE TYE SHERIDAN

THE SCREEN

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com The Illumination (NR) Sat. 10:30 a.m. Wed. 5 p.m.

Joe (R) Fri. to Mon. 2:30 p.m., 7 p.m., 9:15 p.m.

Tue. 2:30 p.m., 9:15 p.m. Wed. 2:30 p.m., 7 p.m., 9:15 p.m. Thurs. 11:45 a.m., 7 p.m.

Le Week-end (R) Fri. to Sun. 12:30 p.m., 5 p.m.

Mon. and Tue. 5 p.m. Thurs. 2 p.m.

Locke (R) Tue. 7 p.m.

EXCLUSIVE ENGAGEMENT STARTS TODAY SANTA FE The Screen (505) 473-6494

FORMERLY SANTA FE CONCERT ASSOCIATION

MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)

15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com Brick Mansions (PG-13) Fri. 4:45 p.m., 7:10 p.m., 9:40 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:10 p.m., 9:40 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:10 p.m.

Mon. to Thurs. 4:45 p.m., 7:10 p.m.

Captain America:The Winter Soldier (PG-13) Fri. 4:40 p.m., 7:40 p.m. Sat. and Sun. 1:50 p.m., 4:40 p.m., 7:40 p.m. Mon. to Thurs. 4:20 p.m., 7:15 p.m.

God’s Not Dead (PG) Fri. 4:55 p.m., 7:30 p.m., 9:55 p.m. Sat. 2:20 p.m., 4:55 p.m., 7:30 p.m., 9:55 p.m. Sun. 2:20 p.m., 4:55 p.m., 7:30 p.m.

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

A Haunted House 2 (R) Fri. 5 p.m., 7:35 p.m., 9:40 p.m. Sat. 2:30 p.m., 5 p.m., 7:35 p.m., 9:40 p.m.

Sun. 2:30 p.m., 5 p.m., 7:35 p.m. Mon. to Thurs.

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

Heaven Is for Real (PG) Fri. 4:45 p.m., 7:15 p.m., 9:35 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:35 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:15 p.m.

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

Noah (PG-13) Fri. 4:40 p.m., 7:35 p.m. Sat. and Sun. 1:45 p.m., 4:40 p.m., 7:35 p.m. Mon. to Thurs.

4:15 p.m., 7:20 p.m.

The Other Woman (PG-13) Fri. 4:30 p.m., 7 p.m., 9:45 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:45 p.m.

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

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

The Quiet Ones (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:50 p.m. Sat. 2:25 p.m., 4:50 p.m., 7:25 p.m., 9:50 p.m. Sun. 2:25 p.m., 4:50 p.m., 7:25 p.m.

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

Rio 2 (G) Fri. 4:35 p.m., 7:05 p.m., 9:30 p.m.

Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:30 p.m.

Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs.

4:35 p.m., 7:05 p.m.

Transcendence (PG-13) Fri. 4:35 p.m., 7:20 p.m., 9:55 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:20 p.m., 9:55 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:20 p.m.

Mon. to Thurs. 4:35 p.m., 7:20 p.m.

CHECK DIRECTORIES FOR SHOWTIMES NO PASSES ACCEPTED

present

InSight Foto, Inc.

N O S D BAN E! STAG

“Music Has No Rivalries”

An SFPS Band Student Concert, Grades 8 – 12 Students From All SFPS K8, Middle, and High Schools Guest Speaker – Dr. James Luján, SFPS Assistant Superintendent Guest Conductor of Star Spangled Banner – Santa Fe Mayor Javier Gonzales SFPS band students present a rousing and inspiring evening of concert music

Lensic Performing Arts Center Tuesday, April 29, 6:30 p.m.

Concert is Free, Donations Encouraged Underwritten by the Lynn Kraidin Memorial Fund.

PASATIEMPOMAGAZINE.COM

45

RESTAURANT REVIEW Laurel Gladden I For The New Mexican

Frankly delicious Wow Dawgs Eatery 3530 Zafarano Drive, Unit C3, 505-471-0108, www.wowdawgseatery.com Lunch & dinner 11 a.m.-7 p.m.

Sundays-Thursdays, 11 a.m.-8 p.m.

Fridays & Saturdays Takeout available Vegetarian options Noise level: lively, from conversations or the radio Handicapped accessible No alcohol Credit cards, no checks

•

The Short Order Wow Dawgs, a very bright, cheerful little joint that shares a south-side parking lot with Target and Albertsons, is a veritable shrine to the hot dog. The menu offers a dozen variations, from a basic Hebrew National frank like you’d get at a street cart and a classic chili dog to a Texas dog, Polish and pastrami dogs, and an approximation of that contentious beast, the Chicago dog.

The menu offers a few specialty veggie dogs, too, and if none of those strike your fancy, any other combination can get a meat-free modification. The generous salads are a pleasant, fresh surprise. Recommended: Wow veggie dawg, Guinness beer brat, chili dawg, Greek salad, and spinach salad.

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.

46

PASATIEMPO I April 25-May 1, 2014

If you’ve shopped on the south side or driven down Zafarano Drive on a busy weekend afternoon, you’ve probably noticed a guy in a bright orange getup standing on a corner blowing a whistle, waving, and generally whooping it up. Whether or not you consider this an effective marketing campaign, he’s trying to direct you to Wow Dawgs Eatery, a little hot-dog shop tucked into one of the business suites that shares a parking lot with Target and Albertsons.

It’s a veritable shrine to the hot dog. The menu offers a dozen variations, from a basic Hebrew National frank like you’d get at a street cart and a classic chili dog to a Texas dog, Polish and pastrami dogs, and an approximation of that contentious beast, the Chicago dog.

This isn’t a place to go if you’ve just had your eyes dilated or are prone to migraines. Two walls of tall windows allow dazzling sunlight to bounce off the brilliant orange interior walls and the orange PVC seats of the chairs. It’s a bright, cheerful joint, the sort where someone like Richie Cunningham or George Michael Bluth might get an easy but steady summer job to earn a little extra cash and goof around with friends when they drop by.

In addition to your dog, you’ll need to choose a bun — plain, the supersized “Wow,” wheat, sesame, and pretzel.

The pretzel bun had a chewiness to it, but the rest were overly soft and, in the presence of juicier toppings, quickly turned soggy. The bland wheat bun’s almost pumpernickel darkness is probably derived from caramel coloring or molasses (or both), rather than any substantial amount of whole grain.

Chicago expats who are very particular should probably steer clear. You’ll find no sport peppers or surreally neongreen relish here — no pickles of any kind, actually. The poppy-seed-dusted bun a purist desires isn’t among the choices. Instead of getting into a tizzy, though, you could relax and enjoy something that, while not strictly authentic, reminds you a little of home.

The traditional chili dog is as messy and gloppy as you’d expect, the chili more like chile than its con carne cousin, though we detected a few nuggets of meat in it. The cheese sauce, with its creaminess, created a nice balance for the chili’s sharp bittersweet spice, but its oozing, processed quality and nuclear-orange hue were off-putting. Maybe it was the inspiration for Wow Dawgs’ lurid decor.

For something with heft, go for the beer brat, a Guinness bratwurst with a pleasant, intriguing sweetness, aromatic spiciness, and only traces of its namesake stout’s flavor. No traditionalist would eat a brat with processed cheese sauce, spicy mustard, crunchy red onion, and fresh, fiery New Mexico green chile, but the flavors are bold and tonguetingling all the same.

If you’re health-conscious or a vegetarian, don’t dismiss Wow Dawgs. The menu offers a few specialty veggie dogs, and if none of those strike your fancy, any other combination can get a meat-free modification. The veggie franks

are smaller, but they have traces of that essential salty, smoky flavor and a good, toothy chew. The Wow Veggie Dawg — a skimpy frank garnished with black beans, red chile, onion, and sour cream — was an odd, disappointing mess I just didn’t get. The Veggie Dawg, though — topped with diced cucumber, tomato, and onion — made me feel like I was getting a welcome serving of vegetables.

As for accompaniments, Wow Dawgs serves sturdy and crisp but otherwise unexceptional onion rings and decent, starchy fries, cooked till ideally golden. We tried the Cajun variation, in which the spuds were dusted with a slightly spicy, very salty powder that reminded me of something from Zatarain’s or Tony Chachere’s. Be mindful of the thick, sweet, but not overly chocolatey milkshake, or you’ll drink it all and spoil your appetite.

To order a salad in a hot-dog joint might seem unwise but Wow Dawgs’ were a pleasant, fresh surprise. A mound of healthy-looking spinach mingles with mild feta, sweet-tart dried cranberries, nutty walnuts, and a sprightly, bracing lemon dressing. In the Greek, abundant crisp jade-green romaine tumbles with cucumber and tomato dice, more snowy feta, garbanzos, black olives (sadly, the tinny canned variety), and an herby vinaigrette.

On some days and at certain times, Wow Dawgs can be a place to go if you’re on a budget. The salads clock in at six bucks each, and on Wednesdays and from 2 to 5 p.m. on weekdays, dogs are 99 cents. You’ll pay a little extra for toppings like chili and cheese, but a plain ol’ dog for a buck?

That’s the sort of deal that might make you say, “Wow.” ◀

Lunch for three at Wow Dawgs Eatery: Guinness beer brat ......................................... $ 5.95 Traditional chili dawg .................................... $ 4.25 Greek salad .................................................... $ 5.95 Onion rings .................................................... $ 1.95 Large soda ...................................................... $ 2.00 TOTAL ........................................................... $ 20.10 (before tax and tip) Lunch for three, another visit: Veggie dawg ................................................... $ 4.50 Wow veggie dawg .......................................... $ 4.95 Spinach salad ................................................. $ 5.95 Cajun fries ..................................................... $ 1.75 Chocolate milkshake ..................................... $ 2.95 TOTAL ........................................................... $ 20.10 (before tax and tip)

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Trusted in Santa Fe for over 27 years 505-989-8749 gabrielroybal.com • 444 st. michaels dr. • santa fe, n.m.

Learn more about

Minimally Invasive Spine Surgery Saturday, May 3, 2014 • 9:00 am – 11:00 am Hotel Santa Fe 1501 Paseo de Peralta • Santa Fe, NM Join the doctors of CHRISTUS St. Vincent Neurosurgical Associates and learn about our dedicated Minimally Invasive Spine Surgery Program, offering excellence in successful outpatient spinal microsurgery right here in Santa Fe. If you are experiencing symptoms such as shooting arm or leg pain, with or without numbness and tingling, you may be a candidate for this innovative procedure.

Using the latest minimally invasive techniques and modern imaging technology, this procedure offers a high success rate along with the fastest possible recovery and return to full activity.

Space is limited.

Call 800-908-8126 to reserve your seat for this free event.

PASATIEMPOMAGAZINE.COM

47

Now AcceptiNg coNsigNmeNts For AuctioN August 16th, 2014 sANtA Fe

Join us for our Traditional Mother’s Day Grand Buffet Sunday, May 11 • 10 am to 5 pm A delightful feast for Mom, designed

by Executive Chef Christopher McLean and his culinary team. From a Seafood Extravaganza featuring Snow Crab Legs to Chef Carved Roast Turkey and Prime Rib of Beef plus an Array of Brunch Entrées.

Adults $52, Seniors $44 Children under 12 $21, Under 5 Free Eanger Irving Couse | 1866-1936 NA, TSA | Indian in Moonlight Oil on panel | 20 by 24 inches | Sold at auction for $90,000

For Complimentary art evaluation Submit artwork with inFormation to: inFo@altermann.Com

Reservations Required 505.819.4035 bishopslodge.com

viSit our webSite For artwork SubmiSSion and more inFormation altermann.com

505-983-1590

NOW serving our NEW Lunch Menu from 11 am to 2 pm

W

Wheelwright Museum OF THE AMERICAN INDIAN

W

April 26 10:00 a.m. – 2:00 p.m.

Case Trading Post

Artist at Work Series Charlene & Frank Reano Mosaic Inlay Jewelry

Free admission. Donations appreciated.

Wheelwright Museum of the American Indian

704 Camino Lejo, Museum Hill, Santa Fe, NM 87505 505-982-4636 or 1-800-607-4636 www.wheelwright.org

48

PASATIEMPO I April 25 - May 1, 2014

pasa week Friday, April 25

THEATER/DANCE

GALLERY/MUSEUM OPENINGS

333 Montezuma Arts 333 Montezuma Ave., 505-988-9564. Panorama: Gus Foster, Carlos Silva, and Roberto Vignoli, photography exhibit, reception 5-7 p.m., through June 2.

Adobe Gallery 221 Canyon Rd., 505-955-0550. Paintings by the late Santa Fe Indian School student artists Gerald Nailor, Allan Houser, Quincy Tahoma, Pablita Velarde, and others, reception 4-6 p.m., through June 4.

Barbara Meikle Fine Art 236 Delgado St., 505-992-0400. Flowers, Fur & Feathers, group show, reception 5-8 p.m., a portion of the proceeds benefits The Wildlife Center in Española.

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

Heaven and Earth: Interference Paintings, work by David Simpson, reception 5-7 p.m., through May 5.

David Richard Gallery 544 S. Guadalupe St., 505-983-9555. Found, paintings by Michael Scott, reception 5-7 p.m., through June 7.

Evoke Contemporary 550 S. Guadalupe St., 505-995-9902.

Spring Fever, paintings by the late artist Louisa McElwain, reception 5-7 p.m., through May 23.

GF Contemporary 707 Canyon Rd., 505-983-3707. Curated

by Santa Fe, group show, reception 5-7 p.m.

Giacobbe-Fritz Fine Art 702 Canyon Rd., 505-986-1156. Curated

by Santa Fe, group show, reception 5-7 p.m.

Hunter Kirkland Contemporary 200-B Canyon Rd., 505-984-2111. Three Painters Paint, works by Peter Burega, Gregory Frank Harris, and Rick Stevens, reception 5-7 p.m., through May 7.

LewAllen Galleries at the Railyard 1613 Paseo de Peralta, 505-988-3250.

Opened Jars, abstracts by Emily Mason, reception 5-7 p.m., through June 1.

Manitou Galleries 225 Canyon Rd., 505-986-9833. Planes, Trains & Automobiles, featuring B.C. Nowlin’s paintings and works by other gallery artists, reception 5-7 p.m.

New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072.

Southwestern Allure: The Art of the Santa Fe Art Colony, including early 20th-century paintings

by George Bellows, Andrew Dasburg, Marsden Hartley, and Cady Wells, through July 27.

Phil Space 1410 Second St., 505-983-7945.

Split Second in the Real World, works on paper

by John Andolsek, reception 5-8 p.m., through May 9.

Pasa’s Little Black Book......... 50 Elsewhere............................ 52 People Who Need People..... 52 Under 21............................. 52 Pasa Kids............................ 52

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

Santa Fe Clay, 545 Camino de la Familia, shows ceramics by Peter Scherzer.

Santa Fe Clay 545 Camino de la Familia, 505-984-1122.

ABC of Dinnerware, group show; 2014 Summer Preview Exhibit, works by artists conducting summer workshops; reception 5-7 p.m., through June 7.

Tansey Contemporary 652 Canyon Rd., 505-995-8513. Art + Design New York Fare, group show, reception 5-7 p.m., through May 20.

Turner Carroll Gallery 725 Canyon Rd., 505-986-9800. Altered, group show, including works by Ann Weiner and Rusty Scruby, reception 5-7 p.m., through May 19.

In the Wings....................... 53 At the Galleries.................... 54 Museums & Art Spaces........ 54 Exhibitionism...................... 55

Winterowd Fine Art 701 Canyon Rd., 505-992-8878. A Family of Artists: Thomas Kirby Sr., Alice Kirby Jones, and Tom Kirby, curator’s talk 4:30 p.m., reception 5-7 p.m.

Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111. Dual Realities, works on paper by Ian Ratowsky, reception 5-7 p.m., through May 24.

CLASSICAL MUSIC

TGIF recital New Mexico School for the Arts Chamber Orchestra, 5:30 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations welcome, 505-982-8544, Ext. 16.

Ballet Next Classic and contemporary choreography

by Mauro Bigonzetti and Brian Reeder, 7:30 p.m., the Lensic, $20-$75 in advance at the Performance Santa Fe box office (formerly Santa Fe Concert Association), 505-984-8759, or 505-988-1234, ticketssantafe.org. (See story, Page 32) Cinderella Confidential Santa Fe Performing Arts City Different Players, ages 7-12, 7 p.m., Armory for the Arts, 1050 Old Pecos Trail, $8, 505-984-1370, sfperformingarts.org.

David Kwong Magician and sleight-of-hand artist, 6:20 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., $20 in advance or at the box office, discounts available, jeancocteaucinema.com, Saturday encore.

In the Heights Presented by Santa Fe High School Musical Theater, 7:30 p.m., 2100 Yucca St., $10 at the door, discounts available, www.santafehigharts.org.

Joe West’s Theater of Death One-act plays and musical interludes with Busy McCarroll, Anthony Leon, and Lori Ottino, 8 p.m., Engine House Theater, 2846 NM 14, Madrid, $15 in advance at Candyman Strings & Things, Mine Shaft Tavern, or by calling 505-471-1916, Fridays and Saturdays through May 3, and on Thursday, May 1.

Kathleen Fontaine: The Man, the Mystery One-woman show on transgender identity and the cultural gender divide, 8 p.m., Railyard Performance Center, 1611-B Paseo de Peralta, $12 at the door.

Kimberly Akimbo For Giving Productions presents David LindsayAbaire’s dark comedy, 7 p.m., Casweck Galleries, 203 W. Water St., $15 in advance, $18 at the door, 505-438-6078, Saturday encore.

Left to Our Own Devices: Staying Connected in the Digital Age Just Say It Theater presents a collaborative performance by students of Santa Fe University of Art & Design and New Mexico School for the Arts, 7-9 p.m., Warehouse 21, 1614 Paseo de Peralta, $10, 505-820-7112, through Sunday.

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

BOOKS/TALKS

Sarah Stark The local author discusses and signs copies of Out There, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. ▶▶▶▶▶▶▶▶

calendar guidelines

Please submit information and listings for Pasa Week no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks.

Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@ sfnewmexican.com, or by fax to 505-820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar?

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

PASATIEMPOMAGAZINE.COM

49

Téa Obrecht The author reads from The Tiger’s Wife, 7:30 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, 505-984-6000.

OUTDOORS

Enchanted Hikes The City of Santa Fe Recreation Division offers easy to moderate treks along the following trails: Dale Ball, Dorothy Stewart, Tesuque Creek, and Galisteo Basin Preserve; Session I, 9-11 a.m.

Fridays through May 30; Session II, 9:3011:30 a.m. Saturdays through May, preregister at Genoveva Chavez Community Center, 3221 Rodeo Rd., $6.50 per hike or $20 for full session, contact Michelle Rogers for registration information, 505-955-4047, chavezcenter.com.

Twilight hike A leisurely guided hike through the hills surrounding the village of Cerrillos, 7 p.m., Cerrillos Hills State Park, 16 miles south of Santa Fe off NM 14, meet at the main parking lot, a half mile north of the village, $5 per vehicle,505-474-0196.

EVENTS

Randall Davey house tours Docent-led tours, weekly on Fridays, 2 p.m., Randall Davey Audubon Center, 1800 Upper Canyon Rd., $5, RSVP to 505-983-4609.

NIGHTLIFE

(See addresses below) Café Café Trio Los Primos, dance to Latin favorites, 6 p.m., no cover.

Cowgirl BBQ Sean Healen Band, folksy rock, 8:30 p.m., no cover.

The Den Ladies night with DJ Luna, 9 p.m., call for cover.

317 Aztec 20-0150 317 Aztec St., 505-8 the Inn Agoyo Lounge at a ed am on the Al 505-984-2121 303 E. Alameda St., nt & Bar ra au Anasazi Rest Anasazi, the of Inn d oo Rosew 505-988-3030 e., Av ton 113 Washing Betterday Coffee 5-555-1234 , 50 905 W. Alameda St. nch Resort & Spa Ra e dg Bishop’s Lo ., 505-983-6377 Rd e 1297 Bishops Lodg Café Café 5-466-1391 500 Sandoval St., 50 Casa Chimayó 5-428-0391 409 W. Water St., 50 ón ¡Chispa! at El Mes 505-983-6756 e., 213 Washington Av Cowgirl BBQ , 505-982-2565 319 S. Guadalupe St. Café te yo The Den at Co 83-1615 5-9 50 , St. r ate W .

132 W Duel Brewing 5-474-5301 1228 Parkway Dr., 50 lton El Cañon at the Hi 88-2811 5-9 50 , St. 100 Sandoval Spa Eldorado Hotel & St., 505-988-4455 o 309 W. San Francisc

50

PASATIEMPO I April 25- May1, 2014

Duel Brewing Indie-rock band TV Killers, 7-10 p.m., no cover.

El Farol Boom Roots Collective, reggae, 9 p.m., call for cover.

La Fiesta Lounge at La Fonda Sierra, country/rock, 8-11 p.m., no cover.

Lodge Lounge at The Lodge at Santa Fe Pachanga! Club Fridays with DJ Gabriel “Aztec Sol” Ortega spinning salsa, cumbia, bachata, and merenge, dance lesson, 8:30-9:30 p.m., call for cover.

Palace Restaurant & Saloon Rock band Fun Addix, 10 p.m., call for cover.

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

Second Street Brewery Hot Club of Santa Fe, Gypsy jazz, 6-9 p.m., no charge.

Second Street Brewery at the Railyard Gregg Daigle Band, electric Americana, 7-10 p.m., no cover.

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

Tiny’s Jazz guitarist Marc Yaxley, 5:30 p.m.; dance band J.J. & The Hooligans, 8:30 p.m.close, no cover.

Vanessie Pianist/vocalist Kathy Morrow, 6:30-9:30 p.m., call for cover.

26 Saturday OPERA IN HD

The Met at the Lensic The season continues with a live HD broadcast of Mozart’s Cosi Fan Tutte, 11 a.m., the Lensic, $22-$28, discounts available, ticketssantafe.org, 505-988-1234.

PASA’S LITTLE BLACK BOOK El Farol 5-983-9912 808 Canyon Rd., 50 ill El Paseo Bar & Gr 92-2848 5-9 208 Galisteo St., 50 Evangelo’s o St., 505-982-9014 200 W. San Francisc erging Arts High Mayhem Em 38-2047 5-4 50 , ne La er Sil 2811 Hotel Santa Fe ta, 505-982-1200 1501 Paseo de Peral asters Iconik Coffee Ro -0996 28 5-4 50 , 1600 Lena St. ma ne Ci u ea Jean Coct e., 505-466-5528 418 Montezuma Av Junction , 505-988-7222 530 S. Guadalupe St. La Boca 5-982-3433 72 W. Marcy St., 50 ina nt Ca La Casa Sena 5-988-9232 50 e., Av e lac Pa E. 125 La Fonda at La Fiesta Lounge , 505-982-5511 St. o isc nc Fra n 100 E. Sa a Fe Resort La Posada de Sant e Ave., lac Pa E. 0 and Spa 33 505-986-0000 g Arts Center Lensic Performin St., 505-988-1234 o 211 W. San Francisc

Earth Day in Santa Fe Saturday and Sunday, April 26-27: Solar Fiesta Workshops, a public forum, and solarproduct demonstrations occur between 8 a.m. and 5 p.m.; Santa Fe Community College, 6401 Richards Ave., no charge.

Saturday, April 26: Home: Earth Day at the Railyard Wise Fool New Mexico’s giant-puppet procession opens the activities at 11:30 a.m.; live music, interactive art activities, and workshops are held through the day, Railyard Park, 740 Cerrillos Rd., no charge.

Sunday, April 27: Earth Day at Genoveva Chavez Community Center Entertainment and educational expo; including solar-art projects, free tree saplings, performances, and games, 9:30 a.m.-2 p.m., Genoveva Chavez Community Center, 3221 Rodeo Rd., for more information contact Lisa Gulotta, 505-955-4009.

IN CONCERT

Play-a-Thon on the Plaza Presented by Santa Fe Youth Symphony Association; ensembles include Elementary Strings and Youth Philharmonia, 2-5:30 p.m., no charge, sfysa.org.

Lodge Lounge at The Lodge at Santa Fe 750 N. St. Francis Dr., 505-992-5800 Low ’n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St. Mine Shaft Tavern 2846 NM 14, Madrid, 505-473-0743 Molly’s Kitchen & Lounge 1611 Calle Lorca, 505-983-7577 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Trail, 505-982-1851 Palace Restaurant & Saloon 142 W. Palace Ave., 505-428-0690 The Pantry Restaurant 1820 Cerrillos Rd., 505-986-0022 Pranzo Italian Grill 540 Montezuma Ave., 505-984-2645 Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705 Santa Fe Sol Stage & Grill 37 Fire Place, solofsantafe.com

San Miguel Chapel Concert Series Balkan folk-music quartet Rumelia, with Paul Brown and Paul Wexler, 7:30 p.m., San Miguel Chapel, 401 Old Santa Fe Trail, $10-$20 suggested donation at the door, 505-577-2676.

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

THEATER/DANCE

Ballet Next Classic and contemporary choreography by Mauro Bigonzetti and Brian Reeder, 7:30 p.m., the Lensic, $20-$75 in advance at Performance Santa Fe box office (formerly Santa Fe Concert Association), 505-984-8759, or 505-988-1234, ticketssantafe.org. (See story, Page 32) Cinderella Confidential Presented by Santa Fe Performing Arts City Different Players, ages 7-12, 2 p.m., Armory for the Arts, 1050 Old Pecos Trail, $8, 505-984-1370, sfperformingarts.org.

David Kwong Magician and sleight-of-hand artist, 2 and 8:30 p.m., Jean Cocteau Cinema, 418 Montezuma Ave., $20 in advance or at the box office, jeancocteaucinema.com, discounts available.

In the Heights Presented by Santa Fe High School Musical Theater, 7:30 p.m., 2100 Yucca St., $10 at the door, discounts available, www.santafehigharts.org.

Joe West’s Theater of Death One-act plays with musical interludes by Busy McCarroll, Anthony Leon, and Lori Ottino, 8 p.m., Engine House Theater, 2846 NM 14, Madrid, $15 in advance at Candyman Strings & Things, Mine Shaft Tavern, or by calling 505-471-1916, Fridays and Saturdays through May 3, and Thursday, May 1.

Kathleen Fontaine: The Man, the Mystery One-woman show on transgender identity and the cultural gender divide, 8 p.m., Railyard Performance Center, 1611-B Paseo de Peralta, $12 at the door.

Kimberly Akimbo For Giving Productions presents David Lindsay-Abaire’s dark comedy, 7 p.m., Casweck Galleries, 203 W. Water St., $15 in advance, $18 at the door, 505-438-6078.

Left to Our Own Devices: Staying Connected in the Digital Age Just Say It Theater presents a collaborative performance by students of Santa Fe University of Art & Design and New Mexico School for the Arts, 7-9 p.m., Warehouse 21, 1614 Paseo de Peralta, $10, 505-820-7112, through Sunday.

Spring Awakening A musical based on Frank Wedekind’s once-controversial play, 7 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org, Fridays-Sundays through May 4.

BOOKS/TALKS

National Poetry Month Cut + Paste Society presents 16 poets reading on the theme of wind in a program titled Poetry Storm 3.0, 2 p.m., Santa Fe Arts Commission Community Gallery, 201 W. Marcy St., no charge, Santa Fe Arts Commission, 505-955-6707.

Opera Breakfast Lecture Mary Kime discusses Mozart’s Cosi fan Tutte, 9:30 a.m., Collected Works Bookstore, 202 Galisteo St., $5 donation at the door, 505-988-4226.

Santa Fe Opera 2014 Spotlight Series Lecturer Oliver Prezant discusses opera themes and previews the SFO season, 2-3:30 p.m., Collected Works Bookstore, 202 Galisteo St., no charge, 505-989-4226.

OUTDOORS

Enchanted Hikes The City of Santa Fe Recreation Division offers easy to moderate treks along the following trails: Dale Ball, Dorothy Stewart, Tesuque Creek, and Galisteo Basin Preserve; Session I, 9-11 a.m. Fridays through May 30; Session II, 9:30-11:30 a.m. Saturdays through May, preregister at Genoveva Chavez Community Center, 3221 Rodeo Rd., $6.50 per hike or $20 for full session, contact Michelle Rogers for registration information, 505-955-4047, chavezcenter.com.

Creatures Great and Small Poetry readings; poets include Janet Eigner, Elizabeth Raby, and Jane Lipman, 4 p.m., Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd. Journey Santa Fe Presents Left High and Dry: Managing Water in New Mexico, a conversation with Paul Paryski, vice president of Northeast by Southwest, and KSFR Radio host Xubi Wilson, 11 a.m., Collected Works Bookstore, 202 Galisteo St., 505-989-4226.

EVENTS

Second Annual Comfort Food Classic Eight local chefs prepare lasagna in support of the nonprofit Gerard’s House, 1-3 p.m., La Posada de Santa Fe Resort and Spa, 330 E. Palace Ave., $50 in advance at gerardshouse.org.

NIGHTLIFE

David Richard Gallery, 544 S. Guadalupe St., shows paintings by Oli Sihvonen.

EVENTS

Contra dance Folk dance with easy walking steps, live music by Megaband, beginners’ class 7 p.m., dance 7:30 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $9, students $5, folkmads.org.

NIGHTLIFE

(See Page 50 for addresses) ¡Chispa! at El Meson! Tierra Sonikete, flamenco/jazz fusion with guitarist Joaquin Gallegos, trumpeter J.Q. Whitcomb, and vocalist Kina Mendez, 7-10 p.m., no cover.

Cowgirl BBQ Bill Hearne Trio, classic country, 2-5 p.m.; Felix y los Gatos, Cajun/Gypsy swing, 8:30 p.m.; no cover.

Duel Brewing 50 Watt Whale, alternative pop/rock rhythm and groove, 7-10 p.m., no cover.

La Fiesta Lounge at La Fonda Sierra, country/rock, 8-11 p.m., no cover.

Pranzo Italian Grill Todd Lowry and Kari Simmons, piano and vocals, 6-9 p.m., call for cover.

Second Street Brewery Alto Street Band, newgrass, 6-9 p.m., no charge.

Second Street Brewery at the Railyard Alternative-country singer/songwriter Alex Culbreth, 7-10 p.m., no cover.

Shadeh DJ Flo Fader, 9 p.m.-4 a.m., call for cover.

Sweetwater Harvest Kitchen John Serkin, Hawaiian slack-key guitar, 6 p.m., no cover.

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

Vanessie Pianist/vocalist Kathy Morrow, 6:30-9:30 p.m., call for cover.

27 Sunday GALLERY/MUSEUM OPENINGS

New Mexico History Museum 113 Lincoln Ave., 505-476-5200. Poetics of Light: Pinhole Photography, works from Palace of the Governors Photo Archives; curator talk with Nancy Spencer and Eric Renner 1 p.m., reception and signing of the Museum of New Mexico Press

book Poetics of Light: Contemporary Pinhole Photography 2-4 p.m., through March 29, 2015.

(See story, Page 28) Santa Fe Botanical Garden 715 Camino Lejo, Museum Hill, 505-471-9103.

Origami in the Garden, sculpture by Kevin Box, reception 9 a.m.-5 p.m., through Oct. 25

CLASSICAL MUSIC

Senior piano recital Eric Fricke performs music of Handel, Mozart, and Dylan Roger, 3 p.m., Great Hall, Peterson Student Center, St. John’s College, 1160 Camino de Cruz Blanca, no charge, 505-984-6000.

IN CONCERT

St. Paul and The Broken Bones Soul band, 7 p.m., Santa Fe Sol Stage & Grill, $10, 505-988-1234, ticketssantafe.org, 21+.

(See Page 50 for addresses) Duel Brewing Mariachi ensemble Alacran, 5-7 p.m., no cover.

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

La Posada de Santa Fe Resort and Spa Guitarist Wily Jim, Western swingabilly, 7-10 p.m., no cover.

Vanessie Pianist/vocalist Kathy Morrow, 6:30-9:30 p.m., call for cover.

28 Monday BOOKS/TALKS

Southwest Seminars lecture Mountains, Plains, and Foothills: Paleoindian Occupations & Human Adaptations, by University of Wyoming professor Marcel Kornfeld, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 505-466-2775. ▶▶▶▶▶▶▶▶

Talking Heads

THEATER/DANCE

Cinderella Confidential Presented by Santa Fe Performing Arts City Different Players, ages 7-12, 2 p.m., Armory for the Arts, 1050 Old Pecos Trail, $8, 505-984-1370, sfperformingarts.org.

Left to Our Own Devices: Staying Connected in the Digital Age Just Say It Theater presents a collaborative performance by students of Santa Fe University of Art & Design and New Mexico School for the Arts, 2-4 p.m., Warehouse 21, 1614 Paseo de Peralta, $10, 505-820-7112.

Pajama Men The Albuquerque-based comedy duo in Just the Two of Each of Us, 7:30 p.m., the Lensic, $15-$35, 505-988-1234, ticketssantafe.org.

Spring Awakening A musical based on Frank Wedekind’s once-controversial play, 2 p.m., Greer Garson Theatre, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org, Fridays-Sundays through May 4.

BOOKS/TALKS

Collected Works open mic Welcoming unpublished poets, writers, acoustic musicians, and stage performers, 3-4:30 p.m., sign up at 2:45 p.m. for 10-minute spots, Collected Works Bookstore, 202 Galisteo St., 5050-989-4226.

Sarah Stark The local author discusses and signs copies of Out There at 6 p.m. Friday, April 25, at Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

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EVENTS

Eureka! National Dance Institute New Mexico celebrates 20 years with its student showcase, 6:30 p.m. Thursday, May 1, Hiland Theater, 4800 Central Ave. S.E., $10, 505-340-0219, Thursdays-Saturdays through May 10.

The Bad Plus Avant-garde jazz trio; with Reid Anderson on bass, Ethan Iverson on piano, and David King on drums, 7:30 p.m. Thursday and Friday, May 1-2, $20-$25, holdmyticket.com. (See Sound Waves, Page 18)

Swing dance Weekly all-ages informal swing dance, lessons 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance $3, lesson and dance $8, 505-473-0955.

NIGHTLIFE

(See Page 50 for addresses) El Farol Tiho Dimitrov, R & B, 8:30 p.m., no cover.

Jean Cocteau Cinema Broomdust Caravan, juke-joint honky-tonk and biker-bar rock, 7 p.m., call for cover.

La Fiesta Lounge at La Fonda Zenobia, soulful R & B, 7:30-11 p.m., no cover.

Vanessie Pianist David Geist, 6:30-9:30 p.m., call for cover.

ESPAÑOLA

Northern New Mexico Jazz Festival Hosted on Tuesday, April 29, by the Northern New Mexico College Music Department; 11 a.m.

Jason Marsalis music clinic; 4 p.m. Los Alamos Big Band; 5 p.m. Santa Fe Great Big Jazz Band; 7 p.m. big-band concert with Jason Marsalis, no charge, 505-747-2295 or 505-747-2296.

29 Tuesday

GLORIETA

IN CONCERT

Santa Fe Public Schools Orchestras Featuring middle and high school students, 6:30 p.m., doors open at 6 p.m., the Lensic, no charge.

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

BOOKS/TALKS

Bobby Byrd The local poet reads from Otherwise My Life Is Ordinary, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226.

EVENTS

International folk dances Weekly on Tuesdays, dance 8 p.m., lessons 7 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5 donation at the door.

NIGHTLIFE

(See Page 50 for addresses) El Farol Canyon Road Blues Jam, 8:30 p.m., call for cover.

La Fiesta Lounge at La Fonda Zenobia, soulful R & B, 7:30-11 p.m., no cover.

Second Street Brewery Guitarist/songwriter Maxwell Hughes, 6-9 p.m., no cover.

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

30 Wednesday CLASSICAL MUSIC

Santa Fe Symphony & Chorus Music of Vivaldi and Williams, 7 p.m., Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place, pay-what-you-wish, 505-983-3530.

THEATER/DANCE

In the Heights Presented by Santa Fe High School Musical Theater, 7:30 p.m., 2100 Yucca St., $10 at the door, discounts available, www.santafehigharts.org.

BOOKS/TALKS

American Master Edward Hopper The docent-led Artist of the Week series continues with a discussion of the late painter, 12:15 p.m., New Mexico Museum of Art, 107 W. Palace Ave., by museum admission, 505-476-5075.

NIGHTLIFE

(See Page 50 for addresses) ¡Chispa! at El Mesón Singer/guitarist Jesus Bas, 7-9 p.m., no cover.

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PASATIEMPO I April 25- May1, 2014

Mountain House Gallery 54-B NM 50, 505-757-6896. Inspiration Squad’s Big Art Show, reception 3-6 p.m. Sunday, April 27, through May. Illusionist David Kwong performs Friday and Saturday at Jean Cocteau Cinema.

Cowgirl BBQ D.K. & The Affordables, roots rock, 8 p.m.-close, no cover.

Duel Brewing Anthony Leon and The Chain, honky-trash indie rock, 7-10 p.m., no cover.

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

Junction Karaoke Night hosted

by Michelle, 10 p.m.-1 a.m., no cover.

La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country, 7:30-11 p.m., no cover.

Palace Restaurant & Saloon Bluesman Alex Maryol, 8:30 p.m., call for cover.

1 Thursday GALLERY/MUSEUM OPENINGS

Back Street Bistro 513 Camino de los Marquez, 505-982-3500.

Rules for Painting, work by Robin Eldridge, through May.

IN CONCERT

San Miguel Chapel Bell Tower Restoration Concert Series Guitarist AnnaMaria Cardinalli performs Legado y Leyenda, San Miguel Chapel, 401 Old Santa Fe Trail, $20 at the door.

THEATER/DANCE

Broadway Bound!

Performances by National Dance Institute students, 6 p.m., NDI Dance Barns, 1140 Alto St., $10-$15, 505-983-7661, Thursdays-Saturdays through May 10.

In the Heights Presented by Santa Fe High School Musical Theater, 7:30 p.m., 2100 Yucca St., $10 at the door, discounts available, www.santafehigharts.org.

Joe West’s Theater of Death One-act plays with musical interludes by Busy McCarroll, Anthony Leon, and Lori Ottino, 8 p.m., Engine House Theater, 2846 NM 14, Madrid, $15 in advance at Candyman Strings & Things, Mine Shaft Tavern, or by calling 505-471-1916.

EVENTS

Backyard Astronomy Presentation in the SFCC Planetarium and outdoor viewing, 8-9 p.m., Santa Fe Community College, 6401 Richards Ave., $5 at the door, discounts available, 505-428-1744.

CineVision Film Festival Santa Fe University of Art & Design student-run event, times vary, 1600 St. Michael’s Dr., $10 per film, $20 festival pass, thescreensf.com, through May 4.

Santa Fe Film Festival 2014 International documentaries, shorts, feature films, and accompanying events; hosted at Jean Cocteau Cinema and CCA Cinematheque; today through Sunday, May 4, tickets available online at santafefilmfestival.com, 505-988-7414, Ext. 102.

NIGHTLIFE

(See Page 50 for addresses) ¡Chispa! at El Mesón Jazz ensemble The Dalton Brothers, 7:30-9:30 p.m., no cover.

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

La Fiesta Lounge at La Fonda Bill Hearne Trio, classic country, 7:30-11 p.m., no cover.

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

▶ Elsewhere ALBUQUERQUE

Richard Levy Gallery 514 Central Ave. S.W., 505-766-9888. Color Rhythms, group show including work by Matt Magee and Suzanne Caporael, opening Friday, April 25, through May 30.

American Indian Week: Pueblo Days Native dance performances, films, and an art market, 9 a.m.-5 p.m. Friday-Sunday, April 25-27, Indian Pueblo Cultural Center, 2401 12th St. N.W., by museum admission, 866-855-7902.

31st Gathering of Nations Pow Wow Several hundred tribes participate in singing and dancing competitions; including an Indian Traders Market, Friday and Saturday, April 25-26, UNM Arena (The Pit), University and Avenida César Chávez boulevards, gatheringofnations.com, 505-836-2810.

Ani Ma’amin (I Believe) Keshet Dance Company performs its Holocaust Memorial Day commemorative piece, 8 p.m. Saturday, 2 p.m. Sunday, April 26-27, $15 in advance and at the door, brownpapertickets.com, discounts available.

▶ People who need people Artists

Nominations for the 2014 Mayor’s Awards for Excellence in the Arts Nominations sought by the public for artists, writers, performers, philanthropists (individuals ages 21 and older), or organizations or businesses; in addition, young artists may be nominated for the Melissa Engestrom Youth Artist Award; information and forms available online at santafeartscommission.org or call 505-955-6707; deadline is 5 p.m. Friday, May 9.

Volunteers

Plant a Row for the Hungry A Food Depot program encouraging home gardeners to plant extra produce for donation to the organization; 505-471-1633.

▶ Under 21 UNDER 21

10th Annual Youth Music Night Hip-hop bands To Build a Fire and Exalt, an exhibit, and food, 7 p.m. Friday, April 25, Museum of International Folk Art, 706 Camino Lejo, Museum Hill, no charge, 505-476-1200.

Santa Fe Science Café for Young Thinkers The talk series geared toward ages 13-19 continues with Conserving Otters of the World,

by Melissa Savage of the Four Corners Institute, 6 p.m. Wednesday, April 30, Georgia O’Keeffe Museum Education Annex, 123 Grant Ave., no charge, 505-946-1039.

▶ Pasa Kids Tropical Watercolors Georgia O’Keeffe Museum youth program for ages 4-12 accompanied by an adult; 9:30-11:30 a.m.

Saturday, April 26, 217 Johnson St., no charge 505-946-1039.

Easter egg hunt and story time 11 a.m. Saturday, April 26, Bee Hive Kids Books, 328 Montezuma Ave., no charge, 505-780-8051.

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

In the wings

THEATER/DANCE

MUSIC

Donald Rubinstein Singer/songwriter, 7:30 p.m. Saturday, May 3, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.

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

Regina Carter The violinist celebrates the release of Southern Comfort, 7:30 p.m. Thursday and Friday, May 8-9, Outpost Performance Space, 210 Yale Blvd. S.E., Albuquerque, $30, students $25, holdmyticket.com.

Sangre de Cristo Chorale The ensemble performs Baroque Fireworks, 5:30 p.m. Saturday, May 10, First Presbyterian Church of Santa Fe, 208 Grant Ave., $20 in advance and at the door, discounts available, sdcchorale.org.

The Met at the Lensic The HD broadcast series continues with Rossini’s La Cenerentola, 11 a.m. and 6 p.m. Saturday, May 10, the Lensic, $22 and $28, 505-988-1234, ticketssantafe.org.

Leni Stern African Trio Jazz ensemble; featuring Senegalese musicians Mamadou Ba and Alioune Faye, 8 p.m. Sunday, May 11, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.

The Cave Singers Folksy-roots band, 7:30 p.m. Tuesday, May 13, Santa Fe Sol Stage & Grill, $12, 505-988-1234, ticketssantafe.org.

J.Q. Whitcomb & Five Below Santa Fe trumpeter; with Ben Finberg on trombone, Dimi DiSanti on guitar, Andy Zadrozny on bass, and Arnaldo Acosta on drums, 7:30 p.m. Thursday, May 15, Outpost Performance Space, 201 Yale Blvd. S.E., Albuquerque, $20, student discounts available, holdmyticket.com.

Jenny Bird Taos singer, with Omar Rane on guitar, Andy Zadrozny on bass, and John Trentacosta on drums, 7 p.m. Friday, May 16, Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820, santafemusiccollective.org.

Seventh Annual Crawdaddy Blues Fest Includes Mississippi Rail Company, Junior Brown, Desert Southwest Blues Band, and Felix y Los Gatos, Saturday and Sunday, May 17-18, Madrid, $15 daily, kids under 12 no charge, 505-988-1234, ticketssantafe.org.

Santa Fe Symphony Beethoven’s Ninth wraps up the 30th anniversary season, 7:30 p.m. Saturday, May 17, the Lensic, $22-$76, 505-988-1234, ticketssantafe.org.

Dave Grusin & Friends Santa Fe Waldorf School presents the jazz pianist/composer; accompanied by John Rangel, Michael Glynn, and Ryan Lee; vocals by Barbara Bentree, 6:30 p.m. Thursday, May 22, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $25-$65, 505-988-1234, ticketssantafe.org.

Outpost Performance Space gala fundraiser Funk and jazz saxophonist Maceo Parker, 6:30 p.m. Friday, May 23, Outpost Performance Space, 210 Yale Blvd. S.E., Albuquerque, $150, holdmyticket.com.

Austin Piazzolla Quintet Tango ensemble, 7:30 p.m. Saturday, May 24, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.

UPCOMING EVENTS

Ingrid Laubrock and Tom Rainey Saxophonist and percussionist, 8 p.m.

Thursday, May 29, Gig Performance Space, 1808-H Second St., $20 at the door, gigsantafe.com.

Santa Fe Women’s Ensemble The choral group’s 33rd season continues, 3 p.m. Saturday, June 7, First Presbyterian Church of Santa Fe, 208 Grant Ave.; 3 p.m.

Sunday, June 8, Immaculate Heart of Mary Retreat and Conference Center Chapel, 50 Mount Carmel Rd.; $25, students $10, 505-988-1234, ticketssantafe.org, visit sfwe.org for details.

The Soulshine Tour Michael Franti and Spearhead, SOJA, Brett Dennen, and Trevor Hall, 6 p.m. Saturday, July 5, The Downs of Santa Fe, 27475 W. Frontage Rd., $44 and $61, kids $12, 505-988-1234, ticketssantafe.org and holdmyticket.com.

Ninth Annual New Mexico Jazz Festival July 11-27 in Albuquerque and Santa Fe; Terri Lyne Carrington’s Mosaic Project, Jack DeJohnette Trio, Claudia Villela Quartet, Henry Butler with Steven Bernstein & The Hot 9, tickets TBA, visit newmexicojazzfestival.org for schedule.

Tony Bennett With Antonia Bennett, 7 p.m. Sunday, Aug. 24, Santa Fe Opera, 301 Opera Dr., advance tickets available online at santafeopera.org, 505-986-5900.

Lila Downs Singer/songwriter, 7:30 p.m. Wednesday, Aug. 27, the Lensic, $39-$69, 505-988-1234, ticketssantafe.org.

I Love You, You’re Perfect, now Change Vignettes on dating, love, and marriage, 7:30 p.m.

Fridays and Saturdays, 2 p.m. Sundays, May 2-11, Los Alamos Little Theatre Performing Arts Center, 1670 Nectar St., Los Alamos, $12, discounts available, lalt.org, 505-622-5493.

Art Spring 2014 New Mexico School for the Arts year-end performances featuring dance, theater, visual arts, and music, 6-7 p.m.

Thursday and Friday, May 8-9; gala reception 5 p.m. Friday, the Lensic; street fair and exhibit at Georgia O’Keeffe Museum Education Annex at 7:15 p.m. Friday, $5 and $15, 505-988-1234, ticketssantafe.org.

One Woman Dancing 2014 Julie Brette Adams, 8 p.m. Friday and Saturday, 2 p.m. Sunday, May 9-11, Santa Fe Playhouse, 142 E. De Vargas St., $20, discounts available, 505-988-4262.

Spring Dance Concert Student showcase with choreography by SFUA&D faculty and guest artists, 7 p.m. Wednesday, May 14, Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $12 and $15, 505-988-1234, ticketssantafe.org.

Flexion Wise Fool New Mexico’s touring stilt and aerial performance, 7:30 p.m. Friday and Saturday, May 16-17, Railyard Park, 740 Cerrillos Rd., donations accepted, wisefoolnewmexico.org.

Frankie & Johnny in the Clair de Lune A play by Terrence McNally, 7:30 p.m.

Thursdays-Saturdays, 4 p.m. Sundays, May 30-June 8, Santa Fe Playhouse, 142 E. De Vargas St., gala opening $30; general admission $20; discounts available; 505-988-4262, contains nudity.

The Sound of Music Musical Theatre Works Santa Fe presents the musical, 7 p.m. Fridays and Saturdays, 2 p.m. Sundays, June 6-15, Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $17 in advance, students $12, musicaltheatreworks.net, $20 at the door.

HAPPENINGS

Europe Day in Santa Fe Council on International Relations and World Affairs Councils of America host a dinner and a screening of Philippe Lioret’s 2009 film Welcome, 5-9 p.m. Sunday, May 4, and a panel discussion and luncheon featuring Ambassador of Portugal Nuno Brito, 10 a.m.-3:30 p.m.

Monday, May 5, Bishop’s Lodge Ranch Resort & Spa, 1297 Bishops Lodge Rd., dinner and movie $35, panel discussion and luncheon $50, both days $75, 505-982-4931, sfcir.org.

Lannan Foundation In Pursuit of Cultural Freedom series Author Sandra Steingraber discusses the relationship between environmental factors and cancer with GRITtv host Laura Flanders, 7 p.m. Wednesday, May 7, the Lensic, 211 W. San Francisco St., $6, discounts available, 505-988-1234, ticketssantafe.org.

2014 IAIA Pow Wow Gourd dancing 10-11 a.m. Saturday, May 10, grand entry 11 a.m.; dancing contests continue to 7 p.m., Institute of American Indian Arts, 83 Avan Nu Po Rd., no charge, 505-424-2300.

2014 Mother’s Day Tour Historic Santa Fe Foundation hosts it’s annual event, 1-4 p.m. Sunday, May 11, School for Advanced Research, 660 Garcia St., $5 at the gate, 505-983-2567.

Tenth Annual Native Treasures More than 200 Native artists selling handcrafted works; benefit preview party with a reception for 2014 Living Treasures artists Joe Cajero and Althea Cajero, hors d’oeuvres, champagne, and live jazz ensemble, 7:30 p.m. Friday, May 23; early bird show 9 a.m. Saturday, May 24, art show and sale 10 a.m.-4 p.m. Saturday and Sunday, Santa Fe Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St., early bird admission $20 at the door, Saturday show $10 at the door, no charge on Sunday, preview party $100 in advance online at nativetreasures.org (includes early bird ticket for Saturday admission).

New Mexico History Museum Fifth Anniversary Bash Highlighting toys from the permanent collection with Toys and Games: A New Mexico Childhood, games held in the Palace of the Governors Courtyard, 2-4 p.m.

Sunday, May 25, New Mexico History Museum, 113 Lincoln Ave., by museum admission, 505-476-5200.

Santa Fe Opera Insider Day Saturdays from June 7 through Aug. 23, refreshments 8:30 a.m., staff-member-led backstage tours and talks 9 a.m., Santa Fe Opera, 301 Opera Dr., no charge, 505-986-5900.

Santa Fe Opera Ranch Tours Offered at 10 a.m. Fridays, June 27, July 25, and August 22, Santa Fe Opera, 301 Opera Dr., $12, combined backstage tour $20, tickets available at the box office, 505-986-5900. ¡Viva la Cultura!

Hispanic cultural festival running Tuesday, July 22, through Saturday, July 26; including performances

by Cipriano Vigil y la Familia Vigil and Nosotros, a Spanish Market preview, lunch and dinner events, and film screenings; hosted by the Spanish Colonial Arts Society, Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, call 505-982-2226, Ext. 109 for advance tickets.

The Cave Singers on stage May 13, at Santa Fe Sol Stage & Grill.

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AT THE GALLERIES

National Hispanic Cultural Center 1701 Fourth St. S.W., 505-604-6896.

En la Cocina With San Pascual, works

by New Mexico artists. Hispanic visual arts, drama, traditional and contemporary music, dance, literary arts, film, and culinary arts.

Closed Mondays; nationalhispaniccenter.org.

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

Open daily; nmnaturalhistory.org.

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

Melanie Yazzie: Geographies of Memory, works by the printmaker and sculptor • 400 Years of Remembering and Forgetting: The Graphic Art of Floyd Solomon, etchings by the late artist • The Blinding Light of History: Genia Chef, Ilya Kabakov, and Oleg Vassiliev, Russian paintings and drawings • Breakthroughs: The Twentieth Annual Juried Graduate Exhibition, all through May 17. Closed Sundays and Mondays; unmartmuseum.org.

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

Outer/Inner: Contemplation on the Physical and the Spiritual, work by photographer Patrick Nagatani, through Wednesday, April 30.

Evoke Contemporary 550 S. Guadalupe St., 505-995-9902.

Works by Steve Huston, Nicholas Herrera, and Victor Wang, through Wednesday, April 30.

Verve Gallery of Photography 219 E. Marcy St., 505-982-5009. Diffusion: A Five-Year Retrospective, group show celebrating the fifth anniversary of the magazine Diffusion: Unconventional Photography, through Saturday, April 26.

MUSEUMS & ART SPACES SANTA FE

Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338.

The Armory Show, multimedia group exhibit and program series in celebration of CCA’s 35th anniversary, Muñoz-Waxman Gallery, through May • Enveloping Space: Walk, Trace, Think, Jane Lackey’s immersive site-specific installation, Spector-Ripps Project Space, through May. Open Thursdays-Sundays; ccasantfe.org.

Georgia O’Keeffe Museum 217 Johnson St., 505-946-1000. Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept. 14.

Paintings, drawings, sculptures, sketches, and photographs by O’Keeffe in the permanent collection. Open daily; okeeffemuseum.org.

Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1777. BFA Student Exhibit, traditional and contemporary showcase of works, through May 18 • Articulations in Print, group show, through July • Bon à Tirer, prints from the permanent collection, through July • Native American Short Films, continuous loop of five films from Sundance Institute’s Native American and Indigenous Program. Closed Tuesdays; iaia.edu/museum.

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

Turquoise, Water, Sky: The Stone and Its Meaning, highlights from the museum’s collection of jewelry • Native American Portraits: Points of Inquiry, vintage and contemporary photographs, through January 2015 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, more than 1,300 artifacts from the museum collection.

Closed Mondays through Memorial Day; indianartsandculture.org.

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

Wooden Menagerie: Made in New Mexico, early 20th-century carvings, through Feb. 15, 2015 • Tako Kichi: Kite Crazy in Japan, exhibition of Japanese kites, through Sunday, April 27 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s collection, through Aug. 10. Internationalfolkart.org; closed Mondays.

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PASATIEMPO I April 25- May1, 2014

Museum of Contemporary Native Arts, 108 Cathedral Place, shows prints and drawings by the late Inuit artist Kenojuak Ashevak in the exhibit Articulations in Print.

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

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

New Mexico History Museum/ Palace of the Governors 113 Lincoln Ave., 505-476-5200. Poetics of Light: Pinhole Photography, works from the museum collection, opening Sunday, April 27; curator talk with Nancy Spencer and Eric Renner 1 p.m., reception and signing of Museum of New Mexico Press book Poetics of Light: Contemporary Pinhole Photography 2-4 p.m., through March 29, 2015 • Transformed

by New Mexico, work by photographer Donald Woodman, through Oct. 12 • Water Over Mountain, Channing Huser’s photographic installation • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe. Closed Mondays; nmhistorymuseum.org.

New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072.

Southwestern Allure: The Art of the Santa Fe Art Colony, including early 20th-century paintings by George Bellows, Andrew Dasburg, Marsden Hartley, and Cady Wells, opening Friday, April 25, through July 27 • Focus on Photography, rotating exhibits • Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes used to make color and platinum-palladium prints from the collection, through March 2015 • 50 Works for 50 States: New Mexico.

Closed Mondays; nmartmuseum.org.

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

Poeh Cultural Center and Museum 78 Cities of Gold Rd., 505-455-3334. Nah Poeh Meng, 1600-square-foot installation highlighting the works of Pueblo artists and Pueblo history.

Closed Saturdays and Sundays; poehcenter.org.

Santa Fe Children’s Museum 1050 Old Pecos Trail, 505-989-8359. Interactive exhibits. Closed Mondays and Tuesdays through May; santafechildrensmuseum.org.

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

Wheelwright Museum of the American Indian 704 Camino Lejo, Museum Hill, 505-982-4636. Contemporary and historic Native American art. Open daily; wheelwright.org.

ALBUQUERQUE

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

Everybody’s Neighbor: Vivian Vance, family memorabilia and the museum’s photo archives of the former Albuquerque resident, through January 2015 • Behind Closed Doors: Art in the Spanish American Home, 1492-1898, works from the Brooklyn Museum, through May 18 • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, more than 150 examples of craftsmanship and design distinctive to the charro • African American Art From the Permanent Collection, installation of drawings, prints, photographs, and paintings by New Mexico African American artists, through May 4. cabq.gov/culturalservices/albuquerque-museum/ general-museum-information; closed Mondays.

Indian Pueblo Cultural Center 2401 12th St. N.W., 866-855-7902. Our Land, Our Culture, Our Story, a brief historical overview of the Pueblo world, and exhibits of contemporary artwork and craftsmanship of each of the 19 pueblos. Weekend Native dance performances; indianpueblo.org.

Maxwell Museum of Anthropology UNM campus, 1 University Blvd. N.E., 505-277-4405. The museum’s collection of individual archaeological, ethnological, archival, photos, and skeletal items. Closed Sundays and Mondays; maxwellmuseum.unm.edu.

LOS ALAMOS

Bradbury Science Museum 1350 Central Ave., 505-667-4444. Information on the history of Los Alamos and the Manhattan Project, as well as over 40 interactive exhibits.

Open daily; lanl.gov/museum.

Los Alamos Historical Museum 1050 Bathtub Row, 505-662-4493. Edith and Tilano: Bridges Between Two Worlds, artifacts of the early homesteaders, through May. Core exhibits on area geology, homesteaders, and the Manhattan Project. Housed in the Guest Cottage of the Los Alamos Ranch School. Open daily; losalamoshistory.org.

TAOS

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

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

Open daily; taoshistoricmuseums.org.

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

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

Historical collections of Native American jewelry, ceramics, and paintings; Hispanic textiles, metalwork, and sculpture; and a wide range of contemporary jewelry. Open daily through October; millicentrogers.org.

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

Intimate and International: The Art of Nicolai Fechin, paintings and drawings, through Sept. 21.

Housed in the studio and home that Fechin built for his family between 1927 and 1933. Closed Mondays; taosartmuseum.org.

EXHIBITIONISM

A peek at what’s showing around town

Emily Mason: Reactivated, 2013, oil on canvas.

Emily Mason’s abstractions combine saturated and opaque hues in nonrepresentational, gestural paintings. Opened Jars, an exhibit of 38 pieces, opens at LewAllen Galleries at the Railyard (1613 Paseo de Peralta) on Friday, April 25, with a 5 p.m. reception. Call 505-988-3250.

Adriana Reyes Newell: Come Back, 2014, digital photograph. Red Dot Gallery (826 Canyon Road) presents its Annual Spring Art Exhibition of works by students and alumni of the Santa Fe Community College as well as students from Clovis Community College, the Institute of American Indian Arts, and Northern New Mexico College. The show includes jewelry, ceramics, painting, photography, and other mediums. There is a 4:30 p.m. reception on Friday, April 25. Red Dot is open Fridays through Sundays only. Call 505-820-7338.

Bill Eppridge: John Lennon on the train from New York to Washington for the Beatles’ concert at Washington Coliseum, Feb. 11, 1964, gelatin silver print.

Monroe Gallery of Photography (112 Don Gaspar Ave.) presents an exhibit of photographs taken by Bill Eppridge (1938-2013) in 1964, covering the arrival of the Beatles in America as well as events surrounding the funeral of civil-rights worker James Chaney, one of three men murdered in Mississippi in June of that year. The exhibit celebrates the recent publication of Eppridge’s book The Beatles: Six Days That Changed the World, February, 1964. Eppridge’s wife and editor, Adrienne Aurichio, is present for the opening reception at 5 p.m. on Friday, April 25. Call 505-992-0800.

Gregory Frank Harris: New Mexico Modern No. 7, Ojo Caliente, 2013, oil on canvas. Hunter Kirkland Contemporary (200-B Canyon Road) presents Three Painters Paint, an exhibition of works by Gregory Frank Harris, Rick Stevens, and Peter Burega. The artists are inspired by the landscapes of New Mexico. Burega paints atmospheric abstract expressionist canvases. Harris’ realist landscapes combine vibrant color and gestural brushwork. Stevens’ intimate abstractions capture a feeling of woods, ponds, and streams. There is a 5 p.m. opening reception on Friday, April 25. Call 505-984-2111.

Sheryl Zacharia: Orange Moon Over Santa Fe, 2014, ceramic.

Tansey Contemporary (652 Canyon Road) presents Art+Design New York Fare. The exhibit includes works originally intended for an art fair in New York City. The fair’s cancellation prompted the gallery showing, which includes pieces by Rachel Bess, Geoffrey Gorman, Emma Varga, and others. Art+Design New York Fare opens Friday, April 25. There is no reception. Call 505-995-8513.

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