Issuu

The New Mexicanâ€™s Weekly Magazine of Arts, Entertainment & Culture

August 15, 2014

Fabulous Indian Jewelry

Meet the artists from India Trunk Show Fri - Mon August 15 -18 Moghal and Contemporary Jewelry

Origins

originssantafe.com 505-988-2323 135 West San Francisco St. Santa Fe, NM 87501

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J o i n U s to n i g h t !

C h a m pa g n e R e C e p t i o n f R o m 5 : 0 0 p m ďšş 7 : 0 0 p m grand opening of the gerald peters gallery in our new location at 1005 paseo de peralta

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PASATIEMPO I August 15 - 21, 2014

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THE SANTA FE NEW MEXICAN

August 15 - 21, 2014

www.pasatiempomagazine.com

ON THE COVER 44 A gaze of intelligence An American Indian wears a full feather headdress with his World War II uniform. Tribal princesses don their buckskin dresses with fancy embroidery, while other Native women — one in a flapper hat — sport modern skirts and hairstyles. The portfolio of Kiowa photographer Horace Poolaw (1906-1984) spans a period of cultural change, in clothing as well as in ideas. It’s richly portrayed in For a Love of His People: The Photography of Horace Poolaw, new from Yale University Press. On our cover is his image of Kiowa Ohomah dancers, twins Alvin Burke Deer (left) and Melvin Blake Deer (Creek/Kiowa), Anadarko, Okla., circa late 1940s, 45EXP62. ©2014 Estate of Horace Poolaw; reprinted with permission

MOVING IMAGES

BOOKS 14

56 Chile Pages 62 Magic in the Moonlight 64 A Master Builder

In Other Words Evergreen

MUSIC AND PERFORMANCE 18 20 23 26 28 36 48

Singing the Pow Wow Electric A Tribe Called Red Pasa Tempos Album reviews Random Acts Voasis soaks up the summer Terrell’s Tune-Up Bobby Patterson’s got soul Pasa Reviews Performance Santa Fe Family ties Music From Angel Fire Listen Up Christmas in August

CALENDAR 69

AND 10 13 66

ART 30 Art in Review Impacts! at Zane Bennett 32 Light Opera Donald Rubinstein’s Shadowmann 52 Woman Warrior Rose B. Simpson

PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com

Music From Angel Fire at the Shuler Theater, Raton

Art Director — Marcella Sandoval 505-986-3025, msandoval@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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Copy Editor — Susan Heard 505-986-3014, sheard@sfnewmexican.com

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Copy Editor — Sandy Nelson 505-986-3096, snelson@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 CONTRIBUTORS Taura Costidis, Ashley Gallegos-Sanchez, Laurel Gladden, Peg Goldstein, Robert Ker, Jennifer Levin, Iris McLister, James McGrath Morris, Robert Nott, Adele Oliveira, Jonathan Richards, Heather Roan Robbins, Casey Sanchez, Michael Wade Simpson, Steve Terrell, Khristaan D. Villela PRODUCTION Dan Gomez Pre-Press Manager

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: Galisteo Bistro

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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RETAIL SALES MANAGER - PASATIEMPO Art Trujillo 505-995-3852

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ADVERTISING SALES - PASATIEMPO Chris Alexander 505-995-3825 Amy Fleeson 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830

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

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ADMINISTRATIVE ASSISTANT Claudia Freeman 505-995-3841

Ray Rivera Editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

NO GIMMICKS E JUST GREAT CAR

OPenIng OrCheSTral COnCerT sunday, august 31, 2014 | 4:00 pm Joseph Illick conducts the Performance Santa Fe Orchestra program includes: Saint-Saëns Introduction and Rondo Capriccioso A world premiere by Jack Waldenmaier Richard Strauss Highlights from Ariadne auf Naxos Mussorgsky /Ravel Pictures at an Exhibition Metropolitan Opera Star Audrey Luna location: lensic performing arts center $27–$100

Family Preview Concert | 1:00 pm

Season Opening Celebration | 6:30 pm

Experience just how a concert comes together in this informal preview. Works by Strauss, Saint-Saëns, and a world premiere, plus a Metropolitan opera star! | $10/person with child, $25/adult without child

Welcome our 2014–15 season with old friends and new at this annual spirited celebration in a spectacular Santa Fe home following the Season Opening Concert. Cocktails and hors d’oeuvres. | $195/person

TicketsSantaFe.org | 505 988 1234 PerformanceSantaFe.org | 505 984 8759

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Grammy award-winning violinist Mark O'Connor has ﬁddled his way to selling over 2 million albums. Now, with virtuosic musicians Kelly Hall-Tompkins, Gillian Gallagher, and Patrice Jackson, experience The O'Connor String Quartet!

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PASATIEMPO I August 15 - 21, 2014

8 PM

The Lensic Performing Arts Center Tickets From

$12 •

505.982.1890 • SantaFeChamberMusic.com • At The Door

True American Music!

Blue Rain Gallery’s Annual Celebration of Contemporary Native American Art

BACK AT THE RANCH COWBOY

BOOTS

August 20th – 24th L I S A H O LT and HARLAN REANO

Artists’ Reception: Thursday, August 21st 5 – 8 pm Visit blueraingallery.com for a complete schedule of shows and events

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Natural clay pottery with pigment

Elmoreindianart.com

NOW SHOWING Historic San Ildefonso Polychromes: 1875 - 1925

ANTONIO GRANJERO + ESTEFANIA RAMIREZ

Ignite your senses. Experience world-class Spanish dance in a truly intimate theater setting.

JULY 2 – AUGUST 31, 2014 Performances nightly except Tuesdays | The Lodge at Santa Fe Tickets: $25-$45 | (505) 988-1234 or TicketsSantaFe.org

839 Paseo de Peralta, Suite M • Santa Fe, NM 87501 • 505-995-9677 PASATIEMPOMAGAZINE.COM

MIXED MEDIA Something old, something new: Whitehawk Antique Indian and Ethnographic Art Show The season for art fairs isn’t over. The 36th annual Whitehawk Antique Indian and Ethnographic Art Show launches with an opening-night party at the Santa Fe Community Convention Center (201 W. Marcy St.) on Friday, Aug. 15, at 6 p.m. In past years, the Antique Indian Art Show and the Antique Ethnographic Art Show were separate events. This year, Whitehawk combines them for a singular show featuring local, national, and international dealers. The event includes fiber arts, sculpture, textiles, jewelry, pottery, and tribal arts such as masks, woven baskets, ritual objects, and

Above, beaded moccasins, 19th century; right, Crow tobacco bag and stem carrier, circa 1880

Left, Nunivak Island carved walrus ivory tusk, circa 1930s; above, Navajo transitional weaving, handspun wool, circa 1880-1890

Collector’s item: Antique American Indian Art Show Santa Fe Along with their Objects of Art Santa Fe show, coproducers Kim Martindale and John Morris launch the Antique American Indian Art Show Santa Fe at 10

PASATIEMPO I August 15-21, 2014

more from Asia, Africa, the Americas, and elsewhere. Whether they’re looking for figures carved in Chinese jade, Hopi katsina dolls, ceremonial garments, fetishes, Navajo blankets, or antique arts from the Northwest Coast, collectors will find plenty on offer. The show runs 10 a.m. to 5 p.m. on Saturday, Aug. 16, through Monday, Aug. 18. The opening-night launch party costs $75 per person and includes admission for the run of the show. Daily admission is $10 per person or $17 for the duration. Tickets are available at the door (cash or check only). For more information, call Whitehawk Antique Shows at 505-992-8929. Visit www.whitehawkshows.com for a list of participating dealers. — M.A.

Objectivity: Objects of Art Santa Fe For an eclectic mix of period art and items of contemporary design, visit the fifth annual Objects of Art Santa Fe at El Museo Cultural (555 Camino de la Familia). The fair includes more than 65 international galleries and dealers, with material such as Sumatran ceremonial hangings, hand-carved folk art, woodblock prints by Gustave Baumann (18811971), modernist works in oils, and Japanese kimonos. Pieces come from Uzbekistan, India, Ivory Coast, and many other regions of the world. Objects of Art runs from 11 a.m. to 6 p.m. Friday, Aug. 15, through Sunday, Aug. 17, and includes the loan exhibit The Art and Artistry of Paul E. Maxell: Untitled, oil on canvas, circa 1960 Margaret Tafoya: Santa Clara Pueblo Potter. Mounted by the Millicent Rogers Museum in was renowned for her stone- and corncob-polished Taos and El Museo, the show features selections from pottery with its intricate intaglio designs. the Tafoya collection of Pittburgh’s Four Winds Gallery. The daily cost to attend is $13 at the door or $10 Considered the matriarch of Santa Clara Pueblo potters online at www.objectsofartsantafe.com. For a complete and named 1984’s Folk Artist of the Year by the National list of events or for more information, visit the Objects Endowment for the Arts, Margaret Tafoya (1904-2001) of Art Santa Fe website. — M.A. El Museo Cultural (555 Camino de la Familia). The show features works from local and national dealers and galleries, including New York City’s Alaska on Madison, dealing in Northwest Coast tribal arts and Inuit art; Arizona’s Turkey Mountain Traders, dealers in Native American textiles, basketry, beadwork, jewelry, and more; and Santa Fe’s Morning Star Gallery, purveyors of Hopi and Zuni katsinas, Native pottery, musical instruments, and other items. Events start with a 6 p.m. preview benefit on Tuesday, Aug. 19, with proceeds going toward Institute of American Indian Arts scholarships. The preview features IAIA’s loan exhibit Lloyd “Kiva” New: Touching Native Inspiration. New, of Oklahoma Cherokee heritage, was a co-founder of IAIA and a successful fashion

designer in Scottsdale, Arizona. He taught generations of IAIA students and earned an honorary doctorate from the Art Institute of Chicago in 2000, two years before his death at age 86. The exhibit includes reproductions of New’s early textiles, paintings from the Museum of Contemporary Native Arts collection, photographic portraits and previously unseen watercolors from the IAIA archives, and a selection of works from IAIA alumni who were influenced by New. The preview benefit costs $50. The exhibit runs 11 a.m. to 6 p.m., Wednesday and Thursday, Aug. 20-21. Tickets cost $13 at the door or $10 if purchased online at www.antiqueindianartshow.com. For more information, visit the website or call 505-660-4701. — Michael Abatemarco

Santa Fe Chamber Music Festival: 9 DAYS REMAIN!

Concert venues this week include SFA: St. Francis Auditorium, 107 W. Palace Ave. and LEN: The Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe

MUSIC AT NOON Generously sponsored by the Edgar Foster Daniels Foundation

BRANDENBURG CONCERTOS 3, 4 & 5

BRONFMAN PLAYS BRAHMS

COOKING WITH MARTINŮ & SCHUBERT

AUG 16

AUG 17

AUG 18

SAT 5 PM @ LEN

SUN 6 PM @ LEN

MON 6 PM @ LEN

This season, we present Bach’s complete Brandenburg Concertos, beginning here with Concertos 3, 4, and 5. Chamber music stars include Harvey de Souza, Tara Helen O’Connor, and the Dover Quartet!

Artist-In-Residence and Grammy Awardwinning pianist Yeﬁm Bronfman performs the epic Brahms Piano Quintet with the renowned Martin Beaver and Benny Kim, violins; Milena Pajaro-van de Stadt, viola; and Eric Kim, cello.

The Tango, Charleston, and Fox Trot all make an appearance in the musical kitchen of Martinů’s witty La Revue de Cuisine featuring Christopher Millard and Ran Dank. Plus, Franz Schubert’s beloved Octet.

SPONSORED BY THORNBURG INVESTMENT MANAGEMENT

SPONSORED BY OMAHA STEAKS

The Santa Fe Chamber Music Festival is funded in part by the National Endowment for the Arts, the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax, and New Mexico Arts, a division of the Office of Cultural Affairs.

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innovative native cuisine Open for lunch and dinner daily. 1501 Paseo de Peralta, Santa Fe 505-955-7805 dine@hotelsantafe.com

The New Earth Institute of Southwestern College presents the 33rd Annual

Experience authentic Santa Fe with world-class amenities & adventuresome activities in a secluded, mountain setting! • Always a Classic! Our Sunday Champagne Brunch Buffet. • Join Us! For a five-course, Santa Fe Brewing Company Beer Dinner created by our NEW Executive Chef, Tom Kerpon on 8/21/14. • Any Day, Any Time! The $34 NM Resident Dinner Special. • August NM Spa Special! $99 for any 50-minute treatment or massage. • A Mountain Adventure on Horseback! 450 miles of forested trails.

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Dine Alfresco among beautiful gardens and views! 12

PASATIEMPO I August 15 - 21, 2014

TRANSFORMATION AND HEALING CONFERENCE

Consciousness and Compulsivity

EARN CECs

Wednesday - Sunday August 20-24 in Santa Fe at SWC Campus and Center for Spiritual Living

Saturday, August 23 • 9:00am - 5:00pm • 6 CECs $145 Spirituality, Sexuality and Addiction: The Dynamics of Shame

This day will explore the innate effects of sexual shame and shame as the source of all addictions as well as the source of spirituality. Dr. John Bradshaw is an acclaimed author and leading figure in the fields of addiction/recovery, family systems, relationships, and spiritual and emotional growth. His newest book is entitled Post Romantic Stress Disorder.

Sunday, August 24 • 1:00pm - 4:00pm • 3 CECs $60 Breaking Free Of Addictive Relationships Lee Cartwright, M.A., developed Shifting Consciousness through Dimensions (SCtD), a neurological system for transforming trauma and personal limitations. He is the author of 3 books on SCtD.

plus 18 experiential Workshops August 20-22

To register, call 505.471.5756 or visit swc.edu/transformation-and-healing-conference/

ST. VINCENT HOSPITAL FOUNDATION

STAR CODES

P R E S E N T S

Heather Roan Robbins

Three different threads weave through this complex week.

The sun, Venus, and Jupiter — all in sociable, celebratory Leo — bring in communal and creative fire and add dramatic flair to both our warmest expression and our worst woes and conflicts. A darker, more serious and competent thread weaves through with Mars and Saturn in brooding Scorpio; it asks us to look under the rocks at the real problems and call for moments of solitude. It can be hard to let go of a thought or something that snags us, no matter how unproductive. Each day it helps to spend some time in public as well as spending some time alone or with those closest to us. Too much of either engagement or privacy can leave us off balance. A third thread starts today as thoughtful Mercury enters industrious, nervous Virgo. We may see the first leaves turning and suddenly become interested in back-to-school supplies and fall clothes. Our attention is brought to our autumn schedule or to needed personal and social healing. But don’t jump the gun; Venus and Jupiter conjunct in Leo, reminding us that the work of mid-August is to soak up creative fullness and first harvests with all our might, to fill up and renew. Friday, Aug. 15: The mood is earthy, embodied, hungry, stubborn, and charismatic under a grounded Taurus moon and as Mercury enters Virgo. When Mars sextiles Pluto, it asks us to drop anger and collaborate with unusual partners for specific and practical solutions. Engage earthy humor and comforts tonight. Saturday, Aug. 16: Accept differences or feel the friction as the Taurus moon opposes Mars in Scorpio early on. A little gardening or other physical activity can work out the crankiness. Use a steady, adventurous spirit to go exploring midday. Tonight, opt for deep talk and rest as the moon opposes Saturn. Sunday, Aug. 17: After a slower-paced morning, the moon enters talkative, upbeat, distractible Gemini. Confirm details and check assumptions at the door; it’s easy to get lost, but we can write a beautiful story together as Mercury opposes imaginative Neptune. Monday, Aug. 18: It’s a nervy, confused, distracted, multitasking morning. Keep organized, bring fun, and appeal to short attention spans. Look for the quiet strength underneath the nervous activity. Tuesday, Aug. 19: Make contacts and suggestions under the nervy Gemini moon, and see what serendipity brings. But if anything really needs to be tracked, hold on carefully; details and small items sift through the fingers. Wednesday, Aug. 20: As the moon wanes into more domestic and self-protective Cancer, we can drift on waves of emotion that float through our collective consciousness. Flow around obstacles and moods; confrontation is unproductive. Thursday, Aug. 21: Boundary issues crop up this morning as the moon opposes Pluto; we may be feeling discombobulated or insufficient or have trouble letting go of an unproductive attachment. Later communication flows but needs objective, impartial filtering as Mercury trines Pluto. ◀

www.roanrobbins.com

Santa Fe’s

Best Party!

September 20, 2014 Hilton Buffalo Thunder Resort & Casino

Celebrate The Sixties! Grab your go-go boots, skinny ties and mini-skirts and get ready to dance the night away!

Temptations Food, Fun, & The

F E AT U R I N G

Entertainment!

Dinner! Dinner! Dancing! Dancing! Cocktails! Cocktails! Silent Silent & & Live Live Auctions! Auctions! Golf Golf Tournament Tournament at at Towa Towa Golf Golf Club! Club! $1,000,000.00 Hole-In-One Prize! $1,000,000.00 Hole-In-One Prize! Special Special Gala Gala Night Night Room Room Rates Rates

To Beneﬁt the Expansion of CHRISTUS ST. VINCENT Regional Medical Center

For Tickets and Info: 913-5209 • www.stvinfoundation.org Sponsored by

BeneﬁtSource • Cardon Outreach • Century Bank • Cerner • Coronado Paint & Decorating First National Bank of Santa Fe • Hinkle, Hensley, Shanor & Martin Kingston Residence of Santa Fe • Kokopelli Property Management Modrall, Sperling Law Firm • New Mexico Cancer Care Media generously provided by

KRQE/KASA/MY50/CW • Comcast TV • Clear Channel • KOAT TV • KOB TV AGM Radio • Rebecca Elise Production • Hutton Broadcasting Albuquerque Journal • Santa Fe Reporter • 30 Second Street • Media Matched PASATIEMPOMAGAZINE.COM

IN OTHER WORDS book reviews Evergreen by Rebecca Rasmussen, Alfred A. Knopf, 334 pages The plot of Evergreen, Rebecca Rasmussen’s second novel, sounds similar to a fairy tale from the Grimm brothers in both its setting and stakes. A young couple lives in a cabin in the woods with their little boy. Circumstances beyond their control require the husband to go away for a year, during which a dangerous stranger comes to the home and rapes the woman. She gives birth to a little girl, whom she places in an orphanage before her husband’s return. On her deathbed she tells her son the truth and entreats him to find his sister and bring her home. As with a fairy tale, hope and the redeeming power of love are embedded in the fiber of this story: if it makes you weep, you weep from sorrow and joy at once. The book begins in 1938 in a forest enclave called Evergreen, in the North Woods of Minnesota. Eveline and her husband, Emil, a taxidermist and naturalist, live with their baby boy, Hux, across the river from iconoclastic trappers Lulu and Reddy and their 2-year-old, Gunther. Reddy is raising Gunther as his own despite the child’s being a product of a rape in a bar in a nearby town. When Emil returns to Germany to visit his dying father and gets conscripted into fighting for the Nazis, Lulu and Reddy show Eveline, who is new to living without modern conveniences, how to get along in the woods. After Eveline is raped, Lulu helps her through her pregnancy, and the two bond over their shared experience. Rasmussen does not present the reality of the North Woods in that time and place gently: men are ruffians, and women, if not married or living safely with family, are at risk for rape, whether at home or working as prostitutes in local logging camps. This situation doesn’t change much over the book’s 36-year span — although by 1974, when the narrative ends, a little light has begun to shine in all the foreboding darkness. Evergreen is divided into time-bound sections that allow us into the minds of Eveline and her children and grandchild. Although the characters live very close to nature (and that connection is never lost in the prose), Rasmussen does not belabor scenic description. She is more interested in human motivation. Nature versus nurture is the book’s fundamental theme. How small an amount of the love given to us in the beginning is enough for survival so 14

PASATIEMPO I August 15-21, 2014

we can let more in later on? Rasmussen never uses any psychological language, but the effects of neglect and abuse — and the contrasting effects of love and affection — are primary to the plot. Naamah, Hux’s sister, who was named by a deranged nun for a fallen angel both pleasing and disappointing to God, is the book’s symbolic raised-by-wolves figure. Hux and Gunther, now in their 20s, try to tame her with kindness and love. Living in the woods, they too are somewhat wild, but Evergreen presents an admirable version of manhood — a world where men are capable of maturity on their own terms and where fatherhood is just as important as motherhood because what matters is providing protection and care for your child. As he searches for his sister, long gone from the orphanage, Hux wishes his parents had been able to “muster their courage” and bring her home sooner. “They could have shown her what it was like to be loved without also being hated.” Given that he has not yet met his sister and has only just heard of the abuse she suffered at the hands of Sister Cordelia, Hux’s thoughts show that he has a deep well of empathy. Rasmussen has an easy way of storytelling and knows how to make characters that are both archetypal and specific. Gunther is a bear of a man who likes to drink and flirt when he’s not hunting; Phee, who lives nearby when Hux and Gunther are grown, is a wise old recluse; and Racina, when she is born, is the babe who was not lost in the woods. Nothing in the novel’s structure is overly complex or overwrought. Even the atrocities suffered by the women in the novel are downplayed in that there are no graphic depictions of their debasement, although Rasmussen lets no criminals off the hook. We are not spared their evil, but neither are we required to sink to their level to understand the suffering they inflict on their victims. If readers do not know why an abused, abandoned child grows up averse to common familial warmth, they will after living in the orphanage with Naamah. Some people are beyond rescue — or our attempts at rescue only scare them, as they would a dog kicked too many times and left to sleep in the cold. After a while, the cold is safer than warmth, because warmth is so easily snatched away. — Jennifer Levin

SUBTEXTS Red Star’s rise Few Indian tribes have been so dazzlingly portrayed as the Crow Nation by one of its own, artist Kevin Red Star. Fresh out from Gibbs Smith, Kevin Red Star: Crow Indian Artist features more than 200 photos and reproductions of his iconic, vibrant paintings of Crow people — their faces often painted with white stripes — and of Crow tepees and medicine shields and horses. Two Santa Feans, writer Daniel Gibson and photographer Kitty Leaken (who happen to be married), collaborated on the book project. It began in June 2013, when they spent a week on Red Star’s family property on the Crow Reservation near Pryor, Montana. In the text, we discover Red Star’s early predilection for making figures from sticks and mud on riverbanks during family swimming outings. As a boy he took up drawing, sometimes copying Charles Russell and Frederic Remington illustrations and doing detailed sketches of pheasant and prairie chicken feathers on hunting trips with his father. At the Institute of American Indian Arts in 1962, the school’s first year, he expanded under the influence of modern artists such as Claes Oldenburg and Jackson Pollock. The artistic inventiveness that would flower during his time at IAIA shows in Crow Breastplate, a 1964 abstraction with sticks and painttube caps embedded in the oil paints, and in the cultural leap he took with Blue Guitar, which he produced four years later. Red Star, dazzled by the endless supply of materials available to him, reveled in his discoveries as a painter, studying under Allan Houser and James McGrath. He attended the San Francisco Art Institute, continuing his lifelong education by learning about the Red Power movement, attending the Woodstock music festival, serving in the U.S. Marine Corps during the Vietnam War, playing guitar and drums in jazz-oriented bands, and then sharing a golden time in art and ideas back in Santa Fe with T.C. Cannon, Earl Biss, and Doug Hyde. Red Star’s forays may have taken him far from the reservation, but he has always commemorated and honored Crow culture in his paintings. Young Fancy Dancer (1986) is all lightness and rhythmic perfection, while People of the Raven, Crow Indians of Montana, Northern Plains (2013), which depicts its subject with painted face and black-bird headdress, is dark and intense. But both are faithful Crow portrayals. Leaken and Gibson sign copies of their new book at 6 p.m. Wednesday, Aug. 20, at Collected Works Bookstore, 202 Galisteo St.; 505-988-4226. At 11 a.m. on Thursday, Aug. 21, Red Star and George Alexander (Muscogee Creek) kick off Santa Fe’s inaugural Indigenous Fine Art Market with a live painting session in the Santa Fe Railyard Plaza; call Tailinh Agoyo at 917-386-5036. — Paul Weideman

Cowboy Rocking Chair Jane Smith

hOme

Do Not Sell at Any Price: The Wild, Obsessive Hunt for the World’s Rarest 78 rpm Records by Amanda Petrusich, Scribner, 245 pages Vinyl sales have grown steadily for several years now, and the resurgence is often chalked up to the format’s having sounds that are “warmer” than digitally produced ones. This is hogwash; most people know that modern music is digitally mastered regardless of how it is delivered, so any audible difference is purely subjective. The major appeal of vinyl is that it allows you an honest-to-goodness collection — one that you can physically curate as a monument to your taste and life and that offers some weight and permanence in a fluid world. You can’t will an iTunes playlist to your children. However, there’s a level of collecting that goes well beyond thrift stores, eBay, and Record Store Day, and that’s the realm of those who eschew LPs in favor of blues and folk 78s — those sturdy slabs of shellac that went extinct in the 1950s. Journalist and music critic Amanda Petrusich spent time with these collectors to uncover details of their peculiar microcosm. To say these people delve deep into their obsession is an understatement; if most of us collect records by casting our nets into a school of fish, then 78 collectors are exploring the ocean’s bottom. To get in with them, Petrusich had to don scuba gear herself. In one instance, this is meant quite literally. Among other adventures, Petrusich dives in a Wisconsin river near the factory that once pressed Paramount’s 78s, searching for excess stock that may have been dumped. These lengths must be considered if you want to find rare 78s; the major collectors began their hobby decades ago, procuring most of the best cuts during years past. When lost 78s surface, those collectors have access to the best back channels for securing them and are willing to spend significant sums. The book may inspire you to seek out rare folk and blues 78s — Petrusich’s research certainly inspired her — but good luck getting into the game. Petrusich spends some of the book sharing her considerable knowledge of pre-1940s American music. She also provides a loose history of the human desire to collect. She extensively details her travels and her physical reaction to the music, albeit too thoroughly for my taste; despite her infectious enthusiasm, I prefer my narrators to remain further back behind the scenes. The heart of the book, however, is her description of and relationships with the collectors themselves. They’re a ramshackle handful of outsiders, eccentrics, obsessive-compulsives, and egomaniacs, driven by the conflicting desires for people to understand how important their hobby is and not really wanting others to take part in it. They’re punk fans before punk, in a way. The work they do, however, is of undeniable value. Harry Smith, of Anthology of American Folk Music fame, for example, is the most renowned of them all. These people see themselves as cultural caretakers, and that’s not far from the truth. The performers they covet are missing links in our national heritage that could easily have slipped from memory, and while reading the book I found myself drifting over to YouTube to listen to some of the discussed recordings. Accessing the hyperavailability of music is as far from the spirit of 78 collecting as one can get, but the speed with which I made use of our digital-age ability to hear such songs on a laptop is proof of the importance of these collectors and of the strength of Petrusich’s journalism. — Robert Ker

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I Sing the Pow Wow Electric Casey Sanchez I For The New Mexican

has been four years since A Tribe Called Red’s “Electric Pow Wow Drum” was unleashed upon dance floors, and the track shows no signs of disappearing from DJ set lists anytime soon. The electronic dance music, or EDM, song masterfully grafts the wails of pow-wow singers to the jittery thumps of dubstep and house. For first-time listeners, the effect is what it must have been like to first hear Jimi Hendrix cover Bob Dylan’s “All Along the Watchtower,” an electrifying retake that completely overhauled its source material while paying homage to its folk roots. Yet making club bangers out of Great Plains tribal music wasn’t on the minds of A Tribe Called Red when the indigenous Canadian DJ collective formed in Ottawa in 2007. “We weren’t producing music at first. Our focus was

PASATIEMPO I August 15-21, 2014

making a club night, playing electronic music, bass and dancehall aimed toward the indigenous community of Ottawa. We weren’t sure it would last,” said DJ Bear Witness in a phone interview with Pasatiempo. “When we sold out [the] first night, we knew we had to continue doing it.” Besides Bear Witness, a member of the Cayuga band, the group also consists of founding member DJ NDN (Ojibwa, Nipissing First Nation) and 2oolman (Six Nations), who joined the collective last month. A Tribe Called Red plays in Santa Fe on Aug. 21 at an all-ages show at the Museum of Indian Arts & Culture, followed by a 21-and-over show the next day at Shadeh, the nightclub of Buffalo Thunder Casino. Around 2010, the group began producing its own music, forging a signature blend of steroidal pow wow fortified by the muscular

clangs of bass music and the sinewy warbles of Jamaican dancehall and Trinidadian soca. “I grew up in Toronto. It has one of the largest immigrant Jamaican and Caribbean music communities out there,” said Bear. “Dancehall is a huge part of the culture.” On tracks like “Red Skin Girl” and “Moombah Wow,” they craft an aural microcosm of urban Ontario’s blend of bass-music-loving First Nations youth, immigrant Caribbean music enthusiasts, and EDM-enchanted white hipsters. “There was this kind of overwhelming support to remixing pow-wow music,” said Bear Witness. By 2012, their self-titled debut album had been longlisted for Canadian music’s prestigious Polaris prize, placing them alongside heavyweights like Drake and Leonard Cohen. Around the same time, their tracks caught the attention of global dance music tastemaker Diplo, who began promoting the group on his highly influential blog. Last year saw the release of their sophomore album, Nation II Nation. Bear Witness says the group’s music has been embraced by indigenous communities. Samples come from communal, celebration-friendly pow-wow songs, not sacred spiritual material that wouldn’t be allowed to be recorded in the first place. The DJ collective has struck up an agreement with Tribal Spirit Music, a Quebecbased record label specializing in First Nations music, to have access to its back catalog. “They just kind of asked, ‘What do you need to make it better for you to sample stuff?’ So we started getting separated tracks of a capella, vocal and drum sections,” Bear Witness said. From its earliest days, the band’s music has had a political edge, making defiant statements about the appropriation of Indian and First Nations imagery and cultural traditions. On SoundCloud, the band released a dubstep remix of the Atlanta Braves baseball club’s “war chant,” cheekily stating, “We wanted to make a song for all the racist and culturally inappropriate sports teams that are still used today! Enjoy!” On tour, A Tribe Called Red’s shows frequently take on a political air. The hipsters who wear headdresses and war paint to A Tribe Called Red shows (search the internet for “hipster headdress” for examples) looking like artsy extras off the set of The Lone Ranger really draw the group’s ire. “Really, we’re still doing this?” Bear said. “We forgot everything we learned over the past few decades?” The band has made several public statements denouncing the headdresses. Earlier this month, organizers for the Bass Coast Festival (A Tribe Called Red was one of the headliners) banned attendees from wearing headdresses and

instructed security to enforce the rule at this music festival held annually on First Nations land in British Columbia. Following the band’s public denouncement of non-Native headdress wearers, the Tall Tree Music Festival on Vancouver Island also banned attendees from wearing the regalia. At the end of the day, A Tribe Called Red is a musical group, not a program for political action. But by asserting its identity on the dance floor, Instagram and SoundCloud, the band has reclaimed a cultural space our digital age has deemed vital. One of the most effective uses of the group’s music has been on rap artist Angel Haze’s debut album Dirty Gold, released at the beginning of this year. A Tribe Called Red produced the female rapper’s lead single, which she titled “A Tribe Called Red” in homage to her friends. The song is a street-tough, gritty anthem of self-empowerment in the mold of Eminem’s

“Lose Yourself.” The rhythmic, bass-enhanced pow-wow singers come through loud and clear. But what is most moving about the track is the way those voices are not an exotic dressing but a fitting sonic texture that amplifies some of classic hip-hop’s most enduring values: celebration and self-reliance. ◀

details ▼ A Tribe Called Red, concert 8 p.m. Thursday, Aug. 21 Museum of Indian Arts & Culture, staff parking lot on Museum Hill 710 Camino Lejo, 476-1250 All-ages show open to the public at no charge ▼ 9 p.m. Aug. 22, concert Shadeh, the nightclub of Buffalo Thunder Resort & Casino 30 Buffalo Thunder Trail, 877-848-6337 $15 in advance, $20 at the door

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PASATIEMPO I August 15-21, 2014

PASA TEMPOS

album reviews

CARL NIELSEN Complete Chamber Works for Winds (CPO) Though revered in his native Denmark, Carl Nielsen (1865-1931) has never quite secured a spot on the international A-list, the ardent efforts of enthusiasts notwithstanding. The adept Ensemble MidtVest, a Danish chambermusic society that consists of five winds, three strings, harp, and piano, has had the clever inspiration to assemble all of Nielsen’s chamber works for winds on a single disc, “apart from a sixteen-bar recorder duet composed in 1931” (and, one wonders, why not that?). Some are single movements spotlighting a single instrument — flute, oboe, clarinet, or horn — usually with piano (or, in one case, harp) accompaniment. At the more intricate end of the spectrum are his Serenata in vano (Futile Serenade, 1914) — a cheerful oddity for the curious combination of cello, double bass, clarinet, horn, and bassoon — and his Wind Quintet (1922), one of the consummate achievements of its genre. The eight pieces on the CD range from Romantic academicism to folkish simplicity to perfumed cheerfulness (à la Grieg), but the quintet stands in a league apart. Hale, hearty, and optimistic, the work is a genial exercise in musical conversation poised somewhere near the intersection of Brahms and Richard Strauss. It culminates in an irresistible finale cast as variations on an uplifting hymn-tune that Nielsen had written a few years earlier. Each instrument gets its turn to shine in this stirring and satisfying conclusion. — James M. Keller EDJ EDJ (Easy Sound Recording Co.) Eric D. Johnson is best known for two things. He’s the frontman for indie folk-pop band Fruit Bats, which made some minor waves in the 2000s. In 2006, he became a full-time member of the Shins, contributing to two of their records and several tours. Both the Fruit Bats and the Shins are noteworthy for the rich production of their albums: every time they enter the studio, what they come out with seems to sparkle. EDJ, Johnson’s latest project, takes the opposite tack. The artist wrote these songs in one burst this past January and laid them down in a loose, shaggy fashion. This approach doesn’t play to his strengths; listening is somewhat like seeing a realist painter try his hand at charcoal sketches. Some songs, such as the fine “The Boy Who Moved Away,” seem built upon one riff and a half-remembered story but are effective in their impressionistic approach. Others, such as “Mostly Just Like Fantasies,” showcase interesting lyrical or compositional ideas but could have used more time in the studio. “A West County Girl” — the most fully formed cut and a sprightly slice of handclaps, upbeat drumming, and Laurel Canyon vibes — hints at what might have been. Intriguing concepts bubble about on EDJ, and Shins frontman James Mercer makes a welcome appearance to lend his voice to some high harmonies, but fans of Johnson will likely wish that it had jelled better. — Robert Ker

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center Monday, August 18, 7pm SITEcenter: Screening of three of Leandro Katz’s ﬁlms with an introduction by Leandro Katz, artist, writer, & ﬁlmmaker Co-hosted by and held at the Center for Contemporary Arts Cinematheque TICKETS: $5 AT THE CCA CINEMATHEQUE; TEL: 505.982.1338 Los Angeles Station, l0 minutes, 16mm, color, silent (l972, released 1976) Paradox, 30 minutes, digital video (2001) El Día Que Me Quieras, 30 minutes, 16mm, color, sound (1997)

Tuesday, August 19, 6pm SITEcenter/My Life in Art: Leandro Katz, artist, writer, & ﬁlmmaker with Candice Hopkins, co-curator of Unsettled Landscapes Armory for the Arts Theater, 1050 Old Pecos Trail; Co-sponsored by David Rosen & Christopher Rocca at Sotheby’s International Realty & GF Contemporary

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PASATIEMPO I August 15 - 21, 2014

RANDOM ACTS Pleasantly at home: Yefim Bronfman

Pianist Yefim Bronfman appeared at Santa Fe Chamber Music Festival during the summers of 2003 and 2006, and this week he pays a further visit, this time as the festival’s artist in residence. Born in 1958 in Tashkent, Uzbekistan, he pursued his musical education in Israel and the United States, became a U.S. citizen in 1989, and went on to develop an illustrious career on the world’s leading concert stages. On Sunday, Aug. 17, at 6 p.m., he appears with assorted

THIS WEEK

Four dimensional: Dover Quartet

Emerging string quartets have to build their careers much as solo musicians do, but with the added challenge of keeping four participants coordinated every step of the way — sort of like a three-legged race magnified into a five-legged race. Formed in 2008 at the Curtis Institute of Music, the Dover Quartet wasted no time staking its bona fides. At the prestigious Banff International String Quartet Competition in 2013, the group won the overall first prize plus every other prize on offer, which respectively recognized the best performance of a Haydn quartet, a Schubert quartet, and a composition commissioned for the occasion. The group makes its first Santa Fe Chamber Music Festival appearances this week with repertoire that includes Glazunov’s Five Novelettes on Sunday, Aug. 17, at 6 p.m. (at the Lensic Performing Arts Center, 211 W. San Francisco St.); Viktor Ullmann’s Quartet No. 3 on Wednesday, Aug. 20, at noon (at the St. Francis Auditorium of the New Mexico Museum of Art, 107 W. Palace Ave.); and Beethoven’s F-major Quartet, Op. 135, on Wednesday, Aug. 20, at 6 p.m. (at the Lensic). For tickets ($12-$75, depending on the event), call the festival at 505-982-1890 or 888-221-9836, Ext. 102, or consult ticketssantafe.org (505-988-1234). — J.M.K. Dario Acosta

string players in Brahms’ Piano Quintet; on Tuesday, Aug. 19, at noon, he offers an hourlong solo recital that comprises Passions, Reflected by Marc Neikrug, the festival’s artistic director, and Prokofiev’s Piano Sonata No. 6; and on Thursday, Aug. 21, at 6 p.m., he participates in a performance of Beethoven’s Archduke Trio. Concerts take place at the Lensic Performing Arts Center, 211 W. San Francisco St. Tickets ($12-$75, depending on the event) can be obtained from the festival at 505-982-1890 or 888-221-9836, Ext. 102, or through ticketssantafe. org (505-988-1234). —J.M.K.

Eight-part harmony

Voasis, the pop/jazz a cappella group affiliated with the Santa Fe Desert Chorale, offers “Soaking Up the Summer” at Warehouse 21 this weekend. The eight singers in the group work regularly as session singers in Los Angeles on projects ranging from electro-pop albums to Disney movies and have appeared on television in Glee, American Idol, and The Sing Off. Shows are Friday and Saturday, Aug. 15 and 16, at 8 p.m.; 4 p.m. performances are set for Saturday and Sunday, Aug. 16 and 17. But tickets ($22-$100) through www.desertchoraletix.com or by calling 988-2282. Warehouse 21 is located at 1614 Paseo de Peralta. — M.W.S.

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TERRELL’S TUNE-UP Steve Terrell

Third comeback’s a charm

Singer Bobby Patterson just released a new album, I Got More Soul!, the latest in a career that goes back decades. It’s a fun and, yes, soulful album by a veteran performer with deep roots in 1960s soul. Don’t feel bad if you’ve never heard of this guy. I hadn’t heard of him either until I stumbled into his 70th birthday celebration a few months ago. It was during South by Southwest in Austin, and Patterson, a Dallas native, was opening for Barrence Whitfield & The Savages at a joint called C-Boy’s Heart & Soul. And yes, I was impressed. I just hope I have as much fun on my 70th birthday as Patterson appeared to be having on his. I’ve looked forward to this album since that night. So what’s Patterson’s story? Don’t ask me. Ask him. In the song “Poet,” Patterson sings, “I wrote songs for Fontella Bass/Oh, she talked a lot of sass/I wrote songs for Albert King/made his guitar sing, yeah/ Wrote a song for Chuck Jackson/Knew I’d step up the action/I’m a songwriter, I’m a poet.” “Poet” is one of two cover songs on the album. Obviously Patterson felt qualified to add a verse of his own to a tune written and recorded by Sly Stone, but what he adds to the song is true for the most part. Though Patterson started out as a performer, most of his success in the music biz was behind the scenes. He did write or co-write songs for Bass, Jackson, and King (although King probably deserves the credit for making his guitar sing on the song “That’s What the Blues Is All About”), not to mention for Little Johnny Taylor. Patterson’s career as a recording artist goes back to the 1960s, though he never had a national hit himself. Critics weren’t always kind to him, either. “If there is such a thing as an average 1960s soul singer, Bobby Patterson is it,” the All Music Guide wrote in a review of Taking Care of Business, a Patterson compilation of his ’60s works released in the mid-1990s. So, for more than 20 years beginning in 1972, Patterson concentrated on being a producer, promoter, and songwriter. Then in the mid-1990s, Wilco’s Jeff Tweedy, with his side project group Golden Smog, recorded a country-rock version of an old Patterson song called “She Don’t Have to See You (To See Through You).” Though Golden Smog never rose above cult status, this recording apparently stirred something in Patterson, whose name was misspelled in the CD credits. He began to record again, releasing an album with the hopeful title of Second Coming in 1996, followed by I’d Rather Eat Soup two years later. But except 26

PASATIEMPO I August 15-21, 2014

for reissues and retrospectives, that was the last new material from Patterson until now. So I guess that makes I Got More Soul! Patterson’s second “second coming.” The album came about thanks to a guitar player named Zach Ernst, who used to play with Black Joe Lewis & The Honeybears. In recent years, he has been playing with The Relatives, a Texas gospel group that was founded in the early 1970s. The Relatives sing background on Patterson’s “Everybody’s Got a Little Devil in Their Soul,” originally recorded in the early ’70s by a lady named Tommie Young. It’s one of the highlights of I Got More Soul! Most the songs here are upbeat and funky. Some of them, like the bouncy Solomon Burke-influenced “I Feel the Same Way,” evoke the classic soul era of

the ’60s. Then there’s the harder-edged “Can You Feel Me,” which would sound at home on a latter-period Isley Brothers record. Patterson also has a knack for slow-dance soul ballads like “I Know How It Feels” and “Let Me Heal It.” I suspect it’s Ernst who introduced Patterson to “Your Love Belongs Under a Rock,” a song by Detroit’s garage/soul/rock giants The Dirtbombs. Patterson makes it sound like a long-lost Stax/Volt hit. The album ends with a sweet, slow tune called “The Entertainer Part 1” (there’s no part two, at least not here), on which Patterson raps and brags: “If you’re walkin’ on the dirt and the dirt ain’t walkin’ on you, well I’ll entertain you … I don’t care if you’re in the

hood or in the trunk/Ain’t no way you can get away from my funk … I got something for everyone who woke up on the right side of the wrong bed with a mad head and no bread. Ha ha! It’s called soul.” Call it what you want. Bobby Patterson is the mad soul scientist we never knew we had. Also recommended: Crucial Time by King Shark. Alphanso Henclewood has been living in landlocked Northern New Mexico for nearly 15 years, but he was born in the Greenwich Farm neighborhood of Kingston, Jamaica, an area dominated by the fishing industry. But Greenwich Farm has also produced a lot of reggae musicians — most notably Earl “Chinna” Smith. And it’s where Henclewood was crowned “King Shark” and where he returns from time to time to record music. While Shark over the years has released his own songs on compilation albums from his Pecos-based Montego Records label (two volumes of King Shark and All Star Friends), Crucial Time is his first solo album, though he’s backed by some of his all-star friends, including guitarist Smith. These songs recall the reggae I loved back in the heady days of the ’70s. One of the outstanding tunes is the harrowing “Escape by Night,” a history lesson in a minor key that deals with escaping from a slave ship. “Palm Me Corner” is set in modern times. It’s about being hassled by police just for hanging out on a street corner. (“I’m not a bad boy,” the singer protests, “I don’t fire no guns!”) But the vibe of this album isn’t all political. Shark also sings songs of love such as “Marry Me,” “She Will Be Mine,” and two versions of a tune called “Pure Light.” He sings, “Oh yes, you beautiful woman, I want you to understand, tonight is the night you will be mine.” Besides releasing his own album, Shark also produced Burning Fire, a new album by longtime Jamaican singer Prince Alla (born Keith Blake), and released it on Montego Records. Alla has been a reggae recording artist since the ’70s and has contributed songs to King Shark compilations. My favorite song on the album is “Mortimor,” which is about an old Rasta man who follows the instructions of a little bird, packs up his Bible and his last pound of herb, and sails away in his boat to Africa. King Shark also recently became a DJ. He’s got a reggae show on KTAO-FM 101.9 Solar Radio from 7 to 9 p.m. on Sundays. You can listen online at www. ktao.com. You can buy Crucial Time at www.cdbaby. com/cd/kingshark3. Prince Alla’s album also is at CD Baby www.cdbaby.com/cd/princealla. ◀ ▼

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Top left: Marion Denipah. Bottom left: Steve LaRance. Right: Dawn Jackson.

sunday, August 17th, 1:00–2:00 pm artist lecture & demonstration

Steve LaRance, Assiniboine/Hopi, and Marion Denipah, Navajo/Ohkay Owingeh, create jewelry, paintings, and sculptures as individuals and as partners. Their tufa-cast silverwork creates jewelry that are tiny sculptures, set with precious and semi-precious stones, including high-grade turquoise. They use traditional Native design to make pieces that feel creatively contemporary.

wednesday & thursday August 20th & 21st, 1:00–2:00 pm artist lecture & demonstration

Dawn Jackson’s, Saginaw Chippewa, painting style reﬂects the bold and colorful imagery of classic animation, using cel vinyl paint and painting in reverse on layers of clear acetate to create striking depth and dimension.

wednesday, August 20th southwest pottery artist demonstration

1:00–4:00 pm Native artists from different Southwest tribes, will discuss

Escudo , 1994

and demonstrate different techniques, clays and styles of pottery. Sharon Lewis, from Acoma Pueblo, will be our featured artist.

Luis González Palma,

let’s take a look

12:00–2:00 pm Curators from the Museum of Indian Arts and Culture and the Laboratory of Anthropology will be in the lobby of MIAC to look at your treasures and attempt to identify and interpret artifacts and historic objects. Free and open to the public. Federal and state regulations prohibit the curators from appraising any artifact.

All are free with paid admission, 16 and under always free. New Mexico residents with ID always free on Sundays.

Museum of Indian Arts and Culture

Scheinbaum & Russek is located near Museum Hill 812 Camino Acoma - Call for directions 505-988-5116 www.photographydealers.com | srltd@photographydealers.com

on Museum Hill 710 Camino Lejo (off Old Santa Fe Trail) 505-476-1269 indianartsandculture.org PASATIEMPOMAGAZINE.COM

PASA REVIEWS

Daniela Mack

Performance Santa Fe’s Festival of Song series ( July 31 and Aug. 8), St. John’s United Methodist Church

Both sides now

erformance Santa Fe has found a winning formula in its Festival of Song series, a sequence of afternoon performances, presented in partnership with Santa Fe Opera, in which singers starring at the Opera are invited to show off a different side of their artistry through an hour or so of art songs. This year the series set up shop in St. John’s United Methodist Church, having been displaced from its former digs at the Scottish Rite Center due to that organization’s changing circumstances. St. John’s is a serviceable location, if less genially enveloping than the Scottish Rite Center. Its acoustics can prove blurry, such that (at least from my perspective in the church’s balcony) a good deal of the copious spoken commentary proved incomprehensible. The opening recital (on July 31) featured mezzosoprano Daniela Mack and tenor Alek Shrader, a charismatic, young, married couple whom opera audiences had heard, respectively, in the title role in Carmen and as Ernesto in Don Pasquale. Shrader is a remarkable singer, unusually well equipped for the sustained lyricism and elaborate coloratura demands of Rossini and Donizetti. He achieves his highest notes by shoehorning them into a tight funnel of resonance that allows him to pop them out with pinpoint accuracy. The distinctive sound that attaches to this was abundantly on display in the high-lying part of Ernesto, but the recital allowed him to center

PASATIEMPO I August 15-21, 2014

Alek Shrader

his voice a bit lower, where it took on a velvety richness. He offered three Fauré songs and then another three by Falla (his rarely heard Trois mélodies). The intense focus of his tone can suggest a nasal quality (although he certainly does not “sing through his nose”) that served him well in French texts, as did his taut vibrato. His readings seemed more about vocalism than about poetic interpretation, but as far as they went they were technically unimpeachable. Mack’s voice displays less lusciousness than we may expect from a mezzo-soprano. Indeed, the quality of her tone seems to situate her in that betwixt-and-between area that spans the domains of both soprano and mezzo-soprano without reaching the extremes of either. She rendered Debussy’s Chansons de Bilitis with accuracy if not sensuality; but in Falla’s Siete canciones populares españolas, she did convey winning tenderness in the lullaby “Nana” and endowed the concluding song, “Polo,” with a measure of passion. Notwithstanding the pleasures the singers provided in their solo numbers, they came into their own particularly in their performance of Rossini’s duet “Les amants de Séville” and even more in their encore, from the same composer’s opera La Cenerentola, which played to the agile vocal strengths of both. Although Paul Groves also began his career as a lyric tenor, he has moved in a more dramatic direction, which is why he is singing Florestan in the Opera’s production of Fidelio. In his recital on Aug. 8, his voice sometimes took on a baritonal quality, a character that was reinforced by occasional huskiness. He seemed not always comfortably settled into his tone, “relocating” his sound as he worked through long-spanning phrases, of which there were many in his opening set of five Duparc songs. A similarly flexible approach to tone production

Paul Groves

informed the ensuing group of Britten folk-song settings, although he did seem more firmly grounded for the concluding item in the set, “Ca’ the Yowes,” a Scots dialect song set to a poem by Robert Burns. As Groves is now moving into operatic roles by Wagner, it was perhaps doubly appropriate that he should give over some of his recital to the songs of Wagner’s father-in-law, Franz Liszt. He sang four of them, all to texts by Victor Hugo, with no pauses between. Particularly thrilling was his interpretation of “Enfant, si j’étais roi,” which he let loose at far fuller throttle than one is accustomed to hearing. So did Joseph Illick, the artistic director of Performance Santa Fe, who took obvious relish in accompanying songs by this master pianist — and by another who followed directly, Rachmaninoff. Again, the church’s acoustics could be pesky, and, from the perspective of my seat, the piano lid might better have been halflowered at least for these two sets. Perhaps the finest moment in the afternoon came with Rachmaninoff’s song “How Fair This Spot.” Here Groves maintained beautiful, invigorating tone over extended phrases without adjusting it, to deeply satisfying effect. Like Mack and Shrader, Groves is really an opera singer rather than a lieder singer at heart, and he seemed very happy to leap into opera for his encore. He surprised the audience by inviting a friend to join him in this: the bass-baritone Kostas Smoriginas, this summer’s Escamillo in Carmen. On this afternoon, they essayed the famous duet “Au fond du temple saint” from a different Bizet opera, Les pêcheurs de perles. Even when bellowed, it remains an impressively lovely piece, one that reminds us how tragic and unfair it was that its composer should have died at the age of 37 without having achieved a single operatic success. — James M. Keller

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P R E S E N T S

K I N G Z 1 F or mer l y K umbia K ing s

This weekend

COMMUNITY CONVERSATION Sunday, August 17, 2–3:30 p.m. “Revolutions Big and Small: Small.” In this community conversation, Cut+Paste Society and friends share insight into the creative process. Gather in the exhibition Parlor; in conjunction with Local Color: Judy Chicago in New Mexico 1984–2014. Free by museum admission.

Coming up

EXHIBITION OPENING Thursday, August 28, 5–7, p.m. Delilah Montoya, Cameraless, and Alcove Shows 1917–1927. Three new exhibitions open to the public with music and refreshments. CAT-ADOPTION EVENT Saturday, August 30, Noon–4 p.m. Meet cats and kittens in need of loving homes. COLLAGE WORKSHOP Saturday, August 30, 1–3:30 p.m. “Homage to Your Pet or Favorite Animal.” Inspired by Judy Chicago’s Kitty City series, participants will create a mixed-media project. Free with regular museum admission. Pre-register at NMMOAworkshops2014@gmail.com.

Weekly Sundays, 9 a.m.– Noon . . . . . . . . . . . . . . . . . . .Plein-air Painting in the Patio Mondays, 12:15 – 1 p.m. . . . . . . . . . . . . . . . . . . . . . . . . Gallery Conversations Wednesdays, 12:15 –1 p.m. . . . . . . . . . . . . . . . . . . . . .In-Depth Guided Tours Fridays, Noon–1 p.m. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Drop In and Draw

A U G U S T 15 & 16 at the BINGO SHOWROOM D O O R S O P E N S H O W S T A R T S

A T A T

8 P M 9 P M

PASATIEMPOMAGAZINE.COM

ART IN

REVIEW

Impacts! Zane Bennett Contemporary Art, 435 S. Guadalupe St., 505-982-8111; through Sept. 22, 2014

he only thing disconcerting about the collaborative group exhibition by Zane Bennett Contemporary Art and Tokyo’s Mizuma Art Gallery is the almost sickly sweet cutesiness of some of the works on display. That is not to say that Impacts! is not worth seeing. To the contrary, the exhibit includes many masterful works in mixed media. They run the gamut from minimalist art to highly detailed, intricate designs. But at several turns you can see the influence of famed Japanese artist Takashi Murakami, renowned for his exuberant compositions, replete with a slightly disturbing host of adorably creepy characters rendered in his signature “superflat” pop style. Impacts! includes pieces by 16 contemporary Japanese artists, many of them represented by Mizuma. Amano Yoshitaka’s aluminum panels with automotive and acrylic paint show the range of his talents. His Wind and Thunder Gods and Black Knight verge on fantasy art, drawing apparent inspiration from comics and anime, as do the soulful-eyed beauties of his Candy Girls series, while his White Tiger reflects traditional Japanese aesthetics of simplicity and grace. Kaneko Tomiyuki delves into Japan’s more recent artistic legacy but also mines myths and legends of the East. His Red Banas Pati Raja is a large-scale work depicting a lionlike beast of Balinese mythology; its name translates to “Lord of the Forest.” The stunning work, made with mineral pigments, transparent watercolors, and inks on Japanese paper, is best viewed from the stairway leading up to the gallery’s second floor. Near Tomiyuki’s piece are several by Ishihara Nanami: bold, graphic, somewhat whimsical designs that filter myth and folklore through a contemporary lens, blending ancient and modern imagery. The artist’s Yamaonna is a phantasmagoric image depicting a formidable female figure, reminiscent of Noh theater characters, standing before the rising-sun symbol of Imperial Japan, while a host of scantily clad women cavort at her feet — a contradictory image of empowerment, chaos, and Dionysian ecstasy. A sharp contrast to the exuberant works on the first floor are the simple, reductive landscapes and cityscapes of O Jun, who paints with thick brushstrokes but limits compositions to small areas of the canvas. From there, and into the second-floor gallery spaces, things explode in an abundance of psychedelic paintings by Ishii Toru, Eguchi Ayane, Taniguchi Natsuko, and others. Natsuko’s works include ornately textured, vibrantly

PASATIEMPO I August 15-21, 2014

colored paintings that blend abstract and curvilinear figurative elements. Toru’s distinctive dyed fabrics depict elaborate urban landscapes separated by horizon lines so that the lower portions appear almost as negatives of the upper portions. Toru’s fabric designs are made using a traditional rice-paste dyeing method known as yuˉzen-zome. Ayane’s boldly painted landscapes are imaginative flights of fancy, surreal visions of the natural world in pink, magenta, blue, and aqua. In all, Impacts! is a captivating, endlessly diverting show — the big summer exhibit at Zane Bennett to which the gallery has completely given over its space, its regular gallery artists confined, for the time being, to the fringes. If you’re looking for a change from the Native-themed shows that typically accompany Indian Market week, Impacts! is just the ticket. Along with the exhibit are free public events, including a Japanese tea ceremony at 11 a.m. and 1:30 p.m. on Tuesday, Aug. 19; screenings of exhibiting artist Kondoh Akino’s short films The Evening Traveling, Tentoumushi no Otomurai, and KiyaKiya at 1:30 p.m. on Wednesday, Aug. 20; a 1 p.m talk on Thursday, Aug. 21, with exhibiting artist Ikeda Manabu, Japan Society Gallery director Miwako Tezuka, and Jordan Smith of California State University, Long Beach; and live painting with exhibiting artist Kato Ai at 4 p.m. on Aug. 22, followed by a 5 p.m. grand opening reception for the show. At 1:30 p.m. on Aug. 23, a talk and panel discussion on contemporary Japanese art finishes off this series of events. The panelists are John Carpenter, curator of Japanese art at the Metropolitan Museum of Art; Tezuka; Smith; and Mizuma Sueo, executive director of the Mizuma Art Gallery. — Michael Abatemarco

Noda Hitomi: Garden in the Morning, 2013, watercolor, pastel, and pen oil on paper Top left, Kaneko Tomiyuki: Red Banas Pati Raja, 2012, mineral pigments, transparent watercolor, pen, and foil on Japanese paper Top right, Amano Yoshitaka: Candy Girls S-57, 2011, automotive and acrylic paint on aluminum panel

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Call the Santa Fe SleepDoctor™ Michael Baten MD 505-983-8182 www.SantaFeSleepDoctor.com

giggle. wiggle. groove. An eclectic mix of informative and entertaining programs await you on KUNM – your passport to the worlds of news, music, community and culture. Publicly supported. Publicly responsive. KUNM is an essential part of New Mexico’s day.

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History

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Donald Rubinstein: Shadow on Fourth Street (detail), 2014, photograph; Christmas in Hell (detail), 2014, photograph; photo of Donald Rubinstein by Audrey Nadia Rubinstein

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

alk into Donald Rubinstein’s studio and you’re in the Creation Zone, surrounded by guitars and a piano, large artworks — both shadowy and colorful — and a small pile of books, each bearing the title Light Maze and Star. On each pair of facing pages in this 2014 volume is a reproduction of a collage piece by Timothy Nolan and a short, poetic text that Rubinstein wrote in response to it. “I write poetry. I originally went to school for poetry,” Rubinstein said. “Timothy Nolan and I were on a residency together in 1999, and we stayed in touch. I did a concert at his opening [in March] at CB1 Gallery in Los Angeles.” Rubinstein has written five books of poetry, but his way with words is probably better known through 26 music CDs that feature his beat-style singing and guitar and piano playing. His résumé as a composer

includes music for the TV series Tales From the Darkside and the George Romero films Martin (1976) and Knightriders (1981). His newest project is Shadowmann: An Art Opera. On Friday, Aug. 15, he presents a one-man pop-up show and concert at Cloud 5 Project, offering drawings and music generated at his recent residency with the Robert Rauschenberg Foundation on Captiva Island, Florida. Rubinstein studied music at Washington University, Berklee College of Music, and Columbia University. Longtime friend and supporter Ed Harris (star of Knightriders) was executive producer on his 1989 debut recording, The Witness. Another highlight in his discography is 1997’s Time Again, a duo album with guitarist Bill Frisell. Rubinstein has also collaborated with keyboardist Wayne Horvitz and with artists Terry Allen and Kiki Smith. He has works in the permanent collections of the Museum of Modern Art and the Whitney Museum of American Art. Pasatiempo interviewed Rubinstein at his Santa Fe house, which he shares with his wife, performance artist and writer Audrey Nadia Rubinstein, and their 2-year-old son. Pasatiempo: Did you apply for the Rauschenberg fellowship with the Shadowmann project in mind?

Donald Rubinstein: No, it was an anonymous nomination. My wife and I got it as a family. It was a surprise, and they were very generous. I produced 130 works on paper. I did a lot of printing and some drawing. There were about five other artists there, but I worked day and night. Rauschenberg had a nice little baby grand piano, and I played it late into the night when I was alone there. Pasa: Will this piece be finished or will it always be in progress? Rubinstein: It will have an end. It is really rooted in a 35-year effort, which is intrinsic to my entire process. I work in many diverse forms musically. That in itself is a challenge, but not really, because it’s the tenor of my life. Over 26 CDs, the work moves all over the place, but it’s quite natural to me. I would draw, early on, but I never thought of making a career out of that until 10 or 12 years ago, when someone offered me a show. It is difficult to create the same level of depth that music affords me, but I’m getting there. Pasa: What’s Shadowmann all about? Rubinstein: This piece is about finding a transparency and a relationship rooted in every discipline that I’m employing and meshing them in a way that’s new — a performance in the context of an art installation. There is an allegorical, linear line to it, which is expounded by this fictional character Eric Shadowmann, who was an important artist in his time. The piece began with shadows. Eric’s father had a job at the Whitney. The guards lovingly called him the

A R T, M U S I C

This piece began in the Whitney when I was taking photographs. I went into the museum and the guards let me stay after it closed. I actually lost my glasses. And I ended up posing some of the guys [guards]. I was focusing on shadows. By the time I got to the Rauschenberg, I knew that’s what I was going to work on. Pasa: Are both the music and the art still evolving? Rubinstein: Yes. I’m just about ready to do a synopsis outline and computer rendering for what will be [staged in] four or five rooms. Music was my god; it was my religion. When I used to play in bands, like when Bill and I were in a band in the 1980s, we kind of focused on my songs, but we took them out there. We would do free improvisation, try to create a new poetic in performance. I use things I have at my discretion ... over 300 songs and a lot of words, and I’m comfortable making up words. Pasa: You have said that Shadowmann ultimately will be installed in a large art space or museum somewhere. Tell us about this show at Cloud 5 Project. Rubinstein: This is an intimation of the piece. It’s a simple offering of music and works on paper, some of which will be used in Shadowmann. It’s a sharing of a bunch of movies I’ve made recently. The music will be an amalgam of songs in Americana rock, but they have relationships to modern classical and avant-jazz. And I noticed that my score for Martin worked perfectly with it. Pasa: Is that the framework for the piece? Rubinstein: I’d say for half of it, for the instrumental part of the piece. And I want to have other singers and a dancer. I want to have that going in spring of 2016, maybe earlier. I have to raise more money. Since everything in this, all the disciplines, are in the service of one thematic event, I’m also interested in mining the energy that exists between forms, the way energy exists between musicians, the way energy exists between pictures on a wall. I’m into sort of revealing the invisible energy that exists there, and that’s an abstract that I consider part of the whole.

& DON AL D R U B INSTE IN Paul Weideman I The New Mexican

Shadowmann because he would shadow people who came to exhibits, because he wanted to engage them in conversations. He met a young painter, they fell in love, and they had Eric. Unfortunately, the woman died in childbirth, and he went to live with his aunt in Port Arthur, Texas, which happens to be where Rauschenberg is from. He takes on the name Shadowmann because his aunt has relayed these stories to him. In the 1980s and 1990s he was an art star in New York. Pasa: Is this autobiographical? Rubinstein: It is in the sense that it’s about a journey through shadow and light. Also, he had a kid at 60, and I had a kid at 60. To the extent that I’ve always been a rather intense, focused artist, it is about me. To the extent that my main discipline was music, it’s more about Eric and somewhat flavored by being in Santa Fe and exposed to the art community.

Pasa: I should think the architecture and lighting will be important to stage all of this, especially when you’re talking about feelings and energy. Rubinstein: Yeah, it’s a large task, but for me it’s very doable. You’re right: feelings are at the core of it, because content is very important to me. This is about the simple content of overcoming whatever dark shadows most of us bring as we grow into adults and which affect us and which we have to overcome. ◀

details ▼ Shadowmann: An Art Opera, a work in progress by Donald Rubinstein ▼ Art opening 5 p.m. Friday, Aug. 15, no charge ▼ Concert 7:30 p.m. Friday, Aug. 15, $20 at the door ▼ Cloud 5 Project, 1805 Second St., 505-954-1274

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PASATIEMPO I August 15 - 21, 2014

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Don Pasquale 8: 00 pm: August 19, 22

You’re Only Young Twice

A young couple clearly made for each other, silly Uncle Don Pasquale thinks he’s more deserving. With beautiful music, this clever production is filled with romance, laughter and endless FUN!

“...embellished with worldly wit and melodic genius.” —The Santa Fe Reporter

“musically a showstopper” —Opera News

“...soared beautifully” —The New York Times

Ken Howard photo

SEASON

20 14 THROUGH AUGUST 23

CARMEN

Bizet

DON PASQUALE

Donizetti

FIDELIO

Beethoven

Arrive early with a tailgate supper to enjoy the sunset and mountain views. Enjoy a Backstage Tour, offered Monday – Saturday at 9 am!

www.SantaFeOpera.org 505-986-5900

PASATIEMPOMAGAZINE.COM

James M. Keller I The New Mexican James M. Keller I The New Mexican

Bernard Mindich

FamilyTies at Music FromAngel Fire

From left, Ani Kavafian, Ida Kavafian, and Steven Tenenbom; top, Ida Kavafian and Benjamin Beilman at the Shuler Theater; image courtesy Music From Angel Fire

PASATIEMPO I August 15-21, 2014

Andrew Hsu

rom the perspective of Santa Fe, which is richly served by cultural offerings the whole year through and fairly drowns in them during the summer, the village of Angel Fire seems a bucolic backwater when it comes to artsy stuff. Located a circuitous two-hour drive to the northeast and boasting a population hardly exceeding 1,200, its principal allure for outsiders is as a ski destination. Visitors in the warm season (which is somewhat telescoped, since its elevation begins at about 8,400 feet) may think of it as a place to mountain-bike, zip-line, or, for more sedate types, play a decent round of golf. Culture? Not so much. But wait! The scene changes in August, when, every year since 1984, Music From Angel Fire has roused its community with a barrage of chamber music. The festival’s 31st season, which opens on Friday evening, Aug. 15, and runs through Aug. 31, promises the accustomed mix of musical activities that have coalesced as the organization’s formula over the years. At its heart are formal concerts at the Angel Fire Community Center or the United Church of Angel Fire, often spotlighting acclaimed eminences in the field of chamber music and sometimes bringing them together with more junior practitioners. The schedule also includes two Musical Conversations, in which the program is preceded by a lecture-chat with violinist Ida Kavafian; two Closer Encounters, which are open rehearsals formatted to allow considerable dialogue with the audience; an annual Salon Concert, in which violist Toby Appel serves as an entertaining emcee; two Youth and Family Concerts, tailored to pique the interest of the aesthetically unbiased young; many daytime presentations in the region’s schools; and some social and fundraising events. Although Angel Fire is at the center of the action, the enterprise also offers concerts in several other communities in the general vicinity: Taos, Eagle

Bright Sheng

Nest, Las Vegas, and Raton. One of the festival’s highlights, in fact, is the annual concert in Raton, which provides a rare opportunity for audiences to hear music in the historic Shuler Theater, a handsome relic of the vaudeville era that will celebrate its centenary next April. This year, the Raton concert takes place on Tuesday, Aug. 19 — and it’s free. Kavafian is very much the hub of the festival and has been since she became its artistic director in its second year, which is to say 30 seasons ago. The performing roster is dependably buttressed by members of her family (her husband, the violist Steven Tenenbom, and also her sister, Ani, a violinist), colleagues in her self-standing ensemble Opus One (pianist Anne-Marie McDermott and cellist Peter Wiley, plus Tenenbom), musical friends with whom she has worked regularly over the years (especially in her capacity as a pillar of the Chamber Music Society of Lincoln Center), and promising students from the Curtis Institute of Music in Philadelphia, which is one of the schools where she teaches. This year, the festival’s mix includes two established ensembles, Opus One (playing Brahms’ A-major Piano Quartet on Wednesday, Aug. 20, in Angel Fire) and the Donald Sinta Saxophone Quartet. As is the norm at modern festivals, there’s also a composer in residence — Bright Sheng this season. Five of his pieces are programmed, including the premiere of a festival commission titled “Angel Fire Duo,” which Kavafian and Tenenbom unveil on Wednesday, Aug. 20, in Angel Fire. The festival also has a Young Artist composer in residence, 20-yearold Andrew Hsu, who is currently pursuing an artist’s diploma at Curtis. He will be represented by three works, including the first performances of his String Quartet No. 1, commissioned by the festival. Hsu is also a highly accomplished pianist, having been given a Young Artist award by The Gilmore, the pianocentric foundation in Kalamazoo, Michigan. A happy intersection of the two featured

composers comes on Thursday, Aug. 21, at the Ilfeld Auditorium of New Mexico Highlands University in Las Vegas, when Hsu performs Sheng’s 2007 solopiano composition, “My Other Song.” Music From Angel Fire tends toward a solidly traditional approach in its concert presentations, but on Aug. 23, at the Taos Center for the Arts, it is going to try something a little different by presenting a concert in which three of the eight pieces programmed will include a choreographed interpretation featuring ballerina Dona Wiley, daughter of Opus One cellist Peter Wiley. Although those are the only two Wileys appearing on that day, the concert offers a glimpse into a larger enterprise called CelloPointe, a New York-based cello-pluschoreography incentive that also involves Peter’s son (a cellist) and wife (another cellist, but she serves as the group’s administrator), along with other dancers. Family ties play a big role in the world of chamber music. On Aug. 30, also in Taos, Music From Angel Fire presents a recital, appropriately titled Family Strings, that includes in its lineup two spousal dyads: Kavafian and Tenenbom plus violinist Cathy Meng Robinson and cellist Keith Robinson (both of the Miami String Quartet). But that’s just the half of it. The program also includes the “Ah! Vous dirai-je, Maman” Variations for three violins and viola, by the 19th-century French composer Charles Dancla, which will be played by a fully familial foursome: the violinist Kerry McDermott (sister of pianist Anne-Marie); her husband, the distinguished violist Paul Neubauer; and their violin-playing progeny, Oliver and Clara Neubauer. They should be pretty well attuned to each other. ◀ For concert times and to purchase tickets, visit www.musicfromangelfire.org or call the festival at 575-377-3233 or 888-377-3300.

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LANA’S HOUSE – SALE

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AT ANTIQUES AND INTERIORS ON GRANT 136 Grant Ave, Santa Fe, New Mexico 87501 just north of the Plaza in downtown Santa Fe

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Saturday & Sunday August 16 & 17 10 am to 4 pm

Visit our rambling adobe in a serene garden setting in downtown Santa Fe. Discover amazing treasures – country and fine antiques, Native American, fine art, textiles, folk art and much more + 16 other dealers. Hours – 10 - 5, Mon. – Sat.

505-983-0075

Free customer parking on site

Could you survive life on the New Mexico frontier? Bring the family to an old Spanish ranch and living history museum to brush up on your outdoor skills! • Learn to make a wilderness shelter with John Carson, great-grandson of Kit Carson • Try your hand at archery and throw a spear with an atlatl • Learn how to use yucca as soap and as a fiber to make rope • Help scrape & tan hides and visit with master flint knappers • Get tips on wilderness first aid from the American Red Cross • Hear survival stories from New Mexico mountain men • Practice starting a fire without matches

TURTLE WORLD

... and much more! Fun for the whole family!

Adults $8 Seniors & Teens $6 Children under 13 Free Just south of Santa Fe 334 Los Pinos Rd. I-25 exit 276, follow signs for “Las Golondrinas”

Call 471-2261 or visit golondrinas.org for more information and a schedule of activities Support provided by Santa Fe Arts Commission, New Mexico Humanities Council and New Mexico Arts

PASATIEMPO I August 15 - 21, 2014

Coming Soon...

Pottery, Painting & PARTIES! Watch for more info . . . 1911 St Michaels Dr.

505-660-2716

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“You Only Sing Twice!” Gala Benefit feat. VOASIS Soaking up the Summer with VOASIS Soaking up the Summer with VOASIS** Soaking up the Summer with VOASIS **matinee and evening performances

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Don’t miss your chance to see this ensemble of eight singers performing contemporary vocal a cappella, jazz and pop under the direction of Deke Sharon (Pitch Perfect, Pitch Perfect 2, The Sing Off ). VOASIS will perform favorites such as Sting’s “Fields of Gold”, Katy Perry’s “Firework”, The B52’s “Loveshack”, and The Beach Boys’ “Their Hearts Were Full of Spring” as well as many others. Don’t miss another program of top-notch vocal pyrotechnics to close out your summer concert season. For more information, seating charts, and to purchase tickets, please visit our website at www.desertchorale.org

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Paul Weideman I The New Mexican

he work of Oklahoma Kiowa [World War II] but resilient Native people photographer Horace Poolaw in innocuous settings.” (1906-1984), which spanned Throughout the portfolio, in which a period from the 1920s to the family and fellow tribal members are prom1970s, is a study in contrasts. It inently represented, many of Poolaw’s presents startling cultural juxtapositions subjects are shown in traditional dress that underscore how uniquely Native (and quite a number of those were shot people assimilated the social developin the context of an exposition or a tribalHis vision of his world, ments of the 20th century into their very princess parade), but even more wear perceived through the different, parallel American lives, in a way Anglo-type garments. A 1931 image of forming their own version of modernity. Dorothy Poolaw Ware in a traditional lens of a camera, was Anthropologist Nancy Marie Mithlo, buckskin dress, carrying her son Justin touched with genius. who edited For a Love of His People: The Lee Ware in a beautifully beaded cradle Photography of Horace Poolaw (National board, contrasts with a 1930 photo of — N. Scott Momaday Museum of the American Indian, SmithHannah Keahbone, also in buckskin. sonian Institution, and Yale University Keahbone’s hairstyle of plastered-down Press, 2014), notes in “Horace Poolaw: Pictures by an bangs and spit curls is aptly compared in the accomIndian,” her accompanying essay, that “what we see panying text to the one worn by actress Clara Bow, in Poolaw’s photographs is not the harsh aftermath of who is pictured on the same page. In fact, the It-girlish

From left, Newton Poolaw (Kiowa), Jerry Poolaw (Kiowa), and Elmer Thomas “Buddy” Saunkeah (Kiowa), Mountain View, Okla., circa 1928, 57FK1; above, Horace Poolaw’s Graflex Speed Graphic camera, National Museum of the American Indian, Smithsonian Institution, photo by Ernest Amoroso; center, Sindy Libby Keahbone (Kiowa), left, Hannah Keahbone (Kiowa), right, Oklahoma City, Okla., circa 1930, 57PC2; right, Horace Poolaw, left, Gus Palmer (Kiowa), side gunner, right, in the front of a B-17 Flying Fortress, MacDill Field, Tampa, Fla., circa 1944, 45UFL14; all images, unless otherwise noted, ©2014 Estate of Horace Poolaw, reprinted with permission

PASATIEMPO I August 15-21, 2014

self-confidence emanating from both Keahbone and Bow, photographed within three years of each other, is striking as well. Other images in the book show Kiowa domestic scenes; Fancy Dancers at Indian fairs; the 1932 Fort Sill Indians football team; Cheyenne, Arapaho, Comanche, and Kiowa Indians at an Oklahoma governor’s inauguration; and Kiowas in military uniform. Critics have dismissed some of Poolaw’s depictions as appearing to be posed or otherwise lacking authenticity. In her 2008 essay, “A Native Intelligence,” Mithlo responded to them. “Rather than represent a corruption of values, the Poolaw legacy reflects a visual realism, an active engagement in the urbanization, cosmopolitanism, and leisure activities of America.

I argue that Native identity is visually negotiated in these zones of contact as Native Americans become active agents of their own imaginations.” Mithlo (Chiricahua Apache) is chairwoman of American Indian Studies at the Autry National Center Institute and associate professor of art history and visual arts at Occidental College, both in Los Angeles. For a Love of His People is based on the Poolaw Photography Project, which Poolaw’s daughter Linda initiated in 1989 at Stanford University and which was completed by Mithlo and Tom Jones (Ho-Chunk) at the University of Wisconsin in Madison. The project involved preserving and scanning Poolaw’s negatives and preparing an exhibition and catalog. “I first started with the project in 2002 after Linda

Poolaw asked me to help the family with the collection,” Mithlo told Pasatiempo. “My first [concern] was just to safeguard it, to make sure the negatives were stored correctly.” Poolaw produced some 2,000 photographs. Most of his negatives are from Speed Graphic and other large-format cameras. In an interview, Jones said that Poolaw “started with a 5x7 view camera and then moved on to a 4x5 press camera. He also later in life used medium-format twin-lens and 35 mm cameras. These examples are not represented in the show. The earlier negatives were [extremely flammable] nitrate, which is one of the reasons why Nancy and I decided to begin the project of scanning the collection in order to preserve the archive.” Concrete results of that work

appear both in the book For a Love of His People and in an exhibition of the same name that opened Aug. 9 at the National Museum of the American Indian in New York City. Poolaw was born near Mountain View in Kiowa country in southwestern Oklahoma. He began public school in about 1912 but did not continue beyond the sixth grade. “He was never satisfied with being in one place,” writes Linda Poolaw in the new book. As a photographer, he was mostly self-taught. He apprenticed for a time with two itinerant photographers who stepped off the Chicago, Rock Island & Pacific train in Mountain View and left cameras with him when they continued on Page 46

PASATIEMPOMAGAZINE.COM

It seemed that folks just weren’t interested in an Indian taking their pictures, and neither were they interested in purchasing pictures of Indians.” “The first manifestation of the Poolaw Photography Project happened in the late 1980s, when Linda was asked to go to Stanford University,” Mithlo said. That resulted in the exhibition War Bonnets, Tin Lizzies, and Patent Leather Pumps: Kiowa Culture in Transition, 1925-1955. It was the second time Poolaw’s pictures had been on public display. The first was a 1979 show at the Southern Plains Indian Museum in Anadarko, Oklahoma; he was still alive and had a hand in its curation. “The Poolaw legacy reflects a visual realism, an active engagement in the urbanization, cosmopolitanism, and leisure activities of America.” — Nancy Marie Mithlo

From left, Juanita Daugomah Ahtone (Kiowa), Evalou Ware Russell (Kiowa), Kiowa Tribal Princess, and Augustine Campbell Barsh (Kiowa) in the American Indian Exposition parade, Anadarko, Okla., 1941, 45EP9

Horace Poolaw, continued from Page 45 departed. Mithlo said he probably took a mail-order course in color tinting at one point. In the late 1920s he learned something about staging from his brother’s wife, Lucy Nicolar, a Penobscot who was in show business in New York. Poolaw continued to photograph Indian people in all their guises. “The government and religious groups had arrived and were busy introducing modern American culture to the Kiowa people by allotting the land and converting Kiowas to Christianity,” Linda Poolaw writes. “Our father shows the adoption of Western culture most clearly in his photos of subjects who posed in both three-piece suits and traditional dress. When I lecture, I state that Dad 46

PASATIEMPO I August 15-21, 2014

never began taking photographs with the thought of capturing Kiowas in transition. He just happened to be there with a camera, documenting his community and picturing them as people with pride who dressed and lived as they liked.” He worked for the Oklahoma Highway Patrol from 1937 to 1938. During World War II, he was an Army aerial photography instructor, stationed at MacDill Field in Florida. The book contains several photos from his Army days, including one showing Poolaw, camera in hand, with side gunner Gus Palmer (also Kiowa) inside a B-17 Flying Fortress. After the war, he went into farming and ranching. He kept a small cattle herd for the rest of his life and continued to take pictures into the 1970s. His daughter writes that Poolaw “never could make a good living being a photographer.

The Stanford show 11 years later was the first time Linda Poolaw saw her father’s photographs printed. She relates in the book that he “had to make every shot count” because of the expense of film. Lack of finances also undoubtedly explains why few of his negatives were ever printed during his life. “The photos for the War Bonnets show largely were chosen by Stanford undergraduates who knew nothing about Native American studies or about photography,” Mithlo said. “They tended to choose what I term the contract picture. They’re real punchy; they look like Pop Art. One of the most famous that is in the new show has a group of Kiowa women on a car, and they’re in full buckskin and regalia and there’s a sign that says ‘Kiowas.’ Tom Jones was giving a tour for the National Museum of the American Indian docents, and he was talking about how difficult that kind of photo is. The cars are moving, and it’s crowded, and it’s hot. He’s constantly impressed at the quality of Horace’s images.” The car shot was made at the American Indian Exposition in Anadarko. Poolaw was the expo’s official photographer for many years. The NMAI exhibit runs through Feb. 15, 2015. “I hope it will have a future beyond that, because Horace Poolaw’s legacy, I think, is one that has not received the attention it deserves,” Mithlo said. “Our collective wish is that the book and exhibit will bring him to light and he will enter the American canon in a way he hasn’t in the past.” Poolaw once said, “I do not want to be remembered for my pictures, but through my pictures I want my people to remember themselves.” That is assured, but anyone viewing his photos will realize that the value of Poolaw’s work is more universal. His photographs stand out for their technical clarity, compositional excellence, and faithful depictions of a people in a defining era. As Kiowa writer N. Scott Momaday remarked, “His vision of his world, perceived through the lens of a camera, was touched with genius.” Mithlo has echoed that sentiment, writing that Poolaw’s subjects project “a gaze of intelligence” that tells their viewers, “I am observing you before I fully trust you.” According to Mithlo, “This moment negates the idea of Indians living in another space and another time.” ◀

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40th Annual Santa Fe Bluegrass and Old Time Music Festival August 22-24, 2014

COUNTY FAIR GROUNDS Headliner Hosted Workshops Contests, Band Scramble, Barn Dance Friday Night Country Dance Great Food & Camping Gospel Sunday Jamming!

The Chapmans

The Todalo Shakers

James Reams & The Barnstormers Chirps Smith Steve Rosen & Fred Campeau (from the Volo Bogtrotters) Higher Ground Frank George & Kim Johnson And a number of local and regional bands!

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The Festival is sponsored in part by: The Southwest Traditional and Bluegrass Music Association

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LISTEN UP James M.Keller

Lowell Liebermann

PASATIEMPO I August 15-21, 2014

It was not my intention to make the German Christmas songs ... audible on the surface of the piece but to allow their melodic contours, moods, rhythms, and texts to affect my music.” He drew on another source beyond those: “I also listened to recordings of church bells dating from the period and the same territories as the songs. My new Quartet uses spectra of such bells as a harmonic and modal resource and also the rhythms of bell ringing from these regions.” He tips his hand with that word spectra. If you hadn’t known before, you would realize now that Anderson spent a formative stint absorbing the approach to composition known as spectralism. He studied for a while in Paris with Tristan Murail, an influential figure in the spectralist circle. To define spectral music, we might turn to the article in The New Grove Dictionary of Music and Musicians (Second Edition), which was authored by none other than Julian Anderson: “A term referring to music composed mainly in Europe since the 1970s which uses the acoustic properties of sound itself (or sound spectra) as the basis of its compositional material.” A spectralist approach to writing music typically involves conducting a mathematical, computer-generated analysis of the acoustic make-up of a given sound, representing the result graphically in a sonogram, and then manipulating, or “resynthesizing,” the information that has been extracted from that basic sound to massage it into the eventual composition. The concept proved most attractive to French, British, and Romanian composers, most of whom left classic spectralism in the dust even though they maintained some of its precepts as their personal styles evolved. Anderson, who is British, invested the piece at hand with a personal flavor by applying, in all movements but one, a tuning system that uses only

Maurice Foxall

Christmas in August or concert aficionados who like to veer from the tried and true, Aug. 7 was a banner day in Santa Fe. Two pieces co-commissioned by Santa Fe Chamber Music Festival got their first airings in town, in both cases in the St. Francis Auditorium: at noon, Julian Anderson’s String Quartet No. 2, “300 Weihnachtslieder” (composed in 2014), and, at 6 p.m., Lowell Liebermann’s Four Seasons (from 2013). In neither case were these world premieres, those honors having gone to different members of the respective commissioning consortiums. Four Seasons was reasonably well traveled by the time it arrived, as it received its first two performances a year ago at Chamber Music Northwest in Portland, Oregon; was reprised last fall by the Chamber Music Society of Lincoln Center; and was given in Albuquerque by SFCMF the evening before its Santa Fe outing. “300 Weihnachtslieder” was unveiled by the Arditti Quartet this past May at London’s Wigmore Hall, where Anderson is composer in residence. The two pieces could scarcely have been more different. Anderson provided a commentary for his piece that ran to some 850 words, enough to fill an entire 8½-by-11-inch page of the festival’s program book. He explained how he arrived at his subtitle, which means “300 Christmas Songs”: “I consulted several old sources of approximately 300 … Christmas songs from Speyer, Berlin, Cologne, Lübeck, and elsewhere, most of them dating between 1500 and 1750. …

Julian Anderson

intervals wider than a standard semitone, a system he refers to as “macrotonalism.” Though spectral music has been around for four decades, it has not yet gained a fervent following among general listeners. Neither has music written in nonstandard tunings, whether microtonal or macrotonal. I don’t suspect that Anderson’s new string quartet will do anything to reverse that situation, notwithstanding the zealous interpretation it received from the FLUX Quartet. Listeners who imagined that the piece would be a kind of “Name That Tune” with bits of Christmas carols flitting by would have been disappointed. Much of Anderson’s program essay did in fact detail where listeners might espy such passing fragments, but its utility was undercut by the fact that the lights in the hall were extinguished during the

The beefed-up Desert Chorale seemed intent on raising the roof, which was appropriate for some of the Requiem’s expanses; probably they tended all the more in that direction for having the support of an orchestra, which is a rare treat for them — and for the audience. performance and nobody who had read his essay in advance could possibly have remembered where to listen for what as the seven movements unrolled. I myself was smugly proud to spot in the third movement an allusion to the carol “Resonet in laudibus”; but when the lights came up I read that “the linear melodies are distantly derived from the carol ‘Resonet in laudibus’ ” … in the second movement. Such a bummer. The piece ran on for about 20 minutes, at which point it stopped, though the audience was obviously confused about whether or not it was actually over. The performers sat for a while in silence, perhaps scouring their pages to make sure they hadn’t forgotten anything. A composer has every right to explore paths that hold little interest for the lay listener. Already back in 1958, the composer Milton Babbitt wrote: “The time has passed when the normally well-educated man without special preparation could understand the most advanced work in, for example, mathematics, philosophy, and physics. Advanced music, to the extent that it reflects the knowledge and originality of the informed composer, scarcely can be expected to appear more intelligible than these arts and sciences to the person whose musical education usually has been less extensive than his background in other fields.” Point taken. And yet, there’s still life in those comforting, old-fashioned scales and arpeggios, and I can think of no American composer who invests the

traditional materials of music with the combination of originality and consistent expertise that Lowell Liebermann does. His Four Seasons is a six-movement suite for mezzo-soprano (here Sasha Cooke) with clarinet (David Shifrin), violin (Ida Kavafian), viola (Steven Tenenbom), cello (Peter Stumpf), and piano (the composer himself). It draws on a sequence of poems — mostly sonnets — by Edna St. Vincent Millay, of whom an insightful but anonymous essay on the website of the Poetry Foundation observes, “She was able to combine modernist attitudes with traditional forms, creating a unique American poetry” — words that could be transposed to the field of composition and apply quite aptly to Liebermann. The opening poem, which involves spring (though not in a pretty way), is filled with modernist vigor, and it is also profoundly American: at the words “I know what I know,” Liebermann tellingly lets loose a slow riff of ragtime. Right from this opening movement one was struck by the composer’s finesse in employing the assembled forces, prizing clarity in his instrumental textures. Cooke used her ample, rich-toned, eminently appealing voice to convey her part with conviction and sensitivity. The music moved on without a break to summer, where a luscious melody was supported by delicate elaborations on the piano, all against a background of sustained string writing. The third and fourth movements are both given over to autumn; in fact, they are two contrasting settings of the same bleak poem, “The Death of Autumn” — an inventive idea. The first time around, the poem gives rise to high anxiety of a minor-key, scurrying sort that puts a listener in mind of Shostakovich; following that, it receives a languorous treatment for just mezzosoprano and clarinet, a bit reminiscent of Vaughan Williams’ “Blake Songs.” Winter may take the prize as the most arrestingly beautiful expanse of the set, its flickering refinement underscoring the spirit of the poem: “… the rain/Is full of ghosts tonight, that tap and sigh/Upon the glass and listen for reply.” And yet, the epilogue (“Mindful of you the sodden earth in spring”) rivals it in its exquisite effect, now perhaps recalling the lyricism of Barber. Suggesting points of contact between Liebermann’s cycle and certain acclaimed predecessors should not be taken to suggest that he does not possess an original voice. It means, rather, that he is attached to the trunk of a musical tree that has been sending out new branches for centuries and remains far from exhausted.

n Aug. 7, at the Cathedral Basilica of St. Francis of Assisi, the Santa Fe Desert Chorale was joined by members of the Santa Fe Symphony and four vocal soloists for an all-Mozart program that culminated in the composer’s Requiem. At the head of the solo roster stood the mezzo-soprano Susan Graham, a native New Mexican who withdraws to her home here when she is not treading the boards of the world’s leading opera houses and concert halls. One of the consummate musicians of our time, she was understandably a “big draw” for this concert, and on the first half of the program she was spotlighted in two sacred

Susan Graham

arias, the “Laudate Dominum” from the Vesperae Solennes de Confessore and the “Laudamus te” from the C-minor Mass. She delivered both with singing of superlative distinction, richly reedy of tone, confident of coloratura, never losing sight of the lyric line. In both of these arias Mozart was providing sacred music destined for light-filled cathedrals, and Graham invested these songs of praise with infectious good spirits, as if we happened to be catching Dorabella going to church. The chorus and orchestra backed her up enthusiastically in the Vesperae selection, and on their own they offered a worthy rendition of the composer’s “Ave verum corpus,” a gemlike miniature among his late masterworks. For this performance, director Joshua Habermann enlarged the Desert Chorale with a few extra voices imported from the St. Martin’s Chamber Choir of Denver, yielding a chorus of 32 singers. In the Requiem, their number was reduced to 29, since three of the Desert Chorale’s members — soprano Megan Chartrand, tenor Andrew Crane, and bass John Buffett — joined Graham for solo duty. Solo singing is sometimes the Desert Chorale’s weak suit, but each of the three proved up to the task. The beefed-up chorus seemed intent on raising the roof, which was appropriate for some of the Requiem’s expanses; probably they tended all the more in that direction for having the support of an orchestra, which is a rare treat for them — and for the audience. The most refined choral work came in the “Domine Jesu Christe” section, where more restrained volume allowed the group’s attentive diction and carefully molded color to shine. When Mozart died, he left great expanses of his Requiem unfinished. Modern performers therefore

have to choose among a number of completions that have been put forth over the years. The one most commonly encountered is the version prepared shortly after the composer’s death by his pupil Franz Xaver Süssmayr. The one Habermann chose, however, was that of the Mozart scholar Robert Levin, which was published in 1993 and has gained a substantial following during the past decade or so. Levin maintains a good deal of what Süssmayr proposed, but he does a fair amount of touching up throughout and adds some original bits of his own, including fugues that Mozart almost surely would have provided at certain points but that would probably have stretched Süssmayr beyond the boundaries of his ability. The “original” section I like the least in Levin’s version is his take on the “Lacrymosa,” which in Mozart’s score breaks off after eight measures in D minor. From that point, Levin mostly follows Süssmayr’s lead, but he rewrites the movement’s accustomed conclusion to segue into an “Amen” fugue, which he has based on a brief sketch by Mozart. Little more than a minute long, Levin’s fugue leaves me hungry; it gets hung up on pedal points such that one feels there is too little exposition, too much cadencing, and no suggestion of a harmonic journey. Apart from that, his completion holds up convincingly. When all is said and done, the matter of what version is being performed is probably of rather slight interest to most people experiencing the piece. This concert represented some of the best work I have heard from the Desert Chorale, which, through the addition of the orchestra, was liberated to explore a level of repertoire it can only have found satisfying. May we hope that a collaboration with the Santa Fe Symphony might become a regular feature of the Chorale’s summer season? ◀ PASATIEMPOMAGAZINE.COM

A percentage of all Zozobra sales support Kiwanis Club of Santa Fe. ZozobraTM ® Image used with permission of the Kiwanis Club of Santa Fe ©2011 “Will Shusterʼs Zozobra” TM ® The Kiwanis Club of Santa Fe All Rights Reserved

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PASATIEMPO I August 15 - 21, 2014

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O’Connor String Quartet

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Michael Abatemarco I The New Mexican

WOMAN WARRIOR

ose B. Simpson’s fashion designs are tribal and futuristic, like something out of Mad Max, and like that film, her designs convey a post-apocalyptic feeling. The Santa Clara Pueblo-based artist is known for her ceramic works, but fashion is her new direction. In 2013, she did a residency at the Denver Art Museum, a project that culminated in a distinctive take on muscle cars and models. As part of the residency, she refurbished a 1980s-era Chevy El Camino and displayed it at the museum with seven models showcasing her fashions. “I got a grant from the Native Arts and Cultures Foundation to explore more art and fashion design,” Simpson told Pasatiempo. “I started by doing a fashion show at the Eldorado Hotel last October. I was doing armor-type fashions. There were no weapons, just objects of empowerment. I created outfits for seven people, and I finished the car. How do you work in a performative manner and also have something people can see? I brought a lot of the fashion up to Denver, and people could try it on. Then I made seven of these ceramic busts to represent the seven directions, that being up, down, north, east, south, west, and center. The Denver Art Museum ended up keeping two. What I have left is north, south, east, west, and center.” The five ceramic busts are included in Finding Center, Simpson’s solo show at Chiaroscuro Contemporary Art. The multimedia exhibit also features photographs and works on paper, including renderings of old tricked-out automobiles such as a ’69 Chevy Chevelle and a ’64 Buick Riviera. “I went to school for ceramics, and a lot of the graduate conversation in ceramics is art versus craft. What is a utilitarian object, and what is it worth? The drawings are about the empowered vessel, and the car is the vessel. To me, it links directly to art versus craft.” Simpson’s clay busts are adorned with deer hide, ceramic rings, strips of fabric, and found objects. One senses that each bust is a reflection of an aspect of Simpson herself, whose work in clay is often autobiographical. They are largescale busts of adorned warrior-like figures; the

PASATIEMPO I August 15-21, 2014

ROSE B. SIMPSON aesthetic is similar to that of her fashions. The show also features a new take on a series called Return of Saturn, which Simpson created for a previous exhibit at Chiaroscuro. The original series was of small clay heads aligned horizontally along one wall. For Finding Center, she re-created five pieces from Return of Saturn on a larger scale. Simpson gives a lecture about her work at 7 p.m. on Wednesday, Aug. 20, at Santa Fe Clay. The car drawings, the El Camino, and the ceramic works all relate to the theme of journeying and self-discovery. “Finding Center is partly about how we adorn ourselves and how we present ourselves to the world in an empowered fashion. It’s about claiming your center, finding self, and identifying that and honoring it. No matter where you go in the world, you always have yourself, and as long as you have your center, your self, you are empowered.” Simpson’s El Camino — a personal vehicle as well as an object of art — had a smashed-in door, a broken taillight, and a garish maroonand-silver paint job. Over time she outfitted the vehicle with a dual exhaust system and headers to make it sound more powerful, and she put in a subwoofer to augment the audio bass. “For the show, I was pumping out a heartbeat,” she said. “The fact that it’s an El Camino is hilarious. I never liked El Caminos. It’s kind of a functionless thing. It has this round, rear window that almost looks like a bowl, so I painted the car with black-on-black pottery designs” — meaningful symbols derived from the pottery tradition of Santa Clara Pueblo. “It’s a mountain pattern and travel pattern and feathers.” The design is identical on both sides of the vehicle. “There [are] mountains on either side, so if you think about it, it’s like the valley. You have the Sangre de Cristos. You have the Jemez Mountains. It’s a very contextualized thing.” Simpson named the car Maria for San Ildefonso Pueblo artist Maria Martinez (18871980), known for her black-on-black pottery.

“I consider the El Camino part of my ceramics, because it’s part of the ceramics conversation.” Photographs of the car, taken at a recent shoot with photographer Kate Russell, are also included in Finding Center. Simpson envisions the parade of car and models as a contemporary take on a journeying posse of tribal warriors. “Have you seen the movie Once Were Warriors? There’s a part in that film where these Maori gangster dudes are cruising in this old beat-up car, and it has a shrunken head on the hood. They have those full-face tattoos, and they’re totally rad, like punk-rock slash bikers, and they’re all squashed into this car and driving with the shrunken head’s hair flapping in the wind. How can I make that my own, from my own indigenous experience? How can I find that post-apocalyptic empowerment stance? I grew up at the [Santa Clara Pueblo-based] Flowering Tree Permaculture Institute, so I was really well aware of the fact that we’re destroying our planet.” Simpson is now a board member at the institute, where her mother, artist Roxanne Swentzell, serves as president. The institute is committed to educating people in sustainable living and agricultural practices and healthy lifestyles. “I always wondered what the world would look like post-apocalyptic. I was feeling there would be a sense of freedom to be who you were without fitting into social structures or norms. It would open up an honesty in people. You would find a shred of fabric and make yourself something to wear. It would be so you.” ◀

details ▼ Rose B. Simpson: Finding Center ▼ Indian Market reception 5 p.m. Friday, Aug. 22; exhibit through August

Rose B. Simpson: Good With Flight, 2014; ceramic, mixed & reclaimed media; opposite page, Tracker, 2014, ceramic, mixed & reclaimed media; images courtesy Chiaroscuro Contemporary Art

▼ Chiaroscuro Contemporary Art, 702½ Canyon Road, 505-992-0711 ▼ Lecture 7 p.m. Wednesday, Aug. 20 ▼ Santa Fe Clay, 545 Camino de la Familia, 505-984-1122 ▼ No charge

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MOVING IMAGES chile pages — compiled by Robert Ker

Songs in the key of “I C U”: Jeff Bridges and Taylor Swift in The Giver at the Jean Cocteau Cinema and Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week DRUNKTOWN’S FINEST The first feature by Sydney Freeland is a moving coming-of-age tale that follows three Navajo youths struggling to escape the harsh realities of reservation life. The lives of father-to-be Luther “SickBoy” Maryboy ( Jeremiah Bitsui); the transgendered and promiscuous Felixia (Carmen Moore); and college hopeful Nizhoni Smiles (Morning Star Wilson), the adopted daughter of a non-Native family, intertwine as they learn the value of family, culture, and tradition without sacrificing their individual identities. The title was inspired by an episode of 20/20 in which the writer/director’s hometown of Gallup was referred to as “Drunktown, U.S.A.” Freeland turns the tables on Native stereotypes and brings dignity and depth to her characters. Not rated. 95 minutes. Jean Cocteau Cinema, Santa Fe. (Michael Abatemarco) THE EXPENDABLES 3 Take a deep breath before reciting the cast for this latest all-star game of action-movie heroes, since it boasts (are you ready?)

PASATIEMPO I August 15-21, 2014

Sylvester Stallone, Jason Statham, Antonio Banderas, Jet Li, Wesley Snipes, Dolph Lundgren, Kelsey Grammer, Harrison Ford, Arnold Schwarzenegger, and more — most of them fighting a villain played by Mel Gibson. The irony is that despite all this muscle, the real stars, as ever, are the explosions. Rated PG-13. 126 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE GIVER Lois Lowry’s 1993 children’s novel was widely read and won a Newbery Medal. The story — about a boy named Jonas (Brenton Thwaites) who lives in a dystopian future and learns the value of free will — finally comes to life in theaters thanks to the efforts of director Phillip Noyce (The Quiet American). Jeff Bridges plays the wisdom-bestowing title character, and Meryl Streep plays the Chief Elder, who opposes Jonas’ awakening. Rated PG-13. 94 minutes. Jean Cocteau Cinema and Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) MAGIC IN THE MOONLIGHT In Woody Allen’s latest, Colin Firth is Stanley Crawford, a celebrated English illusionist who travels the world and astounds audiences using the stage persona of Wei Ling

Soo, Chinese magician. Stanley is a committed debunker of charlatans, so when an old friend (Simon McBurney) asks him to come help expose a young medium (Emma Stone) who is preying on some wealthy American friends in the south of France, Stanley accepts the challenge. But the task proves not as easy as Stanley expected, and soon he finds himself, if not quite a true believer, at least starting to fall under her spell. Allen may not have a soft spot for psychics, but he does understand the magic of romance. He knows that rigid rationality isn’t everything and that only a fool would reject the possibility that there are more things in heaven and earth than are dreamt of in his philosophy. Rated PG-13. 97 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) See review, Page 62. A MASTER BUILDER This film took 14 years to prepare and rehearse but only seven days to shoot. A Master Builder is another adventure in classic theater transposed to screen undertaken by that intrepid duo, Andre Gregory and Wallace Shawn. This isn’t your father’s Master Builder, but Shawn and Gregory are aiming for something they hope is closer to Ibsen’s than a lot of the more-traditional productions. To a large extent, the success of this project rests on your capacity for

accepting the diminutive, lisping Shawn as Ibsen’s imperious despot, who rules and schemes and can excite erotic flutters in a young girl’s heart. The best work comes from an ebullient newcomer, Lisa Joyce, as Hilde, and the veteran Julie Hagerty as the master builder’s suffering wife. The direction, by Jonathan Demme, never quite escapes the feeling of filmed theater, but the budget was small, and time was short. Not rated. 130 minutes. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 64. WHAT IF Daniel Radcliffe, once the bespectacled scarf-wearing star of the Harry Potter films, is all grown up now and starring as a stubble-sporting millennial in meet-cute rom-coms. Here, he’s Wallace, a young man who’s about to learn how hard it is to be in love with your unavailable best friend (portrayed by Zoe Kazan). The suddenly omnipresent Adam Driver (Girls) plays Wallace’s wisecracking roommate. Rated PG-13. 102 minutes. Regal DeVargas, Santa Fe. (Not reviewed)

now in theaters AND SO IT GOES Rob Reiner directs this comedy in which a crusty real estate agent (Michael Douglas) is suddenly asked to care for a granddaughter he didn’t know he had — and most likely becomes less crusty in the process. His relationship with his neighbor (Diane Keaton) also evolves over the course of the film. Rated PG-13. 94 minutes. Regal DeVargas, Santa Fe. (Not reviewed) BOYHOOD Richard Linklater’s extraordinary achievement has been to take one boy, a 6-year-old named Ellar Coltrane, and film him for a few days every year for a dozen years. He wrote each screenplay segment based on talks with his cast, which includes Ethan Hawke and Patricia Arquette as the boy’s parents. We watch as the boy grows up and makes it safely through boyhood’s adventures and discoveries: his limbs lengthen, his cheeks hollow, his mind grows, his heart breaks and mends, and he arrives on the brink of young adulthood as the movie ends. It’s not just that 12 real years pass and Linklater holds the whole thing together. It’s the way it happens, the way he tells the story. It’s a life. Rated R. 165 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) CHEF Jon Favreau, who wrote and directed this film, stars as Carl Casper, an L.A. chef with a successful restaurant

and a failed marriage. Carl gets into a war of words with a critic (Oliver Platt); loses his job; and with the help of his ex-wife (Sofia Vergara), her ex (Robert Downey Jr.), and an amiable line cook ( John Leguizamo), heads to Miami with his son (Emjay Anthony), hoping to start over. Chef is part food porn, part tale of self-discovery, part fatherson story, and part road-trip movie — with nary a conflict or villain in sight. It will remind you to appreciate the simple things in life — particularly a good Cubano sandwich. Rated R. 114 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) DAWN OF THE PLANET OF THE APES This is the best and most thoughtful blockbuster franchise going right now. The sequel to 2011’s terrific Rise of the Planet of the Apes picks up the story after a virus has wiped out most of humankind. The chimpanzee Caesar (played once more by Andy Serkis) leads the rapidly evolving simians in their redwood-forest community, until a human settlement (led by a man played by Gary Oldman) encroaches on them and small acts of aggression escalate into warfare. The special effects and creature performances are aweinspiring, and the use of silence, sign language, and an often-subtle score lets the audience absorb the story peacefully. Rated PG-13. 130 minutes. Screens in 2-D at Regal Stadium 14, Santa Fe. (Robert Ker) GET ON UP The hardest-working man in show business gets the biopic treatment in this film by Tate Taylor (The Help). Chadwick Boseman, who played Jackie Robinson in 42, now plays James Brown during the rise of his remarkable career. Viola Davis plays his mother, Susie, with whom he had a contentious relationship, and Craig Robinson plays sax man Maceo Parker. Rated PG-13. 138 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) GUARDIANS OF THE GALAXY The best film yet from Marvel Entertainment is this satisfying space opera, which injects much-missed fun back into the

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science-fiction genre. Chris Pratt plays Star-Lord, the leader of a gang of intergalactic misfits and outlaws that includes a talking raccoon and a tree (voiced by Bradley Cooper and Vin Diesel, respectively). They learn to overcome their differences and become unlikely friends, just in time to fight off the evil Ronan (Lee Pace) and guard the galaxy. Great music, loads of heart, a superb cast, and a healthy dose of irreverence and humor overshadow even the wild special effects and the intricate world building. Rated PG-13. 121 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) HERCULES Dwayne “The Rock” Johnson returns to effects-heavy fantasy and gets back into beefcake mode to play the great hero Hercules. He’s called into action to defeat an evil warlock and wonders if he actually is a great hero. Ian McShane and John Hurt costar. Brett Ratner (Rush Hour) directs. Rated PG-13. 98 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) THE HUNDRED-FOOT JOURNEY This movie hits many of the check marks for art-house cinema: it takes place in the French countryside, it involves a restaurant, the plot centers on cross-cultural understanding, Lasse Hallström (Chocolat) directs, and Helen Mirren is prominently involved. She plays a restaurateur who must learn to coexist with the Indian family who set up an eatery across the street. Rated PG. 122 minutes. Regal DeVargas, Santa Fe. (Not reviewed) INTO THE STORM Come on, baby, let’s do the twist! This disaster movie is the biggest tornadobased thriller since 1996’s Twister, and it ramps the severity of the weather up to an almost comical degree. Little-known actors play various citizens and stormchasers in a small town that is ravaged by multiple tornadoes before the biggest one ever recorded spins in to finish the job. Rated PG-13. 89 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) LET’S BE COPS Jake Johnson and Damon Wayans Jr. play two losers who decide to dress up as cops for a costume party. They enjoy the illusion of authority so much they decide to keep the charade going for as long as they can. When they end up having to fight bad guys, they realize they may have taken it a bit too far. Rated R. 104 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) continued on Page 58

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MOVING IMAGES chile pages

continued from Page 57

achieves white-knuckle excitement, but it manages good storytelling and has a solid cast, with special mention due to Nina Hoss as Günther’s sidekick. Rated R. 121 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) PLANES: FIRE AND RESCUE The world of Cars gave birth to 2013’s Planes, and this follow-up finds Dusty Crophopper (voiced by Dane Cook) fighting fires, learning about heroism, and no doubt off-screen appearing on a lunchbox or notebook near you. Rated PG. 83 minutes. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) STEP UP ALL IN Where has the time gone? The Step Up series, which began modestly in 2006, has now reached its fifth installment. How does the crew celebrate? By dancing, of course! This movie brings together some of the best cast members from the previous films for a big contest in Las Vegas. Rated PG-13. 112 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed)

The Expendables 3

LIVING IS EASY WITH EYES CLOSED This sweet Spanish film is based on the true story of an English teacher seeking out John Lennon on the set of How I Won the War in 1966. It’s a road movie filled with genuinely good people trying not to get hurt. Excellent performances by Javier Cámara, Natalia de Molina, and Francesc Colomer deepen moments that veer toward the saccharine. Watch for a satisfying drive through a strawberry field near the end. Not rated. 108 minutes. In Spanish with subtitles. The Screen, Santa Fe. ( Jennifer Levin) LUCY Scarlett Johansson is Lucy, a woman who works as a drug mule until an experimental drug leaks into her body and unleashes the full potential of her brain. What does she do with this power? It’s never quite clear, but it is compelling. Director Luc Besson balances stylish action with goofy science about evolution and the brain’s capacity, but it all blends together for a movie that is original and highly unpredictable. Morgan Freeman also stars. Rated R. 90 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker)

PASATIEMPO I August 15-21, 2014

MOOD INDIGO Set in an alternate reality, Michel Gondry’s French farce runs the gamut between comedic fantasy and endearing drama. With a stellar cast that includes Audrey Tautou (Amélie) and Omar Sy (The Intouchables), Mood Indigo is the story of Colin (Romain Duris) and Chloé (Tautou), star-crossed lovers coping with Chloé’s potentially fatal disease. The film delights in visual trickery, and events unfold with dreamlike logic. The visual feast is set to a jazzy Duke Ellington score. Not rated. 131 minutes. In French with subtitles. Jean Cocteau Cinema, Santa Fe. (Michael Abatemarco) A MOST WANTED MAN Nobody did rumpled like the late, lamented Philip Seymour Hoffman, who haunts this movie as German intelligence officer Günther Bachmann in John le Carré’s Hamburg-set spy tale of honorable people working in a dishonorable world. The time restrictions of feature-length films don’t do justice to le Carré’s intricate plotting, but director Anton Corbijn (The American) moves the story efficiently from a first-hour mosaic of disparate scenes to a last hour when it all funnels together. The film never

TEENAGE MUTANT NINJA TURTLES Back in 1990, the TMNT craze hit its apex among Generation Y with the reptilian quartet’s first movie, in which the leads were brought to life through Jim Henson’s Creature Shop. Michael Bay produced this comeback movie, which animates the turtles using computers and gives their latest bout with Shredder the over-the-top action treatment. Cowabunga, dudes! Rated PG-13. 101 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

other screenings Duel Brewing 1228 Parkway Dr., 505-474-5301 8 p.m. Sunday, Aug. 17: 45365. Screens with a preview of a documentary by local filmmakers Jesse R. Fisher and Jackie Munro, who will attend along with co-director Turner Ross. No charge. Jean Cocteau Cinema, 505-466-5528 Death Race 2000 (1975), Monty Python Live (Mostly), Sundance Shorts, This May Be the Last Time. Regal Stadium 14, 505-424-6296 Elvis: That’s the Way It Is (1970), If I Stay, Sin City: A Dame to Kill For, When the Game Stands Tall. ◀

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1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Boyhood (R) Fri. to Sun. 12 p.m., 1 p.m., 3:15 p.m., 4:15 p.m., 6:30 p.m., 7:30 p.m. Mon. 12 p.m., 1 p.m., 3:15 p.m., 4:15 p.m., 7:30 p.m. Tue. to Thurs. 12 p.m., 1 p.m., 3:15 p.m., 4:15 p.m., 6:30 p.m., 7:30 p.m. JEAN COCTEAU CINEMA

418 Montezuma Avenue, 505-466-5528 Death Race 2000 (NR) Fri. and Sat. 11 p.m. Drunktown’s Finest (NR) Fri. to Tue. 6:30 p.m. Wed. and Thurs. 8:30 p.m. The Giver (PG-13) Fri. to Sun. 4:30 p.m., 8:30 p.m. Mon. 8:30 p.m. Tue. 4:30 p.m., 8:30 p.m. Wed. and Thurs. 4:30 p.m. Monty Python Live (Mostly) (NR) Sun. 1 p.m. Mood Indigo (NR) Fri. and Sat. 2:30 p.m. Wed. and Thurs. 2:30 p.m. Sundance Shorts (NR) Wed. 6:30 p.m. This May Be the Last Time (NR) Thurs. 6:30 p.m. REGAL DEVARGAS

562 N. Guadalupe St., 505-988-2775, www.fandango.com And So It Goes (PG-13) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:25 p.m., 9:50 p.m. Sun. to Thurs. 1:40 p.m., 4:40 p.m., 7:25 p.m. Chef (R) Fri. and Sat. 1:35 p.m., 4:25 p.m., 7:05 p.m., 10:05 p.m. Sun. to Thurs. 1:35 p.m., 4:25 p.m., 7:05 p.m. The Hundred-Foot Journey (PG) Fri. and Sat. 1:15 p.m., 4:15 p.m., 7:15 p.m., 10 p.m. Sun. to Thurs. 1:15 p.m., 4:15 p.m., 7:15 p.m. Magic in the Moonlight (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. A Most Wanted Man (R) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:45 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m. What If (PG-13) Fri. and Sat. 1:50 p.m., 4:50 p.m., 7:35 p.m., 10:05 p.m. Sun. to Thurs. 1:50 p.m., 4:50 p.m., 7:35 p.m. REGAL STADIUM 14

3474 Zafarano Drive, 505-424-6296, www.fandango.com Dawn of the Planet of the Apes (PG-13) Fri. and Sat. 11 a.m., 1:40 p.m., 4:35 p.m., 7:35 p.m., 10:35 p.m. Sun. 11 a.m., 4:35 p.m., 7:35 p.m., 10:35 p.m. Elvis:That’s the Way It Is (PG) Sun. 2 p.m. Wed. 2 p.m., 7 p.m. The Expendables 3 (PG-13) Fri. to Sun. 11 a.m., 1:55 p.m., 4:50 p.m., 7:45 p.m., 10:40 p.m. Get On Up (PG-13) Fri. to Sun. 1:10 p.m., 4:20 p.m., 7:35 p.m. The Giver (PG-13) Fri. to Sun. 11:15 a.m., 1:40 p.m., 4:15 p.m., 7 p.m., 9:30 p.m. Guardians of the Galaxy 3D (PG-13) Fri. to Sun. 1 p.m., 4 p.m., 7:15 p.m., 10 p.m., 10:40 p.m. Guardians of the Galaxy (PG-13) Fri. to Sun. 1:30 p.m., 4:40 p.m., 7:50 p.m., 10:30 p.m. Hercules 3D (PG-13) Fri. to Sun. 11:25 a.m., 2:20 p.m., 10:05 p.m. Hercules (PG-13) Fri. to Sun. 4:45 p.m., 7:20 p.m. If I Stay (PG-13) Thurs. 7 p.m., 9:35 p.m. Into the Storm (PG-13) Fri. to Sun. 11:20 a.m., 1:45 p.m., 4:35 p.m., 7:10 p.m., 9:30 p.m.

Let’s Be Cops (R) Fri. to Sun. 11:10 a.m., 11:40 a.m.,

1:50 p.m., 2:20 p.m., 4:25 p.m., 4:55 p.m., 7:10 p.m., 7:40 p.m., 9:45 p.m., 10:15 p.m. Lucy (R) Fri. to Sun. 12:15 p.m., 2:50 p.m., 5:10 p.m., 7:40 p.m., 9:55 p.m. Sin City:A Dame to Kill For 3D (NR) Thurs. 9 p.m., 10 p.m. Step Up All In 3D (PG-13) Fri. to Sun. 2:15 p.m., 10:30 p.m. Step Up All In (PG-13) Fri. to Sun. 11:30 a.m., 5 p.m., 7:50 p.m. Teenage Mutant Ninja Turtles 3D (PG-13) Fri. to Sun. 12 p.m., 2:30 p.m., 5 p.m., 7:30 p.m., 10 p.m. Teenage Mutant Ninja Turtles (PG-13) Fri. to Sun. 11:30 a.m., 2 p.m., 4:30 p.m., 7:05 p.m., 9:30 p.m. When the Game Stands Tall (PG) Thurs. 7 p.m., 9:45 p.m. THE SCREEN

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Living Is Easy with Eyes Closed (NR) Fri. to Thurs. 3 p.m., 7:45 p.m. A Master Builder (NR) Fri. to Thurs. 12:15 p.m., 5 p.m.

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15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com The Expendables 3 (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m. The Giver (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:05 p.m., 4:50 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:05 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs. 4:50 p.m., 7:30 p.m. Guardians of the Galaxy (PG-13) Fri. 4:35 p.m., 7:15 p.m., 9:55 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:15 p.m., 9:55 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:15 p.m. Mon. to Thurs. 4:35 p.m., 7:15 p.m. Hercules (PG-13) Fri. 7:10 p.m., 9:20 p.m. Sat. 7:10 p.m., 9:20 p.m. Sun. to Thurs. 7:10 p.m. Into the Storm (PG-13) Fri. 4:45 p.m., 7:05 p.m., 9:40 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:05 p.m., 9:40 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:05 p.m. Mon. to Thurs. 4:45 p.m., 7:05 p.m. Let’s Be Cops (R) Fri. 4:40 p.m., 7:25 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:40 p.m., 7:25 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:40 p.m., 7:25 p.m. Mon. to Thurs. 4:40 p.m., 7:25 p.m. Lucy (R) Fri. 4:55 p.m., 7:35 p.m., 9:45 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:35 p.m., 9:45 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:35 p.m. Mon. to Thurs. 4:55 p.m., 7:35 p.m. Planes: Fire & Rescue (PG) Fri. 4:35 p.m. Sat. and Sun. 2:05 p.m., 4:35 p.m. Mon. to Thurs. 4:35 p.m. Step Up All In (PG-13) Fri. 4:25 p.m., 6:55 p.m., 9:25 p.m. Sat. 1:50 p.m., 4:25 p.m., 6:55 p.m., 9:25 p.m. Sun. 1:50 p.m., 4:25 p.m., 6:55 p.m. Mon. to Thurs. 4:25 p.m., 6:55 p.m. Teenage Mutant Ninja Turtles 3D (PG-13) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Teenage Mutant Ninja Turtles (PG-13) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m.

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Maria Benitez Institute for Spanish Arts presents:

Flamenco’s Next Generation at the Lodge Flamenco’s Next Generation are performing Sunday Matinees at the Lodge at Santa Fe. With Joaquin Gallegos & Veronica Medina, and Level 2 youth students from ISA. Reserve your tickets by calling Valerie at 505-449-7498 or purchase online at www.institutespanisharts.org

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PASATIEMPO I August 15 - 21, 2014

Eileen Colin Marcia Hamish Simon Emma Jacki Atkins Firth Gay Harden Linklater McBurney Stone Weaver

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12:00p - Boyhood* 1:00p - Boyhood 3:15p - Boyhood* 4:15p - Boyhood 6:30p - Boyhood* 7:30p - Boyhood

Monday August 18 12:00p - Boyhood* 1:00p - Boyhood 3:15p - Boyhood* 4:15p - Boyhood 7:00p - SITE Santa Fe presents An Evening with Leandro Katz* 7:30p - Boyhood

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MOVING IMAGES film reviews Do do that voodoo Jonathan Richards I For The New Mexican Magic in the Moonlight, romantic comedy, rated PG-13, Regal DeVargas, 3 chiles Woody Allen is a storyteller. He spins yarns that he seems to have a good time spinning and that his fans (among whom I count myself) have a good time watching. He tells a story, wraps it up, sends it out into the world, and gets to work on another. Some of these yarns are better than others, but even the ones that miss the brass ring are generally more entertaining than not. Even his opening credits are reassuringly familiar, like cookies and milk laced with brandy. As that white lettering rolls on that black screen, buoyed by the strains of a jazz standard, we settle in with pleasant anticipation. Allen has favorite elements and themes to which he keeps returning. So do a lot of great storytellers. Think of John Irving, with his bears and motorcycles. Think of Shakespeare and cross-dressing. Think of Picasso and bulls. There are people who will groan at Allen’s revisiting of magicians, paranormal activity, and the 1920s, and those people should stay home, have a drink, and maybe dig that old Ouija board out of the game closet. As a teenager, Allen was fascinated by magicians’ tricks and had a fling at legerdemain before embarking on a career in stand-up comedy. As a filmmaker, he’s drawn to stories involving magic, fantasy, time travel, and the like, and his stories unfold in the rhythms of his old stand-up routines. In Magic in the Moonlight, Colin Firth plays Stanley Crawford, a celebrated English illusionist who travels the world under his stage persona, Wei Ling Soo, a Chinese

Nothing like the real thing: Emma Stone and Colin Firth

magician who astounds audiences with his David Copperfield-like feats: sawing women in half, making elephants disappear, teleporting himself from a locked chest to a swivel chair across the room. In company with other magicians like Harry Houdini and the Amazing Randi, Stanley is a committed debunker of psychics and spiritualists. So when his old pal and fellow illusionist Howard (Simon McBurney) shows up at the Berlin nightclub where he is performing and asks him to help expose a medium who is preying on some wealthy American friends in the south of France, Stanley accepts the challenge. That’s the setup. The psychic is a young woman named Sophie (Emma Stone). Accompanied by her mother (Marcia Gay Harden), she is staying at a villa at the invitation of a rich widow, Grace ( Jacki Weaver), and has promised to make contact with the spirit world and the lady’s departed husband. She also has the woman’s son and heir Brice (Hamish Linklater) eating out of her hand, strumming the ukulele, and proposing marriage hourly. You don’t know for a while what direction Allen is headed with this. His movies have offered fantasy, time travel (Midnight in Paris), magical Chinese potions

De-lovely debunking: Simon McBurney, Eileen Atkins, and Colin Firth

PASATIEMPO I August 15-21, 2014

(Alice), characters stepping through the fourth wall of a movie screen (The Purple Rose of Cairo), contact with the spirit world (Scoop), and various noncorporeal manifestations (Play It Again, Sam and To Rome With Love). Allen’s sense of humor is a big enough tent to embrace whatever is funny, and as a storyteller, he knows that magic works. But there’s no question where Stanley comes down on the matter. He’s a skeptic, and any claims of true magic, including claims of religion, are charlatanism in his eyes. When Howard wonders if Sophie could be the real thing, Stanley exclaims, “There is no real thing — from the séance table to the Vatican and beyond!” Stanley is a stuffed shirt and a pompous cynic, and he loses no time letting Sophie know that he’s onto her and plans to show her up for what she is. But that proves not to be so easy, and soon he finds himself, if not quite a believer, at least starting to fall under her spell. (“A pretty face,” he observes early on, “never hurt a cheap swindler.”) There are definite nods to Pygmalion in Allen’s construction: Stanley, who has more than a bit of a Henry Higgins about him, is even fitted out with a version of that infamous professor’s socialite mother — in the delightful form of his Aunt Vanessa (Eileen Atkins), who has a nearby villa on the Cote d’Azur. The shape of the story gradually becomes clear. Allen may not have a soft spot for psychics, but he understands the magic of romance. He may not believe there’s anything beyond the darkness of that final curtain, but he knows that rigid rationality isn’t everything and that only a fool would reject the possibility that there are more things in heaven and earth than are dreamt of in his philosophy. He also has a weakness for romantic entanglements between older men and younger women. This puts some people off, as do elements of Allen’s personal life — some documented, some alleged. His movies are a kind of Rorschach test for critics and audiences alike. There will always be people who will shun his movies because of their feelings about him, just as there are people who won’t go to a Wagner opera. But if we narrow our horizons to artists who are paragons of virtue, we’re going to miss out on a lot of good stuff. Magic in the Moonlight is good stuff. It would be a shame to miss out on it. ◀

THE GIVER’ TRANSCENDS THE WORLD IT CREATED.” “‘

“A modestly scaled but potent film version of Andre Gregory’s adaptation, which hews closely to Ibsen’s original - except when it doesn’t.” Stephanie Zacharek, Village Voice

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MOVING IMAGES film reviews Wally and Andre’s excellent adventure Jonathan Richards I For The New Mexican A Master Builder, drama, not rated, The Screen, 3 chiles Another exploit in classic theater transposed to the screen, as taken on by intrepid duo Andre Gregory and Wallace Shawn, proves to be worth the doing. The two shared a memorable cinematic dinner back in 1981, under the direction of the great Louis Malle. A dozen years after My Dinner With André, Malle collaborated with Shawn and Gregory for Vanya on 42nd Street, a screen version of Uncle Vanya that Gregory and Shawn had been workshopping for several years. Shot in a cavernous, derelict 42nd Street movie palace in 1993, it is one of the finest adaptations of Chekhov ever filmed. Malle is gone now, and Shawn and Gregory are two decades older. They have spent a good part of those years digging around in Henrik Ibsen’s The Master Builder. The project began in 1997, with Shawn, who doesn’t speak any Norwegian, undertaking a creative translation of Ibsen. Shawn’s aim was to revitalize the text into something that he felt would reflect Ibsen’s insights and intelligence, and even his humor, better than the available translations, which he found to be “heavy” and “a little dull.” This isn’t your father’s Master Builder, but Shawn and Gregory are aiming for something they hope gets closer to Ibsen’s play than a lot of more traditional productions have managed. They transfer Ibsen’s characters into a vaguely modern setting, without indulging in the specifics of time and place (the interiors, where almost all of the movie takes place, were shot in an 1848 Manhattan townhouse). A Master Builder’s director, Jonathan Demme

Dude, where’s my integrity?: Wallace Shawn

(The Silence of the Lambs, Rachel Getting Married), has described it as “a haunted house movie.” As the movie opens, Halvard Solness (Shawn) is on his deathbed, or at least a bed that appears to answer to that job description. He’s hooked up to wires and tubes but shows no signs of relinquishing the heavy hand with which he rules his roost. Solness is the head of an architectural firm that he has taken over from his boss and mentor, Knut Brovik (Gregory). Brovik, now an underling, would like to see his son Ragnar ( Jeff Biehl), a talented architect in his own right, take on some of the firm’s commissions. But Solness is having none of it. He wants no challenges to his top-doggery. “Presently,” he predicts sourly, “the younger generation will come knock at my door.” Then his day will pass, but he’s holding that off for as long as he can. He’s even keeping up an affair with his bookkeeper, Ragnar’s fiancée, Kaia (Emily Cass McDonnell), cynically manipulating her to keep Ragnar from leaving the firm. Bitterly watching all these dramas unfold is the master builder’s wife, Aline ( Julie Hagerty). The ghost who knocks on the door and bursts into this haunted house to set Solness’ world on its ear is

Smart woman, foolish choice: Wallace Shawn and Emily Cass McDonnell

PASATIEMPO I August 15-21, 2014

a vibrant, sexually alluring, slightly maniacal young woman named Hilde (Lisa Joyce). Suddenly Solness is out of bed, on his feet, free of tubes and wires. Hilde has come to remind the master builder of a promise he made a decade earlier on a visit to her father’s house, when she was 12 (and when he may have molested her) and he told her he would return in 10 years and carry her off to be his princess. Ibsen describes Solness as “a man no longer young, but healthy and vigorous, with close-cut curly hair, dark mustache, and dark thick eyebrows.” Shawn has at times been used (for instance, in Woody Allen’s Manhattan) as a visual punch line. He’s short, with a round face that could have been designed by Lon Chaney, and a nasal, lisping voice. To a large extent, the success of this project rests on a viewer’s capacity to accept Shawn as Ibsen’s imperious despot who rules and schemes and can excite erotic flutters in a young girl’s heart. Shawn may well make you believe all that. He’s an inventive actor, and he is surrounded here by an excellent cast. Larry Pine, a Gregory regular and a fine performer, shines as Dr. Herdal, and Gregory, wool cap tugged down over his ears, is touching as the aging, plaintive Brovik. But the best work comes from the ebullient newcomer Joyce and the veteran Hagerty, whose sad, hollow eyes fill in the blanks of family tragedy to which the script makes reference. Demme’s work never quite escapes filmed theater, and the cinematography by Declan Quinn is occasionally obtrusive, with jerky zooms. But the budget was small, and time was short (it was shot in a week). The movie is being released under the title A Master Builder, with the emphasis on the article: this is not the definitive Master Builder but just one possible version. An earlier working title was “Fear of Falling,” which referred to Solness’ terror of losing his place at the top of the heap, as well as to his bathophobia (the phallic towers with which he tops his structures, one of which he once climbed to demonstrate his manhood, are his hallmark as an architect). Perhaps the title choice that best captures the spirit of the project is the one Shawn and Gregory started out with: “Wally and Andre Shoot Ibsen.” ◀

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ATADA at the Santa Fe Community Convention Center Annual Members Meeting August 17 9-10 AM Members and guests are invited. Coffee and breakfast pastry will be available.

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ATADA Free Evaluation Day August 18 8-10 AM An all-star line-up of experts will answer questions and estimate market values for antique tribal and Native American art. This event is free to the public. All experts are members of the Antique Tribal Art Dealers Association. Limit: two items please.

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RESTAURANT REVIEW Bill Kohlhaase I The New Mexican

Friendly takeover Galisteo Bistro 227 Galisteo St. 505-982-3700, www.galisteobistro.com Dinner 5–9:30 p.m. Tuesdays–Sundays, closed Mondays Takeout available Vegetarian options Handicapped accessible Noise level: quiet to moderate Beer and wine Credit cards, no checks

]

The Short Order Galisteo Bistro, a cozy spot off the Plaza, changed hands late this spring, and with new owners comes new character. Chef Tomas Allan Keller has kept a good part of the menu from the previous incarnation. Lamb shank, crab cakes, elk chops, and a few Cajun-Creole dishes familiar to regulars are offered, even if they’re not as consistently well done as they were before. Keller is putting an even larger emphasis on seafood — skate was offered one night — and it will be interesting to follow the restaurant’s evolution as he puts his personal signature on many dishes. Recommended: crab cakes, day-boat scallops, redfish étouffée, and “decadence” flourless chocolate cake.

Ratings range from 1 to 5 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value. 5 = flawless 4 1/2 = extraordinary 4 = excellent 3 1/2 = very good 3 = good 2 1/2 = average 2 = fair 1 1/2 = questionable 1 = poor

PASATIEMPO I August 15-21, 2014

Much remains the same at Galisteo Bistro now that Robert Chickering has moved on and owner Brant Keller and his son, chef Tomas Allan Keller, have taken over. A cordial greeting, background jazz, certain signature dishes, and a hearty handshake when you leave — all are characteristic of the restaurant under its former owner. The dining room is the same: the stacked stone walls, the wood-burning oven still holding only candles, framed and unframed art on the walls, rows of tables, and the kitchen right there along the length of the space, open for all to see. It’s very southern European in feel. Yet the character of the place is different, probably due to the absence of Chickering, who was a large, warm presence and whose kitchen came up with sophisticated comfort food that seemed to radiate personality. In his last years at the bistro, Chickering took inspiration from New Orleans — offering shrimp rémoulade, jambalaya, and a cheese-studded bread pudding that served as an appetizer. Of course, he retained items like lamb shank, a seasonal borscht, and pan-grilled quail, a reflection of his long-standing combination of locally sourced meats and produce with Continental cooking traditions. The new bistro draws from both the Creole-Cajun and Continental sides of the old menu, but Keller is also beginning to carve out his own direction, one that emphasizes seafood, sometimes prepared in distinctive ways. How you feel about that has much to do with what you thought of the restaurant’s previous incarnation. The new bistro invites comparisons when offering selections that have a history here. The crab cakes are still familiarly wonderful, with fat lumps of meat and the addition of scallops and spices, the delicate flavors taking turns asserting themselves. Farm-raised redfish served on shrimp étouffée was shyly seasoned, all the better to let the flavor of the shrimp come through. The menu doesn’t always quite describe things accurately. The “Alsacien tarte” was not a tart at all but a flatbread covered in a husky Emmentaler cheese and caramelized onions. Pan-seared risotto cakes weren’t cakes but a heap of risotto, the grains slightly undercooked, covered in sautéed mushrooms and a dark, earthy sauce. These dishes were decent, if not exceptional, and we chose to think that the errant menu descriptions were a case of the printer not keeping up with a kitchen that’s still finding itself. In fairness, it was a Tuesday night and our server informed us that a special menu, though ill defined, was in effect. As we entered we saw two plump whole branzino, or European sea bass, sizzling on the grill. After being finished in the oven, one of them was delivered to a neighboring table, filleted there and served, the fish falling into flakes off the fork. The more delicate Dover sole is baked and served with a classic lemon-butter sauce. Big, meaty “day boat” scallops (shipped fresh from smaller fishing craft that return to port

each day) erred on the side of being less cooked but were set in an intriguing sauce of hazelnuts and brown sugar and served over late-season asparagus with substantial, woody ends. A slice of flourless “decadence” chocolate cake, a throwback to when Robert’s wife, Marge Chickering, was in charge of the desserts, is something more akin to a brownie with a crisp crust. Processed whipped cream made us wish for the fresh version. One of Keller’s noticeable changes is that lunch has now gone by the wayside. We had a midday meal there in July, and that gave us a chance not only to confirm that the crab cakes are still something special but also to enjoy bucatini (something like bulked-up spaghetti with a hole running through the center) in a white wine and butter sauce with bacon and a chewy flat-iron steak with delicious caramelized onions. The host told us that the bistro has stopped serving lunch so it can concentrate on dinner. But midday was a wonderful time to be in the room, the soft light sneaking in through the front window and giving it something of a glow. That glow isn’t there during the evening — maybe it would help to turn the lights up a notch — and the consistent goodness that used to come from the kitchen is now more hit or miss, maybe because the menu is going through some changes. It will be interesting to see how Galisteo Bistro fills the big shoes that were left behind. At least it’s taking strides in the right direction. ◀

Lunch for two at Galisteo Bistro: Crab cakes ................................................. $ Mixed green salad ...................................... $ Flat-iron steak ........................................... $ Bucatini ..................................................... $ TOTAL ....................................................... $ (before tax and tip)

12.00 8.00 12.00 10.00 42.00

Dinner for two, another visit: Onion tart................................................... $ Risotto cake with mushrooms ................... $ Redfish étouffée ......................................... $ Day boat scallops ....................................... $ “Decadence” flourless chocolate cake........ $ Glass, 2011 SeaGlass pinot noir ................ $ TOTAL ....................................................... $ (before tax and tip)

9.00 9.00 27.00 25.00 8.00 12.00 90.00

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• To list an event in Pasa Week, send an email or press release to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. • Send material no less than two weeks prior to the desired publication date. • For each event, provide the following information: time, day, date, venue, venue address, ticket prices, web address, phone number, brief description of event (15 to 20 words). • All submissions are welcome. However, events are included in Pasa Week as space allows. There is no charge for listings. • To add your event to The New Mexican online calendar, visit santafenewmexican. com, and click on the Calendar tab. • Return of photos and other materials cannot be guaranteed. • Pasatiempo reserves the right to publish received information and photographs on The New Mexican website. • For further information contact Pamela Beach, pambeach@sfnewmexican.com, 202 E. Marcy St., Santa Fe, NM 87501, phone: 505-986-3019, fax: 505-820-0803.

ARTS AND ENTERTAINMENT CALENDAR

August 15-21, 2014

CALENDAR COMPILED BY PAMELA BEACH

FRIDAY 8/15

Santa Fe Community Gallery

201 W. Marcy St., 505-955-6705 A Flight of Bees, installation by glass artist Elodie Holmes, reception 5-7 p.m., through Oct. 15.

Gallery & Museum Openings Alexandra Stevens Gallery

820 Canyon Rd., 505-988-1311 Shadows of Passion: Parting Is Such Sweet Sorrow, pastels by Victoria Taylor-Gore, reception 5:30-7 p.m., through August.

Silver Sun Gallery

656 Canyon Rd., 505-983-8743 Multimedia works by Monty Claw, reception 5-7 p.m., through Wednesday.

Canyon Road Contemporary Art

403 Canyon Rd., 505-983-0433 Uncommon Sense, paintings by Lance Green and Joy Richardson, reception 5-7 p.m.

Tansey Contemporary

652 Canyon Rd., 505-995-8513 Apocalypse Reversed, fused glass by Emma Varga, reception 5-7 p.m., through Sept. 9.

Chiaroscuro Contemporary Art

702 ½ Canyon Rd., 505-992-0711 Contemporary Native Group Show, including works by Rick Bartow, Harry Fonseca, and Emmi Whitehorse, through August.

Whitehawk Antique Indian & Ethnographic Art Show

Santa Fe Community Convention Center, 201 W. Marcy St. Furniture, rugs, pottery; plus, workshops and free evaluations of items brought to the show; launch party and preview 6 p.m., $75; runs SaturdayMonday, whitehawkshows.com.

Cloud 5 Project

1805 Second St., 505-954-1274 Shadowmann, An Art Opera: A Work in Progress, pianist Donald Rubinstein's exhibit of works on paper and a concert, 5-7 p.m., exhibit no charge, 7:30 p.m. concert $20 at the door. (See story, Page 32)

William R. Talbot Fine Art, Antique Maps & Prints

David Rothermel Contemporary

129 W. San Francisco St., 505-982-1559 Indian Summer, 1835-1935, including works of Karl Bodmer, George Catlin, and Emil Bisttram, through September.

142 Lincoln Ave., Suite 102, 575-642-4981 Archetype Series, paintings by the gallerist, reception 5-8 p.m., through Aug. 27.

El Farol

Yares Art Projects

808 Canyon Rd., 505-983-9912 Paintings by Nacha Mendez, reception 5-7 p.m., through Sept. 7.

123 Grant Ave., 505-984-0044 Aquatic, work by multimedia artist Emily Kimball, reception 5:30-7:30 p.m., through Sept. 15.

Flying Cow Gallery

Warehouse 21, 1614 Paseo de Peralta, 505-989-4423 Group show of prints by Indigenous Fine Arts Market young artists, reception 4-7 p.m.

Opera The Impresario & Le Rossignol

Fifth Annual Objects of Art Santa Fe

El Museo Cultural de Santa Fe, 555 Camino de la Familia Contemporary, ethnic, and antique objects, including sculpture, jewelry, furniture, and books, 11 a.m.-6 p.m. today through Sunday, $10 run of show in advance, objectsofartsantafe.com, $13 at the door.

GF Contemporary

707 Canyon Rd., 505-983-3707 This Life, paintings by Gigi Mills, reception 5-7 p.m.

Matthews Gallery

669 Canyon Rd., 505-992-2882 The Art of Eric G. Thompson, watercolors and paintings, reception 5-7 p.m., through Aug. 28.

McCall Fine Art

716 Canyon Rd., 505-930-5154 Landscapes by painters Suzie Stambaugh and Preston McCall, reception 6-8 p.m.

Turtle-Island reggae and hip-hop artists Cempoalli 20 (on the left) and Quese IMC each perform during the Indigenous Fine Arts Market/IFAM (running Aug. 21-23).

Meyer East Gallery

225 Canyon Rd., 505-983-1657 The Art of Deception, paintings by Natalie Featherston, reception 5-7 p.m., through Aug. 28.

Meyer Gallery

225 Canyon Rd., 505-983-1434 Dave McGary: Remembering the Legend, bronze works by the late sculptor, through Aug. 21, reception with performances by the Ice Mountain Dance Group of Ohkay Owingeh Pueblo 5-7 p.m.

New Concept Gallery

610 Canyon Rd., 505-795-7570 Artifacts & Icons, works by photographer Steven A. Jackson, sculptor Tim Prythero, and painter Reg Loving, reception 5-7 p.m., through August.

Patina Gallery

131 W. Palace Ave., 505-986-3432 100 Rings, work by jeweler Peter Schmid and works from Atelier Zobel, reception 5-7:30 p.m., through August.

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Mozart's The Impresario, a backstage farce about temperamental divas and a stressed-out producer, is smartly interlocked with Stravinsky's fairy-tale opera Le Rossignol (The Nightingale). The former gets a riotous vaudevillian workout but the latter shimmers in elegant mystery. 8 p.m., tickets begin at $32, standing room $15, final performance.

Classical Music Santa Fe Desert Chorale Summer Festival Warehouse 21 Rock/pop a cappella chorale Voasis, 8 p.m., $27-$100, desertchorale.org, 505-988-2282, encores through Sunday.

TGIF Santa Fe Opera apprentices recital

First Presbyterian Church of Santa Fe, 208 Grant Ave., 505-982-8544, Ext. 16. Arias, 5:30-6 p.m., donations welcome.

PASATIEMPOMAGAZINE.COM

Opera Carmen

Santa Fe Opera, 301 Opera Dr., 505-986-5900 In this Stephen Lawless production, Bizet's tragedy unrolls in the U.S.-Mexican borderlands a half century ago, with black-and-white film integrating with live stage action to enhance the period feel. Ana María Martínez is Carmen, Joyce El-Khoury sings Micaëla, Roberto De Biasio portrays Don José. 8 p.m., tickets begin at $32, standing room $15.

Classical Music Santa Fe Chamber Music Festival

The Lensic Bach's Brandenburg Concertos, Nos. 3, 4, and 5, performers include violist L.P. How, flutist Tara Helen O'Connor, and the Dover Quartet, 5 p.m., $10-$45, 505-988-1234, ticketssantafe.org or 505-982-1890, santafechambermusic.com.

Santa Fe Desert Chorale Summer Festival Warehouse 21 Rock/pop a cappella chorale Voasis, 4 p.m. matinee, $22-$75, 8 p.m. concert $27-$100, desertchorale.org, 505-988-2282, Sunday encore.

LewAllen Galleries at the Railyard shows paintings by Christopher Benson, 1613 Paseo de Peralta.

In Concert Classical Meets Flamenco

Music Room at Garrett's Desert Inn Guitarist David Wescott Yard and guitarist/vocalist Mito de Soto, 7 p.m. on Fridays through August, $10 in advance, $15 at the door, 505-204-5443 or 505-466-2894.

Hayes Carll and His Band

Your Life As Myth

Op. Cit. Books, 500 Montezuma Ave., Sanbusco Center, 505-428-0321 Writing workshop led by Pamela Boyd of iMattered Memoirs, 5-6:30 p.m., no charge.

Vivo Contemporary, 725 Canyon Rd., 505-982-1320 Meet-and-greet with live music; 5-7 p.m. Fridays through Aug. 29, tonight’s performance: jazz/pop ensemble High Desert Sax Quartet, no charge.

Theater/Dance Antonio Granjero and EntreFlamenco

María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco dance troupe, with Estefania Ramirez, 8 p.m., $25-$45, 505-988-1234, ticketssantafe.org, nightly performances, except Tuesdays, through August.

The Fantasticks

Christ Lutheran Church, 1701 Arroyo Chamiso Rd. The musical is presented by the church to raise funds for roof repairs, 7 p.m., $20 in advance and $25 at the door, church@christlutheransantafe.org, 505-471-6596, closes Saturday.

Sylvia

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 The New Mexico Actors Lab presents A.R. Gurney’s comedy, 7:30 p.m., $20, discounts available, santafeplayhouse.org, final weekend.

Books/Talks Breakfast with the Curator

Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill Behind-the-scenes peek at Native American art with curator Dallin Maybee, 8:30-10:30 a.m., $35 includes a full breakfast at Museum Hill Café, followed by programs at the museum, 505-982-5057, advance tickets available at the MIAC gift shop.

PASATIEMPO I August 15-21, 2014

Troubadour Gerry Carthy, on the patio, 7-10 p.m., no cover.

In Concert Santa Fe Bandstand

Tiny's

Events

Classic-rock band The Jakes, 8:30 p.m.-close, no cover.

The Plaza Canyon Road Blues Jam Band, 6-7 p.m.; Jay Boy Adams & Zenobia, blues/rock, 7:15 p.m.; no charge, visit santafebandstand.org for the summer series schedule.

Santa Fe Opera Backstage Tours

Vanessie

Theater/Dance

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Santa Fe Sol Stage & Grill Behind-the-scenes tours including production Singer/songwriter, 7:30 p.m., $17, ticketssantafe.org, and front-of-house areas are offered Mondays505-988-1234. Saturdays through Aug. 22, 9 a.m., $10; seniors $8; no charge for ages 22 and under. In the Mood: Artists and Musicians

in Collaboration

Swiss Bakery Pastries and Bistro

Nightlife

(See Page 73 for addresses)

Bishops Lodge

Jazz guitarist Pat Malone, 6-9 p.m., no cover.

Café Café

Trio Los Primos, 6 p.m., no cover.

Cowgirl BBQ

Jay Boy Adams and Zenobia, with Mister Sister, R & B and soul, 8:30 p.m., no cover.

¡Chispa! at El Mesón

Three Faces of Jazz, featuring guest saxophonist Dan Borton, 7:30-10:30 p.m., no cover.

Duel Brewing

Rockers Bill Palmer and Stephanie Hatfield and the TV Killers, 7:30-10:30 p.m., no cover.

El Farol

Rock/Americana band J.J. and the Hooligans, 9 p.m.-close, call for cover.

La Fiesta Lounge at La Fonda

Boot-scootin' dance band Buffalo Nickel, 8 p.m.-close, no cover.

La Posada de Santa Fe Resort and Spa Nacha Mendez Quartet, 6:30 p.m., no cover.

Pranzo Italian Grill

Pianist Robin Holloway, 6-9 p.m., call for cover.

Second Street Brewery

E. Christina Herr & Wild Frontier, 6 p.m., no cover.

Second Street Brewery at the Railyard

Blues and funk band Stanlee Kee & Step In, 7 p.m., no cover.

Shadeh

DJ Quico, 9 p.m.-4 a.m., no cover.

Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.

SATURDAY 8/16 Gallery & Museum Openings Art Exchange Gallery

60 E. San Francisco St., Suite 210, 505-603-4485 Quanah Parker Burgess: New Paintings and Prints, reception 4-6 p.m., through August.

Contemporary Tapestry Gallery

835 W. San Mateo Rd., 505-231-5904 Group show, including works by Bengt Erikson, Sharon Van de Velde, and Joni Parman, on view 2-4 p.m., through Aug. 30.

Nedra Matteucci Galleries

1075 Paseo de Peralta, 505-982-4631 John Moyers and Terri Kelly Moyers: Through Our Eyes, paintings, reception 2-4 p.m., through Sept. 6.

Fifth Annual Objects of Art Santa Fe

Antonio Granjero and EntreFlamenco

The Fantasticks

Sylvia

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 The New Mexico Actors Lab presents A.R. Gurney’s comedy, 7:30 p.m., $20, discounts available, santafeplayhouse.org, final weekend.

Books/Talks Rhonda Findling

El Museo Cultural de Santa Fe, 555 Camino de la Familia Contemporary, ethnic, and antique objects, including sculpture, jewelry, furniture, and books, 11 a.m.-6 p.m. through Sunday, $10 run of show in advance, objectsofartsantafe.com, $13 at the door.

Op. Cit. Books, 500 Montezuma Ave., Sanbusco Center, 505-428-0321 The author discusses and signs copies of The Commitment Cure, 4 p.m.

Whitehawk Antique Indian & Ethnographic Art Show

Cerrillos history walk

Santa Fe Community Convention Center, 201 W. Marcy St. Furniture, rugs, pottery; plus, workshops and free evaluations of items brought to the show; 10 a.m.-5 p.m. through Monday, $10 at the door, run of show $17, whitehawkshows.com.

William Siegal Gallery

540 S. Guadalupe St., 505-820-3300 Balandrán, 17th- and 18th-century Aymara and Quechua ponchos, reception 5-7 p.m., through Aug. 26.

Outdoors Cerrillos, approximately 30 minutes south of Santa Fe off NM 14. Join Bill Baxter and Todd Brown of the Cerrillos Historical Society on a walk through the town and learn about pre-European mining, Spanish occupation, the coming of the railroad, and present-day turquoise mining, 10 a.m.-noon, meet at First and Main streets, 505-438-3008, cerrillosnewmexico.com.

Events Santa Fe Opera Backstage Tours

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production

and front-of-house areas are offered MondaysSaturdays through Aug. 22, 9 a.m., $10; seniors $8; no charge for ages 22 and under.

Survival: New Mexico

El Rancho de las Golondrinas, 334 Los Pinos Rd. 505-471-2261 10 a.m.-4 p.m., 10 a.m.-4 p.m. today and Sunday, survival lectures, demonstrations, and workshops, $8, discounts available, ages 12 and under no charge, golondrinas.org.

Nightlife

(See Page 73 for addresses)

¡Chispa! at El Mesón

Flamenco Conpaz Troupe, 7-9:30 p.m., call for cover.

Cowgirl BBQ

Santa Fe Chiles Dixie Band, 2-5 p.m.; all-star Americana band The Santa Fe Revue, 7:30 p.m.-close; no cover.

Opera Santa Fe Opera Apprentice Showcase Scenes

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Fully staged performances, 8 p.m., adults $15, ages 6-22 $5.

Classical Music Santa Fe Chamber Music Festival

The Lensic Music of Brahms, Schnittke, and Glazunov, performers include the Dover Quartet and pianist Yefim Bronfman, 6 p.m., $10-$75, 505-988-1234, ticketssantafe.org or santafechambermusic.com, 505-982-1890.

Santa Fe Desert Chorale Summer Festival

Warehouse 21 Rock/pop a cappella chorale Voasis, 4 p.m., $22-$75, desertchorale.org, 505-988-2282.

Schola Cantorum of Santa Fe

Del Charro

Santuario de Guadalupe, 100 S. Guadalupe St. Sacred-music chorale; music of 17th century Mexico City and Cuba, 7 p.m., by donation, schola-sf.org.

Duel Brewing

Eric Johnson

Mariachi Teotihuacan, with Stephen Montoya, Jaime Martinez, and Daniel Martinez, 2-9 p.m., no cover. Müshi Trio, groove-jazz, with Robert Muller on keyboards, Dave Wayne on drums, and Ross Hamlin on bass, 7:30-10:30 p.m., no cover.

La Fiesta Lounge at La Fonda

Boot-scootin' dance band Buffalo Nickel, 8 p.m.-close, no cover.

La Posada de Santa Fe Resort and Spa

Guitarist Pat Malone's jazz trio, 6 p.m., call for cover.

Mine Shaft Tavern

R & B guitarist Terry Diers, on the deck 3-7 p.m.; classic-rock band The Jakes, 8 p.m.-close; no cover.

Palace Restaurant and Saloon

James Baker, Delta blues, on the patio, 2 p.m., no cover. Meow Wolf/Mesa 10 p.m., call for cover.

Pranzo Italian Grill

Pianist David Geist and vocalist Julie Trujillo, 6-9 p.m., call for cover.

Second Street Brewery

Hot Club of Santa Fe, Gypsy swing, 6-9 p.m., no cover.

Second Street Brewery at the Railyard

Americana duo Pete Stein and Lucy Barna, 7 p.m.-close, no cover.

In Concert Santa Fe Sol Stage & Grill Austin-based rock guitarist, 7:30 p.m., $27, 505-988-1234, ticketssantafe.org.

Geoffrey Castle

Chalk Farm Gallery, 729 Canyon Rd., 505-983-7125 Electric six-string violinist, 6-8 p.m., $10 suggested donation benefits the Four Legged Friends charity.

The Gospel of Art

William & Joseph Gallery, 727 Canyon Rd., 505-982-9404 Gospel music with Johny Broomdust and his Gospel Quartet, noon-2 p.m. Sundays, through August.

Kaye Ballard

Santa Fe Playhouse, 142 E. De Vargas St. The veteran singer performs with pianist David Geist in a program titled Everything You Always Wanted to Know About Nothing but Were Afraid to Ask!, 7:30 p.m., $20, 505-988-4262, proceeds benefit the Santa Fe Melodrama.

Los Alamos Light Opera

John Serkin on Hawaiian slack-key guitar, 6 p.m., no cover.

Sweetwater Harvest Kitchen

Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd. Broadway on Barcelona, $20 includes refreshments, proceeds benefit the congregation, 505-982-9674, Ext. 14, uusantafe.org.

Vanessie

Santa Fe Concert Band

Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.

SUNDAY 8/17

Federal Park, Federal Place and Washington Avenue Outdoor performance, 2 p.m., no charge, santafeconcertband.org.

Gallery & Museum Openings

Theater/Dance

Fifth Annual Objects of Art Santa Fe

Antonio Granjero and EntreFlamenco

El Museo Cultural de Santa Fe, 555 Camino de la Familia Contemporary, ethnic, and antique objects, including sculpture, jewelry, furniture, and books, 11 a.m.-6 p.m., $13 at the door, objectsofartsantafe.com.

Whitehawk Antique Indian & Ethnographic Art Show

Flamenco’s Next Generation

Santa Fe Community Convention Center, 201 W. Marcy St. Furniture, rugs, pottery; plus, workshops and free evaluations of items brought to the show; 10 a.m.5 p.m. through Monday, $10 at the door, run of show $17, whitehawkshows.com.

The Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco group from the María Benítez Institute for Spanish Arts, 2 p.m. Sundays, through Aug. 24, , institutespanisharts.org.

SANTA FE INDIAN MARKET/IFAM EVENTS AUG. 15-24 (See next week’s calendar for more market events.)

Indiwgenous Fine Art Market (IFAM) 10 a.m.-5 p.m. Thursday-Saturday, Aug. 21-23 Inaugural open-air market featuring more than 300 artists, music and spoken-word performances, youth events, and food, Santa Fe Railyard Plaza, no charge, indigefam.org. Whitehawk Antique Indian & Ethnographic Art Show Friday-Monday, Aug. 15-18 Furniture, rugs, pottery; plus, workshops and free evaluations of items brought to the show; launch party and preview 6 p.m. Friday, Santa Fe Community Convention Center, 201 W. Marcy St. $75; runs 10 a.m.-5 p.m. Saturday-Monday, whitehawkshows.com. Native Cinema Showcase Monday-Sunday, Aug. 18 -24 A free series of films and videos by and about indigenous peoples; most screenings held at the New Mexico History Museum, 113 Lincoln Ave. (Saturday's film is shown outdoors at Santa Fe Railyard Plaza), visit swaia.org for full schedule. Antique American Indian Art Show Santa Fe 2014 Tuesday-Thursday, Aug. 19-21 Preview party and Institute of American Indian Arts benefit, 6-9 p.m. Tuesday, Aug. 19, El Museo Cultural de Santa Fe, 555 Camino de la Familia, $50 in advance and at the door, the show runs 11 a.m.-6 p.m. Wednesday and Thursday, Aug. 20-21, $10 run of show in advance at antiqueindianartshow.com, $13 at the door. Classification X Award Winners Film Screenings 1 p.m. Tuesday, Aug. 19 Categories include narrative short, documentary short, animation short, and feature length; New Mexico History Museum, 113 Lincoln Ave., no charge. Sundance Institute Native Film Series 6:30 p.m. Wednesday-Sunday, Aug. 20-24 Featuring Sydney Freeland's 2013 film Drunktown's Finest, Sterlin Harjo's This May Be the Last Time, and Andrew Okpeaha MacLean's On the Ice, $10, discounts available, jeancocteaucinema.com. Indigenous Fine Art Market/IFAM kick-off party 9 p.m.-1 a.m. Wednesday, Aug. 20 Dance to the music of DJ Brian Frejo, Sol Galeano, and Quese IMC, The Den, 132 W. Water St., $5 cover, indigefam.org. Wheelwright Museum of the American Indian auction preview 10:30 a.m. Thursday, Aug. 21 The 39th annual fundraiser begins with a silent auction and preview of live-auction items; collector's table and live auction take place Friday, Aug. 22; WMAI, 704 Camino Lejo, Museum Hill, 505-982-4636, wheelwright.org. Apache Skateboards event 2-10 p.m. Thursday, Aug. 21 Kids from various tribes compete, presented by IFAM, behind Warehouse 21, 1614 Paseo de Peralta, no charge. Cempoalli 20 4 p.m. Thursday, Aug. 21 Reggae-roots and hip-hop artist on stage in conjunction with IFAM, Santa Fe Railyard Plaza, no charge, indigefam.org. Legends, Legacy, and Living Artists: A Tribute to Allan Houser 5-7 p.m. Thursday, Aug. 21 Meet Indian Market designers and artists, Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, $75 and $100, tickets available at the museum shop, 505-982-5057. A Tribe Called Red 8-10 p.m. Thursday, Aug. 21 Canadian electronic-music band, Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, no charge, visit swaia.org for details.

PASATIEMPOMAGAZINE.COM

Classical Music Santa Fe Chamber Music Festival

The Lensic Music of Schubert and Martinů; performers include bassist Leigh Mesh, clarinetist Alan R. Kay, and bassoonist Christopher Millard, 6 p.m., $10-$75, 505-988-1234, ticketssantafe.org or 505-982-1890, santafechambermusic.com.

In Concert Robert Mirabal

El Farol Dinner show with the Taos Pueblo flutist, dinner 5:30 p.m., performance 6:30 p.m. today, Wednesday, and Friday, Aug. 22, $25, 505-983-9912.

Santa Fe Bandstand

The Plaza Hip-hop/rock band La Junta, 6-7 p.m.; gonzo-roots/ rock band The Imperial Rooster, 7:15 p.m.; no charge, visit santafebandstand.org for the summer series schedule.

Theater/Dance Antonio Granjero and EntreFlamenco

Electric violinist Geoffrey Castle performs Sunday, Aug. 17, at Chalk Farm Gallery, 729 Canyon Rd.

Sylvia

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 The New Mexico Actors Lab presents A.R. Gurney’s comedy, 4 p.m., $20, discounts available, santafeplayhouse.org.

Books/Talks New Mexico Museum of Art gallery talk

Nightlife

(See Page 73 for addresses)

Cowgirl BBQ

Americana singer/songwriter Susan Herndon, noon-3 p.m.; Russell Scharf's Jazz Explosion, 8 p.m.; no cover.

Duel Brewing

Singer/songwriter Jessa Young, 5-7 p.m., no cover.

107 W. Palace Ave., 505-476-5068 Revolutions Big and Small, a public conversation in conjunction with the exhibit Judy Chicago in New Mexico 1984-2014, 2 p.m., by museum admission.

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

Perspectives and Meanings: Turquoise From Prehistory to the Present

Mine Shaft Tavern

Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 505-476-1250 A lecture series in conjunction with the exhibit Turquoise, Water, Sky: The Stone and Its Meaning, 2-4 p.m., by museum admission.

Steve La Rance and Marian Denipah

Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 505-476-1250 The Native American artists discuss their work, 1-2 p.m., by museum admission.

Events 15th Annual Ice Cream Social

Eldorado Community Center, 1 Hacienda Loop, All-you-can-eat ice cream bar, games, face-painting, silent auction, and music, 1-4 p.m., $8, ages 6-11 $5, ages 5 and under no charge, presented by Vista Grande Public Library, vglibrary.org.

Santa Fe Opera Backstage Tours

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered Mondays-Saturdays through Aug. 22.

Survival: New Mexico

El Rancho de las Golondrinas, 334 Los Pinos Rd. 505-471-2261 10 a.m.-4 p.m., survival lectures, demonstrations, and workshops, $8, discounts available, ages 12 and under no charge, golondrinas.org.

PASATIEMPO I August 15-21, 2014

El Farol

Evangelo’s

Tone and Company jam band, 8:30 p.m., call for cover. Americana duo Pete Stein and Lucy Barna, on the deck 3-7 p.m.; Americana guitarist Gene Corbin, in the tavern 3-7 p.m.; no cover.

Second Street Brewery at the Railyard

Hot Honey, Appalachian country, 1-4 p.m., no cover.

Vanessie

Pianist Doug Montgomery, 6:30 p.m., call for cover.

MONDAY 8/18 Gallery and Museum Openings Whitehawk Antique Indian & Ethnographic Art Show Santa Fe Community Convention Center, 201 W. Marcy St. Furniture, rugs, pottery; plus, workshops and free evaluations of items brought to the show; 10 a.m.5 p.m., $10 at the door, whitehawkshows.com.

Opera Carmen

Books/Talks Southwest Seminars lecture

TUESDAY 8/19 Gallery and Museum Openings Antique American Indian Art Show Santa Fe 2014

El Museo Cultural de Santa Fe, 555 Camino de la Familia Preview party and Institute of American Indian Arts benefit 6-9 p.m.; preview party $50 in advance and at the door; show runs 11 a.m.6 p.m. Wednesday and Thursday; show tickets: $10 run of show in advance, tickets available online at antiqueindianartshow.com, $13 at the door.

Axle Contemporary

505-670-5854 or 505-670-7612, axleart.com Dollar Distribution, installation by Matthew Chase-Daniel, reception 5-6 p.m. outside the Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta.

Opera Don Pasquale

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Soprano Shelley Jackson capitalizes on the opportunity of moving from understudy in a starring role, and tenor Alek Shrader delivers winning vocalism in director Lauren Pelly's schtick-laden take on Donizetti's comedy. As the title character, baritone Andrew Shore settles for being the butt of the practical joke that surrounds him. Corrado Rovaris presides in the orchestra pit. 8 p.m., tickets begin at $32, standing room $15.

Hotel Santa Fe, 1501 Paseo de Peralta, 505-466-2775 Indigeneity: Transformation of Native Peoples Classical Music Museums Over the Last Quarter Century, with Santa Fe Chamber Music Festival John Haworth of the Smithsonian National Museum The Lensic of the American Indian, 6 p.m., $12 at the door, series schedule available online at southwestseminars.org. Pianist Yefim Bronfman plays music of Prokofiev and Marc Neikrug, noon, $10-$25, 505-988-1234, Events ticketssantafe.org or santafechambermusic.com, 505-982-1890. Native Cinema Showcase New Mexico Museum of History, 113 Lincoln Ave. Shorts and features shown daily through Aug. 24 at no charge; some filmmakers in attendance for post-screening conversations; visit swaia.org for full schedule of films.

Santa Fe Opera Backstage Tours

In Concert

Dave & Phil Alvin

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Country-blues brothers, 7:30 p.m., $25 in advance, brownpapertickets.com, $29 at the door.

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and Santa Fe Bandstand front-of-house areas are offered Mondays-Saturdays The Plaza through Aug. 22, 9 a.m., $10; seniors $8; no charge Chris Chickering Band, rock 'n' roll, 6-7 p.m.; for ages 22 and under. Americana guitarist Max Gomez, 7:15-8:45 p.m.; Swing dance no charge, visit santafebandstand.org for the summer Odd Fellows Hall, 1125 Cerrillos Rd. series schedule. Weekly all-ages informal swing dance, lessons Books/Talks 7-8 p.m., dance 8-10 p.m., dance $3, lesson and dance $8, 505-473-0955. My Life in Art lecture series SITE Santa Fe, 1606 Paseo de Peralta, Nightlife 505-989-1199 (See Page 73 for addresses) Argentine artist Leandro Katz with SITElines 2014: Cowgirl BBQ Unsettled Landscapes curator Candice Hopkins, Karaoke with Michele Leidig, 8 p.m., no cover. 6 p.m., $5-$10.

El Farol

Monday blues with the Tiho Dimitrov Band, 8:30 p.m., call for cover.

La Fiesta Lounge at La Fonda

Bill Hearne Trio, pure country, 7:30-11 p.m., no cover.

Upper Crust Pizza

Troubadour Gerry Carthy, 6-9 p.m., no cover.

Vanessie

Pianist Doug Montgomery, 6:30 p.m., call for cover.

Woven Relations: Baskets From the Ralph T. Coe Foundation Collection

Ralph T. Coe Foundation for the Arts 1590-B Pacheco St., Aspen Plaza, 505-983-6372 Exhibit and open house 2-6 p.m.; round-table discussion 3 p.m., participants include Kelly Church (Grand Traverse Band of Ottawa and Ojibwe), Theresa Secord (Penobscot), and Ronnie-Leigh Goeman (Onondaga Nation/Eel Clan).

The Artist's Table

Santa Fe School of Cooking, 125 N. Guadalupe St., 505-983-4511 Featuring a dinner organized by chef John Rivera Sedlar and Jemez Pueblo artist Phillip Vigil, 6 p.m., $250, advance tickets available online at attheartiststable.eventbrite.com, proceeds benefit Partners in Education and Santa Fe Arts Commission.

Classification X award winners film screenings

New Mexico History Museum, 113 Lincoln Ave. Categories include narrative short, documentary short, animation short, and feature length, 1 p.m., no charge, swaia.org.

Japanese tea ceremony

Zane Bennett Contemporary Art, 435 S. Guadalupe St., 505-982-8111 Held in conjunction with the exhibit Impacts!, 11 a.m. and 1:30 p.m., no charge.

Native Cinema Showcase

New Mexico Museum of History, 113 Lincoln Ave. Shorts and features shown daily through Aug. 24 at no charge; some filmmakers in attendance for post-screening conversations; visit swaia.org for full schedule of films.

Santa Fe Opera Backstage Tours

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered MondaysSaturdays through Aug. 22.

Nightlife

(See addresses at right)

¡Chispa! at El Mesón

Argentine Tango Milonga, 7:30-11 p.m., call for cover.

Cowgirl BBQ

Americana singer/songwriters Art & Lisa, 8 p.m., no cover.

Duel Brewing

Funk and jazz fusion band Spinrad, 7:30-10:30 p.m., no cover.

El Farol

Canyon Road Blues Jam, 8:30 p.m., call for cover.

La Fiesta Lounge at La Fonda

Bill Hearne Trio, pure country, 7:30-11 p.m., no cover.

Tiny’s

Eldorado Hotel & Spa

DeVargas Room, 309 W. San Francisco St., 505-983-9515 Martha Hopkins Struever's annual Indian Market show; pottery by Nampeyo, jewelry by Kenneth Begay, and Western Apache baskets (circa 1900), on view 2-5:30 p.m.

Opera Carmen

Classical Music Santa Fe Chamber Music Festival

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Music of Mozart, Poulenc, and Ullmann, performers include pianist Inon Barnatan, oboist Liang Wang, and cellist Ronald Thomas, noon, $10-$25, 505-988-1234, ticketssantafe.org or 505-982-1890, santafechambermusic.com.

Santa Fe Chamber Music Festival

The Lensic Beethoven recital: pianist Joseph Kalichstein, violist Cynthia Phelps, and the Dover String Quartet, preconcert talk by William Kinderman 5 p.m., concert 6 p.m., $10-$70, ticketssantafe.org, 505-988-1234 or santafechambermusic.com, 505-982-1890.

In Concert Robert Mirabal

El Farol Dinner show with the Taos Pueblo flutist, dinner 5:30 p.m., performance 6:30 p.m., encore Friday, Aug. 22, $25, 505-983-9912.

Santa Fe Bandstand

The Plaza Jazz/rock guitarist Larry Mitchell, 6-7 p.m.; saxophonist Joy Harjo, 7:15-8:45 p.m., no charge, visit santafebandstand.org for the summer series schedule.

Trova

El Farol Latin global music ensemble, Nacha Mendez, Melanie Monsour, Carla Kountoupes, and Polly Tapia Ferber, 8 p.m. Wednesdays through August, $25.

Singer/songwriters open-mic, 7-11 p.m., no cover.

Theater/Dance

Vanessie

Antonio Granjero and EntreFlamenco

Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.

WEDNESDAY 8/20 Gallery & Museum Openings Antique American Indian Art Show Santa Fe 2014

El Museo Cultural de Santa Fe, 555 Camino de la Familia 11 a.m.-6 p.m. today and Thursday, $10 run of show in advance, $13 at the door, tickets available online at antiqueindianartshow.com.

Blue Rain Gallery

130-C Lincoln Ave., 505-954-9902 Annual Celebration of Contemporary Native American Art, works by Thomas Breeze Marcus, Cannupa Hanska Luger, White Buffalo, and Yellowbird Samora, reception 5-8 p.m., through Aug. 24.

Indigenous Fine Art Market (IFAM) spoken-word event

Warehouse 21 Spoken-word, open-mic performances in conjunction with IFAM, 7-10 p.m., no charge.

Books/Talks Artist lecture and demonstration

Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill Cel Vinyl Painting, Saginaw Chippewa artist Dawn Jackson discusses and demonstrates her painting style, 1-2 p.m., by museum admission, repeats on Thursday.

Breakfast with the Artist

Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill Meet John Torres Nez, president and founder of the Indigenous Fine Art Market (IFAM), 8:30-10:30 a.m., $35 includes a full breakfast at Museum Hill Café, followed by programs at the museum, 505-982-5057, advance tickets available at the MIAC gift shop.

Daniel Gibson and Kitty Leaken

202 Galisteo St., 505-988-4226 The authors discuss Kevin Red Star: Crow Indian Artist, 6 p.m., book signing follows. (See Subtexts, Page 14)

Exhibit talk

Zane Bennett Contemporary Art, 425 S. Guadalupe St., 505-982-8111 Artist Kondoh Akino discusses the exhibit Impacts!; also, screenings of three Japanese short films, 1:30-3:30 p.m., no charge.

Check with venues

for updates and sp

ial events 317 Aztec Lodge Lounge 317 Aztec St., 505-8 20-0150 at The Lodge at Sa Agoyo Lounge nta Fe 750 N. St. Francis Dr at the Inn on the Ala ., 505-992-5800 meda Low ’n’ Slow Lowride 303 E. Alameda St., 505-984-2121 r Bar at Hotel Chimayó de Anasazi Restauran Santa Fe t & Bar 125 Washington Av 113 Washington Av e., 505-988-4900 e., 505-988-3030 The Matador Betterday Coffee 116 W. San Francisc 905 W. Alameda St., o St. 505-555-1234 Mine Shaft Tavern Bishop’s Lodge Ranc h Resort & Spa 2846 NM 14, Madrid, 1297 Bishops Lodge 505-473-0743 Rd., 505-983-6377 Museum Hill Café Burro Alley Café 710 Camino Lejo, Mi 207 W. San Francisc lner Plaza, o St., 505-982-0601 505-984 -8900 Café Café Music Room at Garre 500 Sandoval St., 50 tt’s Desert Inn 5-466-1391 311 Old Santa Fe Tra ¡Chispa! at El Mesó il, 505-982-1851 n Omira Bar & Grill 213 Washington Av e., 505-983-6756 1005 St. Francis Dr., Cowgirl BBQ 505-780-5483 Palace Restaurant 319 S. Guadalupe St. & Sa , 505-982-2565 142 W. Palace Ave., 50 loon The Den at Coyote 5-428-0690 Café Pranzo Italian Grill 132 W. Water St., 50 5-983-1615 540 Montezuma Av Duel Brewing e., 505-984-2645 Santa Fe Community 1228 Parkway Dr., 50 5-474-5301 Convention Center El Cañon at the Hilto n 201 W. Marcy St., 50 5-955-6705 100 Sandoval St., 50 5-988-2811 Santa Fe Sol Stage Eldorado Hotel & Sp & Grill a 37 Fire Place, solofsan 309 W. San Francisc tafe.com o St., 505-988-4455 Second Street Brewery El Farol 1814 Second St., 50 5-982-3030 808 Canyon Rd., 505-9 83-9912 Second Street Brew El Paseo Bar & Grill ery at the Railyard 1607 Paseo de Peral 208 Galisteo St., 505-9 ta, 505-989-3278 92-2848 Shadeh Buffalo Th under Evangelo’s Resort & Casino 200 W. San Francisc o St., 505-982-9014 Pojoaque Pueblo, U.S. 84/285, High Mayhem Emerg 505-455-5555 ing Arts 2811 Siler Lane, 505-4 38-2047 Sweetwater Harve st Kitchen Hotel Santa Fe 1512-B Pacheco St., 505-795-7383 1501 Paseo de Peral ta, 505-982-1200 Swiss Bakery Pastr ies and Bistro Iconik Coffee Roas 401 S. Guadalupe St. ters , 505-988-5500 1600 Lena St., 505-4 28-0996 Taberna La Boca Jean Cocteau Cinem 125 Lincoln Ave., 50 a 5-988-7102 418 Montezuma Av e., 505-466-5528 Tiny’s Junction 1005 St. Francis Drive , Suite 117, 530 S. Guadalupe St. 505-983-9817 , 505-988-7222 La Boca The Underground at Evangelo’s 72 W. Marcy St., 505-9 200 W. San Francisc 82-3433 o St. La Casa Sena Canti Upper Crust Pizza na 25 E. Palace Ave., 50 329 Old Santa Fe Tra 5-988-9232 il, 505-982-0000 La Fiesta Lounge at Vanessie La Fonda 100 E. San Francisco St., 505-982-5511 434 W. San Francisco St., 50 5-982-9966 La Posada de Santa Veterans Fe 330 E. Palace Ave., 50 Resort and Spa 370 Mo of Foreign Wars 5-986-0000 ntezuma Ave., 505-9 84-2691 Lensic Performing Warehouse 21 Arts Center 211 W. San Francisc 16 14 Paseo de Peralta, o St., 505-988-1234 505-989-4423 Zia Dinner 326 S. Guadalupe St. , 505-988-7008

C L U B S, R O O M S, V E N U ES

Events

PASATIEMPOMAGAZINE.COM

Art Gone Wild Gallery

130 Lincoln Ave., 505-820-1004 Paintings by Ben Wright, receptions 5-8 p.m. through Aug. 23.

Blue Rain gallery

130-C Lincoln Ave., 505-954-9902 Annual Celebration of Contemporary Native Art, including works by Shonto Begay, Hyrum Joe, Jody Naranjo, and Dawn Wallace, reception 5-8 p.m., through Aug. 24.

Theater/Dance Antonio Granjero and EntreFlamenco

Books/Talks

Greenberg Fine Art

Artist lecture and demonstration

Little Bird at Loretto

Oliver Horn on The Civil War in New Mexico: The War for the Southwest, noon, no charge.

Museum of Indian Arts & Culture, 205 Canyon Rd., 505-955-1500 710 Camino Lejo, Museum Hill River of Life, work by Isleta Pueblo potter and sculptor Cel Vinyl Painting, Saginaw Chippewa artist Caroline Carpio, reception 5-7 p.m., through August. Dawn Jackson discusses and demonstrates her Jean Cocteau Cinema Gallery painting style, 1-2 p.m., by museum admission. 418 Montezuma Ave., 505-466-5528 Brainpower & Brownbags Lecture Series Works by mixed-media artists Dean Balsamo and Meem Community Room, Fray Angélico Chávez Jodi Balsamo, reception 5-7 p.m., through Sept. 14. History Library, 120 Washington Ave., 505-476-5200 211 Old Santa Fe Trail, 505-820-7413 Jewelry by Ray Tracey and paintings by Michael Horse, reception 3-7 p.m.

Museum of Contemporary Native Arts

108 Cathedral Place, 505-983-1777 Rattlebone, paintings and prints by Ric Gendron; The Desert Never Left "The City," work by painter Mario Martinez; Saligaaw (it is loud-voiced), mixed media by Da-ka-xeen Mehner; Breach: Log 14, video installation by Courtney M. Leonard; reception 5-7 p.m., through December.

Zane Bennett Contemporary Art

Photo-eye Gallery shows work by photographer Tom Chambers, 541 S. Guadalupe St.

New Mexico Lawyers for the Arts SummerFall Series: The Artist as Entrepreneur Santa Fe Arts Commission Community Gallery, Santa Fe Community Convention Center, 201 W. Marcy St. Musician as Entrepreneur, a panel discussion, 6 p.m., no charge, info@nmlawyersforthearts.org.

Rose B. Simpson

Santa Fe Clay, 545 Camino de la Familia, 505-984-1122 The ceramicist discusses her mixed-media sculptures on exhibit at Chiaroscuro Contemporary Art, 7 p.m. (See story, Page 52)

Santa Fe Council on International Relations lecture

Native Cinema Showcase

Santa Fe Opera Backstage Tours

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered Mondays-Saturdays through Aug. 22, 9 a.m., $10; seniors $8; no charge for ages 22 and under.

Nightlife

(See Page 73 for addresses)

Burro Alley Café Lounge

Santa Fe Woman's Club, 1616 Old Pecos Trail Rise and Decline of a Global Empire: Portugal's Remarkable History, with John Dobson, 5:30 p.m., $20, 505-982-4931, sfcir.org.

Jazz (off the Plaza), with Cristianne Miranda, Tommy Trujillo on the patio; swing-dance lessons and DJ inside; 7-11 p.m., no cover.

A Taste of Memoir

¡Chispa! at El Mesón

Op. Cit. Books, 500 Montezuma Ave., Sanbusco Center, 505-428-0321 Writing workshop led by Pamela Boyd of iMattered Memoirs, 3-4:30 p.m., no charge.

Outdoors Gentle walk in Los Alamos

Pajarito Environmental Education Center, 3540 Orange St., 505-662-0460, pajaritoeec.org The walk ranges from one to two miles along a relatively flat trail, 8 a.m.-noon, no charge, call to register.

Events Antique American Indian Art Show Santa Fe 2014

El Museo Cultural de Santa Fe, 555 Camino de la Familia 11 a.m.-6 p.m. today and Thursday; $10 run of show in advance, $13 at the door, tickets available online at antiqueindianartshow.com.

PASATIEMPO I August 15-21, 2014

Guitarist/singer Jesus Bas, 7-9 p.m., no cover.

Cowgirl BBQ

Swing and blues duo Denise Marie and Marcel Koster, 8 p.m., no cover.

Duel Brewing

Singer/songwriter Kim Watts, 7:30 p.m., no cover.

La Fiesta Lounge at La Fonda

Cathy Faber's Swinging Country Band, 7:30 p.m.-close, no cover.

Palace Restaurant & Saloon DJ Obi Zen, 8:30 p.m., no cover.

THURSDAY 8/21 Gallery and Museum Openings Antique American Indian Art Show Santa Fe 2014

El Museo Cultural de Santa Fe, 11 a.m.-6 p.m., antiqueindianartshow.com, $13 at the door.

435 S. Guadalupe St., 505-982-8111 Jewelry by Yazzie Johnson and Gail Bird, reception 4-6 p.m.

Than Povi Fine Art Gallery

6 Banana Lane, 505-455-9988 Paintings, prints, and micaceous jewelry by Gerald New Deer Nailor, reception 3-6 p.m., through Aug. 24.

Opera Fidelio

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Beethoven's opera about spousal heroism in the face of political oppression is here anchored convincingly in a concentration camp dripping with Nazi imagery. But don't worry. The Brits are on the way to set things aright, and the music gets an exciting workout under the baton of Santa Fe Opera's new chief conductor, Harry Bicket. 8 p.m., tickets begin at $32, standing room $15.

Classical Music

Exhibit talk

Zane Bennett Contemporary Art, 425 S. Guadalupe St., 505-982-8111 Artist Ikeda Manabu, Japan Society director Miwako Tezuka, and California State University professor Jordan Smith discuss the exhibit Impacts!, 1-3 p.m., no charge.

Events Antique American Indian Art Show Santa Fe

El Museo Cultural de Santa Fe, 555 Camino de la Familia 11 a.m.-6 p.m.; $10 in advance online at antiqueindianartshow.com, $13 at the door.

Indigenous Fine Art Market (IFAM)

Santa Fe Railyard Plaza The inaugural market includes more than 300 artists; music, food, and spoken-word performances, 10 a.m.-5 p.m. today through Saturday, Aug. 23, no charge; Kevin Red Star and George Alexander: paint-off, 11 a.m., the designers of the 2014 IFAM merchandise collection paint side by side followed by a raffle of their works, paint-off no charge, raffle tickets $20, available by calling 917-386-5036, indigefam.org.

Legends, Legacy, and Living Artists: A Tribute to Allan Houser

Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill Meet Indian Market artists and designers, 5-7 p.m., $75 and $100, tickets available at the museum shop, 505-982-5057.

Native Cinema Showcase

Santa Fe Chamber Music Festival

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered MondaysSaturdays through Aug. 22.

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Joseph Kalichstein: Schubert piano recital, noon, $10-$25, 505-988-1234, ticketssantafe.org or santafechambermusic.com, 505-982-1890. The Lensic Beethoven recital: performers include pianist Yefim Bronfman, cellist Ronald Thomas, and violinist Martin Beaver, preconcert talk by William Kinderman 5 p.m., concert 6 p.m., $10-$70, ticketssantafe.org, 505-988-1234 or 505-982-1890, santafechambermusic.com.

In Concert A Tribe Called Red

Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill Canadian electronic-music band, 8 p.m., no charge, swaia.org.

Santa Fe Opera Backstage Tours

Sundance Institute Native Film Series

Jean Cocteau Cinema Shorts and features shown daily at 6:30 p.m. today through Sunday, Aug. 24; featuring Sydney Freeland's 2013 film Drunktown's Finest, Sterlin Harjo's This May Be the Last Time, and Andrew Okpeaha MacLean's On the Ice, $10, discounts available online and at the door, jeancocteaucinema.com.

Nightlife

Aug. 17, and 1 p.m. Wednesday, Aug. 20, Closer Encounters I & II, a free series giving the audience a behind-the-scenes look during rehearsals, ¡Chispa! at El Mesón United Church of Angel Fire, Angel Fire Community Chris Ishee Duo, jazz, 7-9 p.m., no cover. Center; 7 p.m. Wednesday, Aug. 20, featuring 2014 composer-in-residence Bright Sheng, music of Cowgirl BBQ Beethoven, Brahms, and Sheng, tickets start at Blues/funk band Stanlee Kee & Step In, 8 p.m., no cover. $30, discounts available, musicfromangelfire.org., Duel Brewing 888-377-3300. (See story, Page 36) The Trampled Underground, jazz/funk Led Zeppelin tribute band, 7:30-10:30 p.m., no cover. (See Page 73 for addresses)

El Farol

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

La Boca

Chanteuse Nacha Mendez, 7-9 p.m., no cover.

La Fiesta Lounge at La Fonda

Cathy Faber's Swinging Country Band, 7:30 p.m.-close, no cover.

La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, 6-9 p.m., no cover.

Palace Restaurant and Saloon

Limelight karaoke, 10 p.m., no cover.

Pranzo Italian Grill

Geist Cabaret, with pianist David Geist, 6-9 p.m., call for cover.

The Matador

CLEVELAND

Cleveland Roller Mill Museum dance

North on Interstate 25 to Exit 343, take NM 518 32 miles to Cleveland Fritz Davis Band opens around 6 p.m. Saturday, Aug. 16, The Rifters play around 7:30 p.m., potluck meal 4:30 p.m., campfire singalong follows the dance, $20 in advance or at the door, 575-387-2645 or 505-699-0508, bring lawn chairs, camping available.

LAS VEGAS

Kennedy Alumni Hall

New Mexico Highlands University, 905 University Ave. Invitational New Mexico Painters Exhibit, paintings and prints, reception 4-7 p.m. Sunday, Aug. 17, through Oct. 15.

Music From Angel Fire

DJ Inky Inc. spins soul/punk/ska, 8:30 p.m., no cover. Ilfeld Auditorium, New Mexico Highlands University Music of Szymanowski, Weber, and Bright Sheng, Second Street Brewery 7 p.m. Thursday, Aug. 21, $20 and $25, discounts Paw Cole & The Clinkers, old-timey tunes, available, musicfromangelfire.org, 888-377-3300. 6-9 p.m., no cover. (See story, Page 36)

Tiny's

Rock/Americana band J.J. and the Hooligans, 8:30 p.m.-close, no cover.

Vanessie

LOS ALAMOS

Gordons’ Summer Concerts

String jazz ensemble Trio Bijou, 6:30 p.m., no cover.

The free music series continues with Austin-based theatrical band Guy Forsyth's Hot Nut Riveters, 7 p.m. Friday, Aug. 15, Del Norte Credit Union, gordonssummerconcerts.com.

ALBUQUERQUE

MADRID

Pianist Bob Finnie, 6:30-9:30 p.m., call for cover.

Zia Diner

Ballet Pro Musica Festival 2014

Albuquerque Journal Theatre, National Hispanic Cultural Center, 1701 Fourth St. S.W., 505-604-6896 Jalisco Ballet of Mexico, opening-night gala 6:30 p.m. Friday, Aug. 15; performance 8 p.m. Friday and Saturday, 2 p.m. Sunday, gala $127, shows $37-$57, 505-724-4771.

Mary Gauthier

Outpost Performance Space, 210 Yale Blvd. S.E., 505-268-0044 Alternative-country singer/songwriter, 7:30 p.m. Friday, Aug. 15, $22 in advance at brownpapertickets.com, $25 at the door.

Chatter Sunday

The Kosmos, 1715 Fifth St. N.W. Pianist Conor Hanick and flutist Jesse Tatum, music of Bach and Donatoni, 10:30 a.m. Sunday, Aug. 17, poetry reading by Lucy Burns follows, $15 at the door only, discounts available, chatterabq.org.

516 Arts

516 Central Ave. S.W., 505-242-1445 Digital Latin America, group show, through Aug. 30.

ANGEL FIRE

Music From Angel Fire

Angel Fire Community Center, 15-CS Ranch Rd. 7 p.m. Friday, Aug. 15, the 31st festival season opens with music of Beethoven and Andrew Hsu, with the Donald Sinta Saxophone Quartet, Ida Kavafian, Steven Tenenbom, and Anne-Marie McDermott. 7 p.m. Sunday, Aug. 17, Musical Conversations: Concertos Plus One, music of Vivaldi; 2 p.m. Sunday,

Tapestry Gallery

4-D Firehouse Lane, 505-471-0194 Feng Shui (plus additions), tapestries by Donna Loraine Contractor, reception 1-4:30 p.m. Saturday, Aug. 16, through Oct. 16.

New Mexico Highlands University in Las Vegas shows paintings by Santa Fe artist Jerry West.

Community Flower Angels

Help out weekly as a Flower Angel for Presbyterian Medical Services' Hospice Center; contact Mary Ann Andrews for information, 505-988-2211.

Off the Grid Santa Fe

RATON

Call for sponsors, volunteers, and vendors to participate in an inaugural evening of live music and entertainment, with food trucks, from 4 p.m. to 7:30 p.m. Saturday, Sept. 19, in the parking lot of Santa Fe Place, 4250 Cerrillos Rd.; contact Dominic Silva, dthomas505@hotmail.com or 505-424-2452.

Shuler Theater, 131 N. Second St. Music of Vivaldi and Andrew Hsu, 7 p.m. Tuesday, Aug. 19, no charge, 888-377-3300, musicfromangelfire.org. (See story, Page 36)

Workshop rehearsal space, 3205-B Richards Lane, 505-988-4262. In need of furniture and clothing for costumes for Aug. 22-Sept. 7 performances.

Music From Angel Fire

TAOS Events/Performances Music From Angel Fire

Taos Community Auditorium, 145 Paseo del Pueblo Norte The season continues with music of Beethoven and Mozart, 7 p.m. Saturday, Aug. 16, tickets start at $30, discounts available, 888-377-3300, musicfromangelfire.org. (See story, Page 36)

PEOPLE WHO NEED PEOPLE Artists Santa Fe Photographic Workshops 25th Anniversary Photography Contest

Photographers age 18 and over can enter works on the theme of water in one or more categories: landscape, portrait, documentary, abstract; deadline September 17, guidelines and fee information are available online at santafeworkshops.com.

2014 Fiesta Melodrama call for props

Filmmakers/Performers/Playwrights Coro de Cámara

The chamber chorus seeks 24 singers; six each: soprano, alto, tenor, and bass; auditions 9 a.m.1 p.m. Saturday, Aug. 23, Church of the Holy Faith, 311 E. Palace Ave.; 9 a.m.-1 p.m. Saturday, Aug. 30, First United Methodist Church, 715 Diamond Dr., Los Alamos; corodecamara_nm@aim.com or 505-695-6037.

Santa Fe Playhouse Workshops auditions

Santa Fe Playhouse Workshops, 3205-B Richards Lane, 505-988-4262 Women (ages 40-80) and girls (ages 14-17) for The Effects of Gamma Rays on Man-in-the-Moon Marigolds, held 11 a.m.-2 p.m. Saturday and Sunday, Aug. 16-17; and women of all ages for the musical Quilters, 11 a.m.-3 p.m. Sunday, Aug. 23, and 6-9 p.m. Monday, Aug. 25.

Santa Fe Playhouse playwright's forum

142 E. DeVargas St., 505-988-4262 Accepting full-length works by playwrights

for the 2014-2015 season; plays must be unpublished and consist of eight or less characters; four plays will be selected for staged readings Oct. 23-26, one will be chosen for a March 2015 production; submit a short bio and play synopsis (and hard copy) no later than Sept. 15 to Cristina Duarte.

Taos Fall Arts Festival Film Shorts

Amateurs and professionals are welcome to submit entries centered on the theme Honoring the Land; submission deadline is Friday, Sept. 5; details available online at taosfallarts.com/film_festival.

UNDER 21

Indigenous Fine Art Market (IFAM) spoken-word event

Warehouse 21 Open-mic spoken-word performances, 7-10 p.m. Wednesday, Aug. 20, no charge.

Apache Skate Boards event

Behind Warehouse 21 Kids from various tribes compete, presented by Indigenous Fine Art Market (IFAM), 2-10 p.m. Thursday, Aug. 21, no charge.

PASA KIDS

15th Annual Ice Cream Social

Eldorado Community Center, 1 Hacienda Loop, All-you-can-eat ice cream bar, games, face-painting, silent auction, and music, 1-4 p.m. Sunday, Aug. 17, $8, ages 6-11 $5, ages 5 and under no charge, presented by Vista Grande Public Library, vglibrary.org.

Georgia O'Keeffe Museum Education Annex 123 Grant Ave., 505-982-0121

Art and Leadership Programs for Girls and Boys exhibit of works by students ages 11-14, through Aug. 29. ◀

PASATIEMPOMAGAZINE.COM

Performance Santa Fe Orchestra

The Lensic Opening performance; music of Ravel, Saint-Saëns, and Jack Waldenmaier; performers include soprano Audrey Luna, mezzo-soprano Karin Mushegain, and young violinist Phoenix Avalon, family preview 1 p.m. Sunday, Aug. 31, $25, $10 (accompanied by a child); concert 4 p.m., $27-$100, 505-988-1234, ticketssantafe.org.

Mariachi Extravaganza de Santa Fe

MUSIC

40th Annual Santa Fe Bluegrass & Old Time Music Festival

Santa Fe County Fairgrounds, 3229 Rodeo Rd. This year's lineup includes The Chapmans, James Reams & The Barnstormers, Todalo Shakers, and Higher Ground, Friday-Sunday, Aug. 22-24, $15-$40, three-day pass $50, ages 16 and under no charge, tickets available in advance and at the door, southwestpickers-fesitival.org.

The English Beat

Skylight Frontman Dave Wakeling's ska band, 7:30 p.m. Friday, Aug. 22, $22, 505-988-1234, ticketssantafe.org.

Livers of Steel Tour

Skylight Country bands Reckless Kelly, Micky & The Motorcars, and Cody Canada & The Departed, 7:30 p.m. Saturday, Aug. 23, $25, ticketssantafe.org, 505-988-1234.

Avett Brothers

Santa Fe Opera, 301 Opera Dr. North Carolina-based folk-rock band, 8 p.m. Wednesday, Aug. 27, $35-$55 in advance, ticketmaster.com, $40-$60 day of show.

Dwight Yoakam

Santa Fe Opera, 301 Opera Dr., 505-986-5900 Country singer/songwriter, 7:30 p.m. Thursday, Aug. 28, $153-$178.

Santa Fe Community Convention Center, 201 W. Marcy St. Annual Santa Fe Fiestas concert; Mariachi Reyna de Los Angeles (with Angel Espinoza), Mariachi Buenaventura, and Los Niños de Santa Fe, 7 p.m. Sunday, Aug. 31, call 505-988-1234 for advance tickets.

Mariachi Matinee

The Lensic The Santa Fe Fiesta Council presents the annual showcase of local talent, 10 a.m. and 2 p.m. Wednesday, Sept. 3, $10, 505-988-1234, ticketssantafe.org.

Justin Furstenfeld: An Open Book Tour

Jean Cocteau Cinema Singer/songwriter, 7 p.m. Wednesday, Sept. 10, $25, jeancocteaucinema.com.

Violent Femmes

Santa Fe Community Convention Center Veteran alternative-rock band, 7:30 p.m. Thursday, Sept. 11, $42, 505-988-1234, ticketssantafe.org.

Jerry López and Friends

The Lensic Local singer/guitarist, 7 p.m. Friday, Sept. 12, $25-$35, 505-988-1234, ticketssantafe.org, benefit concert in support of the National Latino Behavioral Health Association.

Roberto Capocchi

San Miguel Mission, 401 Old Santa Fe Trail The classical guitarist opens the mission's concert series season, 7 p.m. Friday, Sept. 12, $20, students $5, 505-577-1447, capocchimusic.com.

Lyle Lovett and His Large Band

The Downs of Santa Fe, 27475 W. Frontage Rd. Texas singer/songwriter, 7 p.m. Saturday, Sept. 13, $12-$76, 505-988-1234, ticketssantafe.org.

Steve Riley & Mamou Playboys

The Lensic Cajun band, 7 p.m. Saturday, Sept. 13, $15-$35, 505-988-1234, ticketssantafe.org.

Big Al Anderson

Gig Performance Space, 1808 Second St. Guitarist/songwriter, 7:30 p.m. Saturday, Sept. 13, $20 at the door, gigsantafe.com.

Santa Fe Pro Musica

The Lensic The 33rd season opens with pianist Melissa Marse joining the orchestra in a performance of Beethoven's Symphony No. 5 and Piano Concerto No. 3; 4 p.m. Saturday and 3 p.m. Sunday, Sept. 20-21, $10-$65, 505-988-1234, ticketssantafe.org, dinner with the pianist follows (contact SFPM box office to reserve a seat, 505-988-4640).

Foxygen

Skylight Songwriting duo of Sam France and Jonathan Rado, with Dub Thompson, 7:30 p.m. Thursday, Sept. 25, $18, 505-988-1234, ticketssantafe.org.

THEATER/DANCE

Santa Fe Fiesta Melodrama

Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 The annual send-up of everything Santa Fe opens Friday, Aug. 22 and runs through Sunday, Sept. 7, Fiesta Court gala (Wedensday, Aug. 27). performances begin at 7:30 p.m. ThursdaysSaturdays, 4 p.m. Sundays, and the late shows begin at 10 p.m. on Aug. 30, Sept. 5-6, $20, discounts available, gala $25, late shows $10.

Dancing Earth

Skylight, 139 W. San Francisco St. Origi-Nation: Roots and Seeds, the dance troupe's tenth-anniversary performance, 6 p.m. Sunday,

Aug. 24, dance party follows at 8 p.m., $25, VIP tickets $50, dance party only $10, for advance tickets email dancingearthtkts@gmail.com.

O'Keeffe!

Warehouse 21 Carolyn Wickwire performs in a Flower and Bone Productions presentation of Lucinda McDermott's one-woman play, Monday, Aug. 25, WednesdaySunday, Aug. 27-31, $20, Monday performance $15, visit brownpapertickets.com for advance tickets.

Aspen Santa Fe Ballet: Mixed Repertory

The Lensic Encore performance of Square None by Norbert De la Cruz III; Return to a Strange Land by Jiří Kylián; and The Heart(s)pace by Nicolo Fonte, 8 p.m. Saturday, Aug. 30, $25-$72, 505-988-1234, ticketssantafe.org.

HAPPENINGS

93rd Annual Santa Fe Indian Market

The Plaza Sneak preview Friday, Aug. 22; live auction dinner and gala Saturday, Aug. 23; market Saturday and Sunday, Aug. 22-23; swaia.org, 505-983-5220.

Palace of the Governors Portal Artisans Celebration Music, handcrafted wares, raffles, traditional dances, and food, 10 a.m.-5 p.m. Saturday and Sunday, Aug. 23-24, on the Plaza, no charge, 505-476-5100.

Santa Fe Pow Wow

Genoveva Chavez Community Center, 3221 Rodeo Rd. The tenth annual event includes Host Northern Drum Black Eagle Singers, Host Southern Drum Southern Crew Singers, gourd dancer Milton Yazzie, and dancer Alannah Tailfeathers, artists booths open and gourd dancing begins at 5 p.m. Saturday, Aug. 23, grand entry is at 7:30 p.m., $5 at the door, discounts available.

Annual burning of Will Shuster's Zozobra

Fort Marcy Recreation Complex, 490 Bishops Lodge Rd. Gates open at 3 p.m. Friday, Aug. 29, Old Man Gloom goes up in flames after dusk, includes live music and food concessions, $10 in advance and at local venues, kids under 10 no charge, visit burnzozobra.com for details.

Green Chile Cheeseburger Smackdown

Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta Sample burgers from seven local restaurants; enjoy brews, music, and help crown the 2014 Green Chile Cheesburger Smackdown king or queen, 6 p.m. Friday, Sept. 12, $20 in advance and at the door, 505-988-1234, ticketssantafe.org.

Lannan Foundation: In Pursuit of Cultural Freedom

The Lensic The series continues with Alfredo Corchado, Dallas Morning News Mexico bureau chief, with Melissa del Bosque, 7 p.m. Wednesday, Sept. 17, $5, discounts available, 505-988-1234, ticketssantafe.org.

24th Annual Santa Fe Wine & Chile Fiesta

New to the event is the Gran Fondo bike ride to four gourmet food stations in a 45- or optional 75-mile loop hosted by chefs Mark Kiffin, Kevin Nashan, Michelle Bernstein, and Matthew Accarrino; other events include tastings, luncheons, and wine seminars, Wedensday-Sunday, Sept. 24-28, tickets available online at santafewineandchile.org. Mariachi Buenaventura performs Aug. 31, during Mariach Extravaganza de Santa Fe.

PASATIEMPO I August 15-21 2014

AT THE GALLERIES

MUSEUMS & ART SPACES

Adobe Gallery

Santa Fe

Bellas Artes

1606 Paseo de Peralta, 505-989-1199 SITElines 2014: Unsettled Landscapes, biennial exhibit of contemporary international works, through Jan. 11. Open Thursdays-Sundays; sitesantafe.org.

221 Canyon Rd., 505-629-4051 The Tradition of the Martinez Family of San Ildefonso Pueblo, pottery and paintings, through Sept. 15. 653 Canyon Rd., 505-983-2745 Black White Silver, group show, through Aug. 30.

Chiaroscuro Contemporary Art

SITE Santa Fe

Georgia O’Keeffe Museum

702 ½ Canyon Rd., 505-992-0711 Rose B. Simpson: Finding Center, mixed-media sculpture, through August. (See story, Page 52)

217 Johnson St., 505-946-1000 Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept. 17. Open daily; okeeffemuseum.org.

Fogelson Library Fine Art Gallery — Santa Fe University of Art & Design

Museum of Contemporary Native Arts

1600 St. Michael's Dr., 505-473-6569 Water Spirits Walking on the Land, paintings, photographs, and an installation by Cate Moses, through Wednesday, Aug. 20.

James Kelly Contemporary

1611 Paseo de Peralta, 505-989-1601 Pages, drawings by James Drake, through Aug. 27.

Karan Ruhlen Gallery

225 Canyon Rd., 505-820-0807 Quiet Beauty, mixed-media paintings by Jinni Thomas and Pauline Ziegen, through Aug. 20.

LewAllen Galleries at the Railyard

1613 Paseo de Peralta, 505-988-3250 Witheld Narratives, work by painter Christopher Benson; Big Cats and Birds, paintings by Tom Palmore, through Aug. 29. Branches, glass sculpture by Hiroshi Yamano and paintings by Pedro Surroca, through Sept. 21.

Liquid Outpost Gallery

Inn at Loretto, 211 Old Santa Fe Trail, 505-983-6503 America's First Nations, mixed media by Angel Wynn, through Aug. 30.

Mark White Fine Art

414 Canyon Rd., 505-982-2073 Brainstorm, works by painter Javier López Barbosa and sculptor J.D. Hansen, through Aug. 25.

Nüart Gallery

670 Canyon Rd., 505-988-3888 Still Winds, paintings by Hyunmee Lee, through Aug. 24.

Peyton Wright Gallery

237 E. Palace Ave., 505-989-9888 Vivian Springford: A Retrospective, the late artist's paintings from the 1960s to the 1980s, through Sept. 3.

Photo-eye Gallery

541 S. Guadalupe St., 505-988-5152 Reverie, work by photographer Tom Chambers, through Sept. 13.

Tai Modern

1601-B Paseo de Peralta, 505-984-1387 Monique van Genderen, abstract paintings, through Sept. 20.

Turner Carroll Gallery

725 Canyon Rd., 505-986-9800 Survival, group show including works by Hung Liu, Georges Mazilu, and Igor Melnikov, through Aug. 25.

Wade Wilson Art

217 W. Water St., 505-660-4393 Group show, including works by Ford Ruthling, Melissa Zink, and Carol Mothner, through Sept. 9.

Zane Bennett Contemporary

435 S. Guadalupe St., 505-982-8111 Impacts!, group show with works by Japanese artists, through Aug. 22. (See review, Page 30)

108 Cathedral Place, 505-983-1777 5-7 p.m. reception Thursday, Aug. 21: Rattlebone, paintings and prints by Ric Gendron; The Desert Never Left "The City," work by painter Mario Martinez; Saligaaw (it is loud-voiced), mixed media by Da-ka-xeen Mehner; Breach: Log 14, video installation by Courtney M. Leonard; exhibits run through December • Looping screenings of the documentary Bert & Wei Wei: TIME 2014 by Daniel Hyde and Blackhorse Lowe through Oct. 16. Closed Tuesdays; iaia.edu/museum.

Museum of Indian Arts & Culture

710 Camino Lejo, Museum Hill, 505-476-1250 Footprints: The Inspiration and Influence of Allan Houser, five monumental works by the late Chiricahua Apache sculptor displayed outdoors; accompanied by works of other sculptors including Houser's sons Bob Haozous and Philip Mangas Haozous, Doug Hyde, Estella Loretto, and Robert Shorty; through May 2015 • 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, artifacts from the museum collection. Open daily; indianartsandculture.org.

Museum of International Folk Art

706 Camino Lejo, Museum Hill, 505-476-1200 Between Two Worlds: Folk Artists Reflect on the Immigrant Experience, exhibit on immigration • Wooden Menagerie: Made in New Mexico, early 20th-century carvings, through Feb. 15, 2015 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art. Open daily; internationalfolkart.org.

Museum of Spanish Colonial Art

750 Camino Lejo, Museum Hill, 505-982-2226 Secrets of the Symbols: The Hidden Language of Spanish Colonial Art • 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; spanishcolonial.org; open daily through Sept. 1.

New Mexico History Museum/ Palace of the Governors

113 Lincoln Ave., 505-476-5200 Painting the Divine: Images of Mary in the New World, rare Spanish colonial paintings, through March 29, 2015 • Poetics of Light: Pinhole Photography, 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; nmhistorymuseum.org; open daily through Oct. 7.

New Mexico Museum of Art

107 W. Palace Ave., 505-476-5072 Alcove Shows 1917-1927, works from the museum collection, opening Friday Aug. 8 • Local Color: Judy Chicago in New Mexico 1984-2014, focusing on public and personal projects, through Oct. 12 • 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 • New Mexico Art Tells New Mexico History, including works by E. Irving Couse, T.C. Cannon, and Agnes Martin, through 2015 • Spotlight on Gustave Baumann, works from the museum’s collection, through 2015. Open daily through Oct. 7; nmartmuseum.org.

Pablita Velarde Museum of Indian Women in the Arts

213 Cathedral Place, 505-988-8900 Harvesting Traditions, work by ceramicist Kathleen Wall, through Jan. 4, 2015. Closed Mondays; pvmiwa.org.

Poeh Cultural Center and Museum

78 Cities of Gold Rd., 505-455-3334 Nah Poeh Meng, 1,600-square-foot installation highlighting the works of Pueblo artists and Pueblo history; closed Saturdays and Sundays; poehcenter.org. Also, ongoing sculpture exhibits in the Tower Gallery, 505-455-3037. Closed Sundays; roxanneswentzell.net.

Wheelwright Museum of the American Indian

704 Camino Lejo, Museum Hill, 505-982-4636 Works by Diné photographer Will Wilson, through April 19, 2015. Core exhibits include 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 • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, examples of craftsmanship and design distinctive to the charro. Closed Mondays; cabq.gov/culturalservices/ albuquerque-museum.

Indian Pueblo Cultural Center

2401 12th St. N.W., 866-855-7902 Our Land, Our Culture, Our Story, historical overview of the Pueblo world, and 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 includes individual archaeological, ethnological, archival, photographic, and skeletal items. Closed Sundays and Mondays; maxwellmuseum.unm.edu.

National Hispanic Cultural Center

1701 Fourth St. S.W., 505-604-6896 ¡Papel! Pico, Rico y Chico, group show of works in the traditional art of papel picado (cut paper). Closed Mondays; nationalhispaniccenter.org.

Albuquerque's National Hispanic Cultural Center shows works by cut-paper artist Catalina DelgadoTrunk in the exhibit ¡Papel! Pico, Rico y Chico. Photo by Margot Geist.

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 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.

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

Pecos Pecos National Historic Park

NM 63, 505-757-7241 Exhibits portraying the history of the Pecos Valley; including ruins, traces of the Santa Fe Trail, artifacts from the Civil War Battle of Glorieta Pass. Open daily, nps.gov/pecos.

Taos E.L. Blumenschein Home and Museum

222 Ledoux St., 575-758-0505 Hacienda art from the Blumenschein family collection, European and Spanish colonial antiques. Open daily; taoshistoricmuseums.org.

Harwood Museum of Art

238 Ledoux St., 575-758-9826 Highlights From the Gus Foster Collection, contemporary works, through Sept. 7. Open daily through October; harwoodmuseum.org.

Millicent Rogers Museum

1504 Millicent Rogers Rd., 575-758-2462 Fred Harvey and the Making of the American West, objects drawn from the Harvey family, through January. Historical collections of Native American jewelry, and paintings; Hispanic textiles, metalwork, and sculpture; and 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 artist Nicolai Fechin built for his family between 1927 and 1933. Closed Mondays; taosartmuseum.org.

PASATIEMPOMAGAZINE.COM

Emily Kimball: Don’t Think — Just Do (detail) 2014, cast resin Yares Art Projects, 123 Grant Ave., 505-984-0044 Emily Kimball’s new work deals with issues of conformity and pressures that impact individuality and self-expression. “Each group of figures represents the boundaries of societal expectations, defined roles, cultural norms, prescribed emotional states, and ideological constructs,” writes Kimball. Aquatic, a sculptural installation of her works consisting of nearly 500 small-scale figures, opens Friday, Aug. 15, with a 5:30 p.m. reception. April Fletcher: Gilded Garden 2014, collage New Mexico State Land Office Commissioner’s Gallery, 310 Old Santa Fe Trail, 505-827-5762 Patterns, Panoramas, and Plants in Watercolor and Collage, a two-person show of works by Karin Pitman and April Fletcher, continues at the gallery through Aug. 31. Pitman’s watercolors capture Southwestern landscapes and flora in intimate detail. Fletcher’s mixedmedia works in collage incorporate plant materials and paint and convey a feeling of natural environments through abstracted imagery. Lisa Holt & Harlan Reano: Untitled Figure 2014, ceramic Chiaroscuro Contemporary Art, 702 ½ Canyon Road, 505-992-0711 Chiaroscuro’s annual Contemporary Native Group Show includes works by Rick Bartow, Yatika Starr Fields, Harry Fonseca, Emmi Whitehorse, and Lisa Holt & Harlan Reano. The show, on view now through Aug. 31, runs concurrently with Finding Center, a solo exhibit by Rose B. Simpson. The reception is Friday, Aug. 22, at 5 p.m. and coincides with Indian Market weekend.

A P E E K AT W H AT’S S H OW I N G A R O U N D TOW N Elizabeth Sherman: Catherine of Tesuque early 1930s, oil on canvas William R. Talbot Fine Art, Antique Maps, and Prints, 129 W. San Francisco St., 2nd floor, 505-982-1559 Indian Summer, 1835-1935, includes a selection of 19thcentury Americana, regionalist art from the modernist era, and historic maps of the Southwest and Indian territories. The exhibit, which includes works by Karl Bodmer, George Catlin, Howard Cook, and others, runs through Sept. 30. Gigi Mills: Girl With Figs and Flowers 2014, oil on book board GF Contemporary, 707 Canyon Road, 505-983-3707 Gigi Mills’ color palette and reductive use of shape and form lend an austere feeling to her images of domesticity. This Life, an exhibit of her paintings, opens with a 5 p.m. reception on Friday, Aug. 15.

PASATIEMPO I August 15-21, 2014