Origins® is a registered trademark used under license. ©2014 Margolis, Inc.
Fabulous Indian Jewelry
One of a kind, east Indian Mogul and contemporary jewelry
Origins
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originssantafe.com 505-988-2323 135 West San Francisco St. Santa Fe, NM 87501
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Representing two generations of Optometric Physicians serving the residents of Santa Fe and northern New Mexico. Providing state of the art eye care with the world’s most fashion forward and unique eyewear.
Artwork By: Dennis Hogan 101 W. SAN FRANCISCO ST. SANTA Fe
Dr. Mark Botwin
505-988-1866 OPeN 7 DAYS
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Mon-Fri 8:00-6:00, Sat 8:30-12:00 444 St Michaels Drive | BotwinEyeGroup.com
PASATIEMPOMAGAZINE.COM
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$5 MILLION BACK TO YOU 70’S & 80’S RETRO THURSDAY DJ OoNa Hosts
FRIDAY, AUG.22nd • A TRIBE CALLED RED SWAIA EVENT
HIP HOP SATURDAY LIVE DJ
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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 4
PASATIEMPO I August 22 - 28, 2014
Blazing Bluegrass to High Flying Harmonies
O’Connor String Quartet
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!
THE OPPORTUNITY IS GOLDEN SO IS THE STANDARD from
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IS
RX
TONIGHT 8 PM
from
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The Lensic Performing Arts Center
from
Tickets From $12 • 505.982.1890 • SantaFeChamberMusic.com • At The Door
True American Music!
$409/month + ttl*
6824 Cerrillos Rd. | Santa Fe, NM 87507 | (505) 216-3800 | www.lexusofsantafe.com *RX MSRP $47,593. $3,499 due @ signing + ttl. IS MSRP $37,688. $1,299 due @ signing +ttl. GS MSRP $53,788. $2,999 due at signing + ttl. All Leases 27 months, 10,000 miles/year .25 cents/mile thereafter.
Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room
•
Bedroom
•
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•
Lighting
•
Accessories
Southwestern Style • One-of-a-kind Pieces Reasonable prices every day of the year
Our Warehouse Showroom features over 8000 sq. ft. of handcrafted furniture. Please come in, you’ll be pleasantly surprised.
SANTA FE COUNTRY FURNITURE 525 Airport Road • 660-4003 • Corner of Airport Rd. & Center Dr. Monday - Saturday • 9 - 5 • Closed Sundays www.santafecountry.com
PASATIEMPOMAGAZINE.COM
5
AUGUST1ST –31ST
For every 150 Points Earned GET $10 FREE GAS!
Valid only at the Valero Gas Station at Pueblo of Tesque. Limit $50 in gas per day. Restrictions may apply.
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10 Min. North of DOWNTOWN Santa Fe Exit 175 on Hwy 84/285
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
SANTA FE INDIAN MARKET
A History of Native Arts and the Marketplace
x Sundays, 2:00 PM
By Bruce Bernstein Paperbound with Flaps: $29.95
August 10,17, 24 The Lodge at Santa Fe
KACHINAS
A Hopi Artist’s Documentary Original Paintings by Clifford Bahnimptewa
ISA Flamenco Classes Our Fall classes for children, teens,
Text by Barton Wright Jacketed Paperbound $34.95
and adults start September 8th & 9th. Register online!
CLASSIC HOPI AND ZUNI KACHINA FIGURES
www.institutespanisharts.org
By Andrea Portago Text by Barton Wright Jacketed Paperbound: $39.95
505-467-3773 for more info flamenco@mariabenitez.com 1604 Agua Fria (Larragoite)
SANTA FE
Partially funded by:
ISA is Flamenco! www.mariabenitez.com 6
PASATIEMPO I August 22 - 28, 2014
Enhance Your Indian Market Experience
By Gene Peach Introduction by Christine Mather Jacketed Hardbound $39.95
Museum of New Mexico Press 800.249.7737 BECAUSE
art
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culture
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books
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SERVING NEW MEXICO COMMUNITIES FOR OVER 55 YEARS
SPECIAL OPEN HOUSE SANTA FE: AUGUST 25TH-26TH TAOS: AUGUST 27TH-29TH
~ Free Hearing Exams & Consultations ~ Financing Available Upon Credit Approval ~ Most Insurance Plans Accepted ~ Se Habla Español PRICE REDUCTION OFFERED ON HEARING AIDS PURCHASED THIS WEEK ONLY!
3454 Zafarano Dr., Unit B • Santa Fe, NM 515 Gusdorf Rd., Suite 1 • Taos, NM
1-888-751-1952 •
www.SandiaHearingCenter.com
“As a professional musician, having good hearing is essential. For anyone with the burden of hearing loss, I can highly recommend the personalized service and excellent products offered at Sandia Hearing Center. They’ve made my life a lot more pleasant.” ©2014 NuEar. All Rights Reserved. 07052-14
-Karen Lafferty Recording Artist/Singer/Songwriter PASATIEMPOMAGAZINE.COM
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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
Photo by Peter Ogilvie
Charms and Pendants in sterling silver and 14kt yellow gold. Price starts at $45. Now available for purchase on our website: fairchildjewelry.com
108 Don Gaspar 505-988-9558
Stock Is Limited 505.984.1419 • 800.773.8123 • fairchildjewelry@aol.com • fairchildjewelry.com
DESERT SON Proudly serving Northern New Mexico & Santa Fe for over 22 years.
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HANDMADE BOOTS, BELTS, BUCKLES, HANDBAGS & JEWELRY
• Implant Dentures • Implant Crowns • Partial & Full Dentures • Same Day Repairs • In-house Dental Lab • Emergencies Welcome • Artistically Crafted • Customized to the Individual
EMERGENCIES WELCOME EMERGENCIES WELCOME FINANCING AVAILABLE SENIOR DISCOUNTS DISCOUNTS
Re presenting Hen r y B eg u e l i n , N u m e ro 1 0 & O f f i c i n e C re a t i ve 725 Canyon Rd. • 505-982-9499 • www.desertsonofsantafe.com 8
PASATIEMPO I August 22 - 28, 2014
SALE
Larger Sizes Too
backattheranch.com
20-70% Off Everything Anthony Luciano Trunk Show 223 Galisteo between Water & Alameda • 505.983.6331 Monday-Saturday 10-6 • Sunday 11-5
August 22, 23, 24
209 E Marcy Street 505-989-8110
PASATIEMPOMAGAZINE.COM
9
NOW 20% OFF! ANY SPECIAL ORDER
Small or large, and it’s not necessary to order sets
ORDER BY SEPT. 6TH AT LATEST. NO EXCEPTIONS TO THIS DEADLINE. THE AMISH DO MEAN WHAT THEY SAY! ORDER DuRINg THIS SALE TO HAvE BY THE HOLIDAYS
CLEAR STANDARD OF EXCELLENCE
Simply Amish® Rich, solid hardwoods. Hand-finished excellence, inside and out. It’s the skill of genuine Amish craftsmen, passed down from one generation to the next. Made in America’s heartland by the Amish www.simplyamish.com
Sophisticated LED Dark Sky Exterior Sconces Visit the Dahl Lighting Showroom and let our experts help light your home with elegance and style.
Cascade 1830TT
Luna 1660BZ-LED
1000 Siler Park Lane, Suite A Santa Fe, New Mexico 87507-3169 505.471.7272 • Fax 505.471.9232 Mon-Fri 8am - 5pm & Sat 10am - 2pm
www.dahllighting.com 10
PASATIEMPO I August 22 - 28, 2014
Indian Market Glossy Template
Document Size: Green box - 10.875x13” (.25 in bleed) Page Trim - Cyan box - 10.375x12.5” Live area - Magenta box - 9.75x11.5” please keep all text within this box
Exquisite privacy amid natures splendor is this fabulous 367 Acre Ranch in Tajique, New Mexico. It has a Beautiful custom designed home with double frame and double insulated construction. Enjoy the Spectacular view built for extraordinary lives. $1,350.000 MLS # 201303113
PASATIEMPOMAGAZINE.COM
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www.sfsr.com
Train Rides!
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1122 PiEDrA roNDo | $1,485,000 3 br, 3.5 ba | interior: 3,898 sq. ft. (approx) | Acreage: 1.6 acres (approx) Sited on 1.6 acres adjoining SF National Forest, this home features three bedroom suites, large custom study, chef’s kitchen, breakfast room with kiva fireplace, formal dining room, and a huge soaring great room with large art nichos. Many Santa Fe touches. gardens are exquisite featuring city light views and sunset views, multiple water features, and peace and quiet that is incredible! MLS 201403700
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JANicE cox 505.920.4774 janice.cox@sothebyshomes.com
SANTA FE BrokErAgE | 505.988.2533 326 Grant Avenue | Santa Fe, NM 87501 sothebyshomes.com/santafe
Sotheby’s International Realty and the Sotheby’s International Realty logo are registered (or unregistered) service marks used with permission. Operated by Sotheby’s International Realty, Inc. Real estate agents affiliated with Sotheby’s International Realty, Inc. are independent contractor sales associates and are not employees of Sotheby’s International Realty, Inc. Equal opportunity employer. Equal housing opportunity.
“Where should this music be? In the air or the earth?”
SALE
—Shakespeare, The Tempest
A Summer of Sacred Song featuring
Santa Fe Opera Apprentices DOZENS OF ITEMS
DOOR BUSTER
BEST SELLERS
35-60%OFF SALE $89 35%OFF
2013 Santa Fe Opera Apprentices
Final Sunday August 24 10:00 AM Worship
(Childcare/children’s ministry offered)
THE UNITED CHURCH OF SANTA FE Rev. Talitha Arnold and Rev. Brandon Johnson, Ministers Jacquelyn Helin, Steinway Artist & Music Director
1804 Arroyo Chamiso (at St. Michael’s Drive) 988-3295 Welcoming of all
unitedchurchofsantafe.org
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PASATIEMPO I August 22 - 28, 2014
924 Paseo de Peralta Santa Fe NM 87501 / P: 505.988.5528 104 W San Francisco St. Santa Fe NM 87501 / P: 505.988.3574 90 Cities of Gold Rd. Santa Fe NM 87506 / P: 505.455.2731
1st Ladies of Mariachi Mariachi Flores Mexicanas
also: Santa Fe’s own mariachi Buenaventura and ninos de Santa Fe
Sunday, auguSt 31, 2014 • 7:00 pm Santa Fe Convention Center Sweeney Ballroom Early Ticket Reservation: Lensic (505) 988-1234 Tickets at the Door: $35 Doors open at 5:00 pm For further information visit our website: www.santafefiesta.org
PASATIEMPOMAGAZINE.COM
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THE SANTA FE NEW MEXICAN
August 22 - 28, 2014
www.pasatiempomagazine.com
ON THE COVER 61 Remembrance of times Southwest It has been 150 years since the Long Walk of the Navajo, the forced resettlement by the United States government of more than 8,500 people to the Bosque Redondo in eastern New Mexico. Residing in Santa Fe’s Palace of the Governors Photo Archives, the ironically titled photo album Souvenir of New Mexico documents a U.S. Army officer’s presence in the Territory of New Mexico at the time. The album features photographs of Mexican politicians and U.S. soldiers and many rare images of Navajos and Apaches during their captivity at Fort Sumner. Pasatiempo presents images from the album in a photo essay found on Pages 66 to 87 of the magazine and online at www.pasatiempomagazine.com. On our cover is a group portrait, circa 1866, from Souvenir of New Mexico; Navajo leaders Mariano Martinez and Narbona Primero are two of the men pictured. (Negative No. 030332; courtesy Palace of the Governors Photo Archives, NMHM/DCA)
MOVING IMAGES
BOOKS 26
92 94
In Other Words Dragoons in Apacheland
MUSIC AND PERFORMANCE
CALENDAR
30 Listen Up Johannes String Quartet 34 Fiesta Melodrama It might get loud 39 Random Acts Tony Bennett, king of croon
101 Pasa Week
AND
ART
21 23 98
42 Careful custodians Repatriation of tribal objects 46 Portrait of an artist Allan Houser 50 Monumental man Allan Houser’s enduring influence
PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com 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 Jennifer Levin, 505-986-3039, jlevin@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com CONTRIBUTORS Taura Costidis, Ashley Gallegos-Sanchez, Laurel Gladden, Peg Goldstein, Robert Ker, Bill Kohlhaase, 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
© 2014 The Santa Fe New Mexican
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Robin Martin Owner
www.pasatiempomagazine.com
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Mixed Media Star Codes Restaurant Review: La Boca
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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Burning Bush Chile Pages
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
THE OWINGS GALLERY O N PA L AC E Tony Da (1940-2008), Avanyu Design with inset turqouise and a band of shell hei-shi, fired ceramic, 5 1/2 inches wide x 4 inches high
NATIVE VOICES : Contemporary and Historic Masters 100 East Palace Avenue Monday through Saturday, 10 to 5 Santa Fe, New Mexico 87501 505.982.6244 phone | 505.983.4215 fax info@owingsgallery.com | www.owingsgallery.com
|
August 22 through September 9, 2014
Opening Reception: Tonight, August 22nd from 5 to 7pm At the Intersection of Palace and Washington Please also visit our gallery located at 120 East Marcy Street PASATIEMPOMAGAZINE.COM
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L AU R A S H E P P H E R D Exquisite Hand-Selected Items from Central Asia
ATELIER
Handbags Scarves Shawls Tunics
Plus a beautiful collection of silk jackets made in New Mexico by Laura Sheppherd!
Coreen Cordova Indian Market Trunk Show In attendance August 22, 23, 24
photosantagto.com
dddddddddddd
65 w. marcy street santa fe, nm 87501 505.986.1444 laurasheppherd.com •
80 East San Francisco Street 505.955.8484 mavericksofsantafe.com
dddddddddd
dddddddddd the art of living and living with art
international folk art, faShion & home decor ~all year round~
530 South Guadalupe in the hiStoric railyard diStrict caSanovaGallery.com
MORNING STAR GALLERY presents
Dolores Purdy August 22–24, 2014 Friday 5–7 pm, Saturday 9am–5pm, Sunday 11am–5pm
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PASATIEMPO I August 22 - 28, 2014
513 Canyon Road, Santa Fe, NM 87501 505-982-8187 • morningstargallery.com
Thank You! The students, faculty, staff, and Trustees of IAIA were inspired by the extraordinary generosity of the many sponsors and donors to our annual scholarship dinner and auction on August 20 at La Fonda on the Plaza. We are deeply grateful for their support.
SPONSORS (as of August 15) Charmay Allred The Autry Foundation/ Autry National Center JoAnn and Bob Balzer Bidtah N. Becker Beth Beloff and Marc Geller Jessica Bicoll, CFP, ChFC Barbara Davis Blum Bon Appetit Management Co. Buffalo Thunder Casino and Resort Cuddy & McCarthy, LLP Charles Dale and Leigh Moiola Daniels Insurance, Inc. Dyron Murphy Architects, P.C. Barbara and Robert Ells GiacobbeFritz Fine Art Jeanne and Raymond Givens Susan and Howard Goldsmith Deborah and Jimmy Goodman
Phillip Haozous/ Allan Houser, Inc. Robert N. Harcourt Lee Ann and Marshall Hunt Inn at Santa Fe Patricia and Peter Ives Jaynes Corporation Sonya Kelliher-Combs Sheryl Kelsey and George Duncan Anne and Loren Kieve Brenda and Thomas Kingery La Fonda on the Plaza Lannan Foundation Diana MacArthur Anne and John Marion Marist College Robert Martin and Luci Tapahonso McCune Charitable Foundation Charles E. McKittrick, Jr.
Dan and Frances Namingha/ Niman Fine Art Sallyann M. Paschall Ashlyn and Dan Perry Yara and Gerald Pitchford Fala and Daniel Powers Brenda and Gary Ruttenberg James and Ann Santini School for Advanced Research Alex Shapiro and Raymond Berger Southwestern Association for Indian Arts (SWAIA) Carmen J. Smith and Bernadette A. Smith Smithsonian Institution National Museum of the American Indian Terry Snowball and Machel Monenerkit Wells Fargo Bank
AUCTION DONORS (as of August 15) Tony Abeyta Jeri Ah-be-hill Larry U. Ahvakana Sherman Alexie Charmay Allred Keri Ataumbi Mark Bahti and Emmi Whitehorse Heidi Bigknife Dorothy Bracey and Tom Johnson David Bradley Frank Buffalo Hyde Nocona J. Burgess Joe and Angela Cajero Brandee Caoba Fritz J. Casuse Chihuly Studio Doug Coffin Maile Cuddy Marian Denipah and Steve LaRance Ishkoten K. Dougi Brian L. Fleetwood Laura Fragua-Cota Joan Frederick Jacqueline Gala Daniel Gibson and Kitty Leaken
Rollie Grandbois Benjamin Harjo Shane Hendren Charlotte H. Hetherington and Michael Barlow IAIA Archives Jeff Kahmakoatayo Sonya Kelliher-Combs Keshi, Inc. Brenda Kingery David LaPlantz Courtney Leonard Monty Little Linda Lomahaftewa Glenda K. Loretto Phillip C. Loretto Cannupa Hanska Luger Sheridan MacKnight Melissa H. Melero America Meredith Linda Lou Metoxen Wanesia Misquadace Paul C. Moore Arlo Namingha Michael Namingha Jody Naranjo Nathalie
Glen Nipshank Raymond C. Nordwall Virgil Ortiz Chris Pappan and Debra Pappan Sallyann Paschall Alex J. Peña Dolores Purdy Harlan Reano and Lisa Holt Kevin Red Star and Alex Windsor Betts Alex Shapiro The Shed Restaurant Silver Sun Preston Singletary De Haven Solimon Chaffins Robert Tenorio Toadlena Trading Post Michael Tobiason and Joann Reiter Geraldine Tso Robert Dale Tsosie Adrian Wall Kathleen Wall Stephen Wall Liz Wallace Kenneth Williams, Jr. Daniel Worcester
EVENT COMMITTEE Honorary Chairs: Ashlyn and Dan Perry Charmay Allred Mark Bahti JoAnn Balzer Beth Beloff Dorothy Bracey
Danielle Burgess Connie Tsosie Gaussoin Sheryl Kelsey Tom Maguire Michael Namingha
Linda Off Sallyann Paschall Dennis Reinhartz Judy Reinhartz James Rutherford
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
www.iaia.edu PASATIEMPOMAGAZINE.COM
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You have to live at Quail Run to use the Club You can join and enjoy the premier facilities Find Out How Quail Run Fits Your Lifestyle!
Pat Narvaiz & Phyllis Weiland, certified personal trainers.
The Club at Quail Run features a fabulous restaurant, indoor ozone lap pool, ProBounce tennis courts, PGA-rated golf course and health club with spa services. Experience what a select few have known for years, Quail Run Club is Santa Fe’s Best Kept Secret. acoma
s k y c it y
.o r g
Golf, health club, and dining memberships are available.
Language of Honor
Tribute to Acoma Code Talker Paul Histia Sr. 8/15/14 – 6/7/15 Interstate 40, exit 102 south • 1-888-SKY CITY
3101 Old Pecos Trail 505.986.2200 quailrunsantafe.org
USEd piano SalE!
THRILLING UPCOMING LECTURE
Robert K. Wittman
The FBI’s real-life Indiana Jones whose book “Priceless” was a New York Times Bestseller!
Lecture, Luncheon & Book Signing
Saturday August 23rd
The world’s finest brand name pre-owned pianos At thousands off the price of a new model!
Noon to 3PM @ La Posada de Santa Fe
Steinway-Yamaha-Schimmel-Kawai-Baldwin & More
Call 505-982-2226 for tickets, or go to http://spanishcolonial.org/ticket-purchase/
Pianowerkes has recently taken in a wonderful collection of high quality, used pianos on trade. Many of these pianos are like new and would be hard to distinguish from the new models in our showroom. We are selling these pianos at enormous price savings. Each piano will come with warranties and our famous 100% lifetime trade-up policy. OTHER BRANDS REPRESENTED :
Yamaha, Bösendorfer, Schimmel, Estonia, Nearly New & Vintage Steinway
Organized by the Spanish Colonial Arts Society
4640 menaul Blvd. ne, albuquerque
505.338.0028
Tuesday - saturday 11am to 5:30pm www.pianowerkes.com
18
PASATIEMPO I August 22 - 28, 2014
Sponsored By:
LAST CHANCE FINAL PERFORMANCE TONIGHT!
Don Pasquale Donizetti
Tonight at 8:00 pm
.
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
Ken Howard photo
SEASON
20 14 THROUGH AUGUST 23
Arrive early with a tailgate supper to enjoy the sunset and mountain views.
Psssst, never been to an opera? This is THE perfect intro and first-time buyers who are New Mexico residents SAVE
40%.
www.SantaFeOpera.org 505-986-5900
PASATIEMPOMAGAZINE.COM
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Experience Authentic Santa Fe at The Bishop’s Lodge Ranch Resort & Spa! Enter at santafenewmexican.com/getaway
COURTESY OF
Deadline for entry is September 22, 2014. Must be at least 21 to enter. Travel not included. No cash value. Based on availability. For complete rules, visit santafenewmexican.com/getaway. 20
PASATIEMPO I August 22 - 28, 2014
Enter to WIN an incredible prize package which includes two nights in a deluxe suite, dinner for two at Las Fuentes Restaurant and Bar, a $100 spa credit, horseback riding for two in the Sangre de Cristo Mountains, a private tour of Archbishop Lamy’s Chapel, and wine & chocolate covered strawberries in your room upon arrival.
Library of Congress LC-USZ62-101168, Wiley Bros. photograph
MIXED MEDIA
Great Omaha pow-wow dance of the Cheyennes in Montana, circa 1891
A pow-erful welcome: The 10th Annual Santa Fe Pow-Wow
With so many members of Native tribes across the nation converging on Santa Fe for Indian Market, what better way to welcome them than to hold a pow-wow? Historically, when tribal members gathered, occasions were commemorated with the sharing of songs in these celebrations. Though the origins of pow-wows are uncertain (they possibly are rooted in the war-dance societies of the Southern Plains tribes), they continue today as multitribal communal events honoring tribal cultures by singing religious, social, and war songs; dancing; and socializing. The 10th Annual Santa Fe Pow-Wow, an evening-time social event for all tribal nations, takes place at the Genoveva Chavez Community Center (3221 Rodeo Road) on Saturday, Aug. 23, from 5 to 10:30 p.m. The event features dancers and singers from various tribes and regional pueblos, including the Host Northern Drum Black Eagle Singers; the Host Southern Drum Southern Crew Singers; Milton Yazzie, head gourd dancer; Bruce LeClaire, head man dancer; and Alannah Tailfeathers, head woman dancer. The emcee for the pow-wow is Cochiti Pueblo artist Dominic Arquero, and the arena director is Leonard Atcitty (Diné). Events begin at 5 p.m. with gourd dancing. The invocation and grand entry, a traditional start to pow-wows, begin at 7:30 p.m. and are followed by intertribal dancing: all drum groups and dancers may participate. The event includes artist booths and a benefit food booth sponsored by the Santa Fe Indian Center. Admission is $5, with discounts available. For more information, visit the Chavez Center website at www.chavezcenter. com or call 505-955-4000. — Michael Abatemarco
WE DO DENTAL HYGIENE… AND WE DO IT RIGHT!
NO GIMMICKS E JUST GREAT CAR PASATIEMPOMAGAZINE.COM
21
Italian Leather Woven Chairs with Casas Grande Black Pot
Jane Smith
hOme
501 Old Santa Fe Trail Santa Fe, NM 87505 505-988-5670 janesmithhome@aol.com
New Patient X-rays, Exam and Cleaning
$99*
*In absence of periodontal (gum) disease
The highest quality dentistry at affordable prices
Now Offering:
1843 Arroyo Chamiso House of beautiful light with 3300 square feet, 3 over sized bedrooms, master bath with jetted tub and walk in shower and its own private patio, wood and porcelain tile floors. Open Sunday 1pm-4pm. 22
PASATIEMPO I August 22 - 28, 2014
Gabriel Roybal DDS
Trusted in Santa Fe for over 27 years 505-989-8749 gabrielroybal.com • 444 st. michaels dr. • santa fe, n.m.
Open Fri-Sat & Sun 8-3
STAR CODES Heather Roan Robbins
Mars is a busy planet this week as it trines Chiron, sextiles Mercury, conjuncts Saturn, and then squares Venus. Brash, fiery, defensive Mars symbolizes the raw, young, and physical aspects of animus energies. We can feel the damaged Mars archetype echoing in the headlines of conflict and our end-of-summer lethargy. Difficult Mars is reflected in anger, violence, misuse of sexuality and physical prowess, and autoimmune problems; its practical expression is physical exuberance, athleticism, hard work, healthy sexuality, and a strong immune system. Positive Mars exudes bravery, protection, adventure, fierce curiosity, and healthy passion. Venus in Leo works into this planetary equation midweek and asks us to fight fair and then kiss and make up. Love is work, but loving work will be rewarded. With thoughtful Mercury in Virgo, we can think fast and look ahead, but we need to remember to see the forest as well as the trees. Venus in Leo provides us with abundant affection, sociability, and the need to express ourselves vibrantly. This can feel at odds with Mars in Scorpio, with its encouragement of solitude and retribution, but it can really be hard to feel lonely. We need to find a balance between privacy and connection, between busyness and serenity, and hear one another’s needs. Friday, Aug. 22: The mood is sensitive and defensive; we need to know we’re cared for under a waning Cancer moon. Clashes arise in the name of self-protection; peace arrives with consideration and respect. The sun enters Virgo tonight and brings us back into our body and the deliciousness of summer.
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Saturday, Aug. 23: Take an inventory of what supplies and reinforcements are needed to get on with the next self-improvement, home improvement, or political improvement project. Later, as the Leo moon conjuncts hopeful Jupiter and Venus, compassion, art, romance, and all things Venusian can make the difference.
La Grigliata Del VenerdÌ Con Birra Come and join us on our beautiful patio for lunch this weekend during Indian Market. Featuring Guinness bratwursts and Cajun turkey burgers this Friday, Saturday and Sunday for lunch cooked by Chef Cristian Pontiggia on our outdoor grill. Also offering cans of seasonal Oktoberfest provided by Santa Fe Brewing Co. for $3. Buon Appetito!
Sunday, Aug. 24: Morning brings oppositional behavior and challenging communication. Let’s learn from our mistakes and find a fresh generosity of the heart. Monday, Aug. 25: The mood is self-conscious and self-critical but still enthusiastic under a new moon in Virgo. We begin a fresh work cycle. Later, as Venus trines Uranus, discontent nudges us to make aesthetic changes. We take a more heart-centered, creative approach to an old problem. Tuesday, Aug. 26: Patience is needed; our hearts’ desire needs steady effort and details that support the bigger picture. Compassion challenges the status quo; answering our responsibilities can cramp our style but step up our vision. Wednesday, Aug. 27: This morning we see flaws and glitches and feel the push and pull of social engagement as Venus squares Mars. Edges soften as the moon enters Libra this afternoon. A fair and equitable approach helps us get past ego glitches. Thursday, Aug. 28: Straighten out interpersonal problems and look for common ground under a friendly Libra moon. See beauty with a deeper perspective. Encourage a spark of love or friendship that recently landed. ◀ www.roanrobbins.com
986-5858 • 58 S. Federal Place • Santa Fe, NM 87501 • www.osteriadassisi.com
Come see Wyatt Mortenson’s steer roping demo! Saturday 1:00-4:00pm 345 W. Manhattan at Guadalupe (505) 984-1256 • kowboyz.com PASATIEMPOMAGAZINE.COM
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INDIAN MARKET GARDEN PARTY FRI, SAT & SUN, AUG 22, 23 & 24
322 MCKENZIE STREET & 118 GALISTEO
COMING UP
EXHIBITION OPENING RECEPTION 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. Free. 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 . . . . . MONDAYS 12:15 – 1 p.m. . . . . WEDNESDAYS 12:15 – 1 p.m. . FRIDAYS Noon–1 p.m. . . . . . .
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Plein-air Painting in the Patio . . . . . . . . Gallery Conversations . . . . . . In-Depth Guided Tours . . . . . . . . . . Drop In and Draw
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
PASATIEMPO I August 22 - 28, 2014
W. P. HENDERSON, PAINTING, AND H. H. KNIBBS WITH HORSE IN THE PATIO OF THE PALACE OF THE GOVERNORS, SANTA FE, 1916. COURTESY PALACE OF THE GOVERNORS PHOTO ARCHIVES (NMHM/DCA), NEG. NO. 013329.
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A new baby is wonderful yet challenging.Many Mothers offers free in-home care. CALL US TO VOLUNTEER.
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IN OTHER WORDS book reviews Dragoons in Apacheland: Conquest and Resistance in Southern New Mexico, 1846-1861 by William S. Kiser, University of Oklahoma Press, 328 pages Southern New Mexico was a battleground between two equally committed but opposing societies from the end of the Mexican-American War to the beginning of the Civil War. Under the banner of Manifest Destiny, the United States’ mid-19th-century territorial expansion now embraced the Southwest. Fiercely resisting the Anglo encroachment were the indigenous nomadic Apaches, who subsisted by raiding and who excelled at guerrilla warfare. William S. Kiser’s Dragoons in Apacheland: Conquest and Resistance in Southern New Mexico, 1846-1861 presents a fresh interpretation of this virulently bloody period in borderlands history. His approach is two-pronged, exploring the conflict between Anglos and Apaches and the conflicts among Anglo civilian and military authorities. Through his prodigious research, Kiser reveals the embrangled complexity of this mix of contentions. “Everybody and everything in this country appears [sic] at cross purposes,” one Indian agent observed. The ill-conceived promises made by General Stephen Watts Kearny after taking possession of New Mexico in 1846 set the stage for the conflicts among Mexicans, Apaches, and Anglos, coloring Anglo-Apache relations for decades. According to the Treaty of Guadalupe-Hidalgo, signed two years later, the U.S. Army would protect Mexicans from hostile, marauding Indians — something the Mexican government had failed to do. Kearny also pledged to repatriate Mexicans captured by the Apaches, a complicated issue because the Apaches adopted captives into their families, considering them kin. These “calamitous responsibilities” were assumed by a federal government in Washington that was entirely too ignorant of the Southwestern exigencies to successfully enforce the provision. “Charged with garrisoning frontier outposts and enforcing Indian policy,” dragoons were deployed to the area. These mounted infantry troops, who were joined by mounted riflemen and infantry, were thrown onto forbidding terrain totally alien to them. Kiser details the troops’ inexperience and poor training, in addition to the appalling conditions under which they served. By contrast, the Apache foes were wholly adapted to the country’s deserts and mountain ranges. The Chiricahua tribe ranged in southeastern Arizona and southwestern New Mexico and in northeastern Sonora and northwestern Chihuahua in Mexico. The Mescaleros’ territory, east of the Río Grande, covered 15,000 square miles. Led by legendary chiefs Mangas Coloradas, Victorio, Cochise, and Geronimo, Apaches were hardy warriors and superior horsemen. They could subsist on little food and water when fighting and raiding and disappear from the landscape like coveys of quail. Any hope for consistency in Indian affairs was marred by intragovernmental dysfunction. Colonel Edwin V. Sumner
didn’t allow Indian agents, who could identify nonhostile tribes, to accompany military expeditions. Likewise, territorial governors didn’t always cooperate with the Indian superintendents and subagents. Among federal Indian Service personnel, former army surgeon Michael Steck was exemplary. Better than most Anglos, he understood the Indians’ cultural practices and tribal organization. Advocating a humanitarian agenda, he dealt separately with each band, issued monthly rations, and taught the nonagricultural Apache bands to plant. Mangas Coloradas regarded Steck so highly that he sought out his company. On one occasion, their mutual respect prevented a major skirmish. American military and civilian officials alike demonstrated folly, insensitivity, and a bullheaded inability to adapt to the region’s geography and unfamiliar cultures. Officers could not distinguish among the tribes and bands, presuming that all Apaches were guilty of raiding and wars. Both vacillating policies toward the Indians and repeated fruitless campaigns were direct results of the muddling-along approach that saw the federal government counterproductively slaughtering peaceful bands and tribes. Under colonels Benjamin L.E. Bonneville and Dixon S. Miles, the 1857 Gila Campaign, which involved 900 troops, was mounted to avenge the death of Indian agent Henry L. Dodge, slain by Mogollon Apaches. The operation was freighted with reigning prejudice, professional rivalry, and shortsightedness. After marching for nearly a month in and around the precipitous, inhospitable Mogollon Mountains, the troops encountered a group of pacifistic Gila Apaches that was innocent of Dodge’s murder. In the attack, Chief Cuchillo, five warriors, and one woman were killed. The effect of the Civil War in the area reversed what progress had been achieved in Anglo-Apache relations. Believing the Anglos had abandoned their mission after the Confederate Army had been repelled, the Apaches enjoyed three years in which they were free of reprisal. The 1861 entrapment of Cochise by way of a deceitful invitation to parley and, in 1863, the unconscionable capture, torture, shooting, and decapitation of Mangas Coloradas unleashed raiding on an unprecedented scale, signally affecting all future Anglo-Apache relations. Embedded in Kiser’s chronicling of these brutal conflicts was his desire to encourage readers to “rethink historical events, … more specifically military history in the Southwest.” His narrative provides ample information for accomplishing that goal. By delving into Apache sources, he portrays their situation more fully as they clashed with invaders who were unable to comprehend Apache culture. Despite its setting in Arizona, it was a little disappointing that the Bascom affair surrounding the entrapment of Cochise wasn’t explored more deeply. Otherwise, Kiser’s book is most engaging. — Nancy Coggeshall book reviews continue on Page 28
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PASATIEMPO I August 22 -28, 2014
SUBTEXTS Growing trends The history of New Mexico is deeply tied to agriculture. From the first corn brought here from Mexico by Native peoples some 3,000 years ago to the modern proliferation of chile crops, farmers markets, and modern cross-cultural cooking styles, agriculture has both shaped and defined the state. Timothy McKimmie, a former instructor and librarian at New Mexico State University’s College of Agriculture, has drawn a line from those first cornfields to the current obsession with locally sourced, sustainably raised foods in his book Farms and Foods: New Mexico’s Agricultural Legacy (UnitySW Press). This slim, richly illustrated volume makes the connection between traditional crops and the means of raising them and our sense of community, industry, and politics — a connection that’s unavoidable in a state so defined by its foods. Starting with those first crops of corn, squash, and beans, McKimmie suggests that early farmers were masters at dealing with a difficult growing environment. They sought out microclimates where moisture collected and constructed rock borders to help contain water while using techniques, such as mulching, that gardeners hoping to conserve water still use today. He cites crop failures, due to drought and soil depletion, as a reason that the Chaco Canyon settlement was abandoned for more friendly growing areas along rivers. He explains how, after the Spanish arrived in the 1500s, the two agricultural traditions merged in ways that remain with us today. In another sense, this book is about water and its uses in a landscape where it’s in short supply. Northern New Mexico’s acequias not only bring water to fields where it’s needed, but they’ve also shaped area politics and community dynamics. McKimmie’s book isn’t a detailed history by any means — for that, read William N. Dunmire’s Gardens of New Spain: How Mediterranean Plants and Foods Changed America. But it is a fine beginning guide to both agricultural history and the trends embracing locally and organically grown food that are blossoming across the state. — Bill Kohlhaase
IMPACTS! . 勢み JAPANESE CONTEMPORARY ART
GRAND OPENING RECEPTION FRIDAY, AUGUST 22, 5-7 PM PRESENTED BY ZANE BENNETT CONTEMPORARY ART & MIZUMA ART GALLERY, TOKYO PANEL DISCUSSION MODERATED BY JOHN CARPENTER, CURATOR, JAPAN COLLECTION, METROPOLITAN MUSEUM OF ART, NYC SATURDAY, AUGUST 23, 1:30 PM
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IN OTHER WORDS
book reviews
A Generation Removed: The Fostering & Adoption of Indigenous Children in the Postwar World by Margaret D. Jacobs (University of Nebraska Press), 360 pages Margaret D. Jacobs, author of the award-winning White Mother to a Dark Race: Settler Colonialism, Maternalism, and the Removal of Indigenous Children in the American West and Australia, 1880-1940, has now focused her scholarship on the Indian Adoption Project and the passage of the Indian Child Welfare Act in A Generation Removed: The Fostering & Adoption of Indigenous Children in the Postwar World. Between the Civil War and World War II, generations of Indian children were forced into boarding schools run by the U.S. government and Christian missionaries. The schools were established expressly to assimilate Indian children into Anglo culture while attempting to eradicate Indian culture. Students were indoctrinated to embrace personalproperty ownership, material wealth, Christian spirituality, and small families. Children grew up lonely and confused — and often abused — in the schools, torn from their parents at young ages and made to live without the comfort and solace of family as well as forbidden from speaking their Native languages or wearing their own clothes. They were given new “white” names, and the boys’ long hair was hacked off. But the children did not abandon their cultures. By the 1940s, this intense disruption of normal childhood and community life had taken a toll on many families, often because people became parents without having been raised by parents; they had no examples to follow. And traumatized children often become traumatized adults. Because Indian children are traditionally raised by many family members, in the absence of a birth parent, children living on a reservation could be cared for by grandparents or aunts and uncles. But the government and Christian missionaries set the official standards for what constituted acceptable child care,
and the village model didn’t fit their ideal. Nor did poverty or single motherhood, neither of which carried any stigma among Indians. The boarding schools had become a financial strain on government resources, and it was clear that sending children to such places only perpetuated problems on the reservations. The government, therefore, set its sights on total assimilation through the termination of Indian tribal recognition and by getting white families to foster and adopt Indian children. Adoption, it was thought, solved all the problems boarding schools could not and transferred costs to adoptive families. In the 1950s, social workers pressured unmarried Indian women — and unmarried women of all races in America — to give up their babies. Indian women were characterized as unwilling or unable to raise their own children. White families — many of whom were acting on well-intentioned but misguided “colorblind” liberalism, adopting Native children as an act of reconciliation — bought into various negative ideas perpetuated by the book’s villain, Arnold Lyslo, director of the Indian Adoption Project, or IAP. To promote its agenda, the IAP claimed a lack of hope, joy, and intellectual and creative stimulation on the reservations. As time went on, “lack of stimulation” was an amorphous reason used by social workers for removing even older children from Indian families and giving them to white parents. Christian missionaries sometimes simply took children they felt weren’t being raised right and claimed the children had been abandoned. In an effort to convince more white families that Native children needed rescue, Indians were portrayed as incurable alcoholics, a stereotype that has endured. To refute this, Jacobs cites the Department of Health and Human Services’ 2010 National Survey on Drug Use and Health,
T H E W O O D CA R E S P E C I A L I S T A n t i q u e s F i n e F u r n i t u re K i t ch e n s B u i l t - i n C a b i n e t r y !
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which shows that Native Americans drink comparatively less than white Americans and are more likely to abstain altogether. In the 1970s, Indian children were 22 percent more likely to be in foster care and 19 percent more likely to be adopted out of their families of origin than white children, according to Jacobs’ research. Factoring in boarding-school enrollments, approximately 25 to 35 percent of all Indian children were living apart from their families. At the instigation of many activists, Congress passed the Indian Child Welfare Act in 1978, transferring jurisdiction over fostering and adoption to tribal governments. It’s the law that recently received so much attention in the Baby Veronica custody case, in which a Cherokee father contested a white family’s adoption of his daughter, whose birth mother was Hispanic. Though the book is densely academic, it is written with enough clarity and vigor to be interesting to more casual readers. For those familiar with the issues surrounding the adoption of Indian children by white families, the book is a fine compendium of case studies illuminating the practice of removal, the people who promoted it, the supposed moral authority they used to justify taking thousands of children from their families, and the courage of individuals who fought back. For readers unaware of the massive campaign for assimilation, A Generation Removed will likely be a searing eye-opener, and many of the damaging narratives and stereotypes about Indians rampant in popular culture will gain context. There are also chapters on indigenous fostering and adoption in Canada and Australia, which gives a broader international picture of the goal and price of assimilation. — Jennifer Levin
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PASATIEMPO I August 22 -28, 2014
Dr.Burt BurtMelton Melton Dr.
2 Locations Albuquerque 7520 Montgomery Blvd. Suite D-3 Mon - Thurs 505-883-7744
Santa Fe 141 Paseo de Peralta, Suite C Mon Wed -- Fri Fri 505-983-2909
LAST CHANCE TO ENTER PHOTOS for the 2015 Calendar Contest!
2015
The Santa Fe New Mexican’s
Enter for a chance to win a spot in the 2015 Calendar and Pet Prizes!
CALENDAR LAST CHANCE TO ENTER! Submit Now! Deadline August 24th!
Go to www.santafenewmexican.com/petcalendar Thank You to our 2015 Pet Sponsors
For best publication, submit only horizontal format, close up, high resolution photos. Digital photos electronically submitted are preferred! Subject must be of animal(s) only, no humans please.
Broken Saddle Riding Company Cerrillos, New Mexico
Entry Form: Last day to remit, Aug. 24th, 5PM. *Your name:___________________________________________________ Address:______________________________________________________ ______________________________________________________________
(if paying by cc, provide address on cc billing statement)
Your phone: (day) ________________________
(evening)
___________________
e-mail: ) _________________________________________________________________ *Pet’s name: ______________________ Pet’s species: _______________ Payment method: $20 per pet (All registration fees are non-refundable) CASH CHECK CHARGE MY CARD Account # ____________________________________________________ Exp. Date: ______________ Security code: _____________ Name as it appears on the card: _________________________________ (Mail or in person):
The New Mexican, 202 East Marcy St., Santa Fe, NM 87501 The Santa Fe New Mexican’s (In Person): 1 New Mexican Plaza, Santa Fe (Email): classad@sfnewmexican.com (By Phone): 505-986-3000 Include S.A.S.E. for photo return
2015
HOW THE CALENDAR CONTEST WORKS 1. Entry forms and photos can be emailed, mailed or submitted in person at the Santa Fe New Mexican. Register online at www.sfnewmexican.com/petcalendar. 2. Entry fee is $20 per pet, per photo. 3. Your pet’s name and photo, and owner’s name will appear in The Santa Fe New Mexican during the first voting period Sept. 5 through Sept. 19. 4. Anyone can vote for the pet(s) of their choice during the first voting period in person at The New Mexican, by phone, email or online for a $1 per vote. 5. The 25 pets with the most votes in the first round will advance to finalist round. 6. Anyone can vote in finalist round for the pet(s) of their choice in person at The New Mexican offices, by phone, email or online for $2 per vote Sept. 26 through Oct. 3. 7. The 13 top vote getters from the finalist round will be featured in our 2015 calendar, distributed to 22,000 households throughout Santa Fe & Northern New Mexico in the Oct. 25 edition of The Santa Fe New Mexican and extra copies will be available at the Santa Fe New Mexican offices and our sponsor locations.
*Published information
CALENDAR
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LISTEN UP James M.Keller Tiny games people play
T
Johannes String Quartet
Games are not always carefree, of course, and the Johannes did not approach these works in a spirit one could call playful. In a few of the movements, they did convey a sense of whimsy, but in others their interplay escalated into altercation or collision.
Sasha Cooke
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PASATIEMPO I August 22-28, 2014
he Johannes String Quartet has been very present at the Santa Fe Chamber Music Festival this year, both in sum and in parts. Its four constituents (violinists Soovin Kim and Jessica Lee, violist Choong-Jin Chang, and cellist Peter Stumpf) appeared as a full ensemble in five different works distributed among three concerts, in addition to which its members kept popping up one, two, or three at a time as parts of the mix-and-match groupings that are the festival’s norm. Though the group is not new to audiences here, its exposure this season invited a deeper acquaintance and made a firm impression overall. The group had to overcome an unimposing start, which, surprisingly, involved a piece in which one might have expected the fewest problems: Mozart’s Quartet in D major (K. 575), played on Aug. 10 and 11 (the latter being the performance I heard). This late entry in the composer’s quartet catalog may not be quite so immediately charming as many of his earlier ones, but it ranks high in inventiveness and offers not a few delights for more casual listeners. It was one of three quartets Mozart wrote on commission from Friedrich Wilhelm II, the cello-playing king of Prussia (who had succeeded his flute-playing uncle, Frederick the Great), and in deference to the monarch, Mozart invested extra prominence in the cello part. In fact, he gave special emphasis to both the lower parts, and Chang and Stumpf fit as hand to glove in the parts of the fourth movement when the ensemble bifurcates such that the two of them play as a unit to counterbalance the violins. And yet, those two players had come up with an interpretation of a few measures in the third movement (the Menuetto and Trio) that was manifestly unsuccessful. The Trio section is founded on an odd little motif that music folks would describe as a sequence of descending appoggiaturas — melodic decorations that delay the harmonic resolution of each beat. Because Mozart presents a chain of them, each one has to be clearly separated from the next if the cleverness of the rhythmic displacement is to shine through. The violins did fine with it (although, here and elsewhere, Kim could veer toward shrillness in his upper register), but for some reason the viola and cello consistently obscured the articulation between the iterations of this motif; the harmonic underpinning accordingly yielded to momentary confusion, as if the bottom had dropped out of the piece. Small bloopers of slipped notes and uncertain coordination kept getting into the performance, to such an extent that I guessed it might be the ensemble’s first outing with the piece. But checking later, I saw that the group has been programming it for years.
Apparently it was just an off night. It seemed to be one for mezzo-soprano Sasha Cooke, too; she followed the Mozart quartet with a rendition of Haydn’s solo cantata Arianna a Naxos, composed in the same year, 1789. I have been greatly impressed by Cooke’s work in the past year or so — her interpretation of Lowell Liebermann’s Four Seasons at the festival a few weeks back, her solo singing in Mahler’s Third Symphony in San Francisco in February, her miraculous salvaging of the title role in Mark Adamo’s operatic fiasco The Gospel According to Mary Magdalene a June ago at San Francisco Opera. On this evening, her timbre was attractive, but that was not enough to offset a bland interpretation. Haydn’s cantata is an admittedly difficult puzzle to solve, but she addressed it with only lukewarm fervor, moderato in every way, taking no relish in the classically poised text, not even proving a spitfire at the end, when she realizes the man she thought she loved has left her marooned on a remote island. She received little help from her accompanist, pianist Pei-Yao Wang, whose playing sounded academic. The deficiencies of the first half of the program were cast into still higher relief by the post-intermission numbers: a spirited, thoroughly enjoyable rendering of Mozart’s G-major Duo for Violin and Viola, played by the wife-and-husband team of Ida Kavafian and Steven Tenenbom, and Weber’s Clarinet Quintet, in continued on Page 32
David Shifrin
40th Annual Santa Fe Bluegrass and Old Time Music Festival August 22-24, 2014
Transform Your Relationship With Money and the Life of Your Non-Profit september 5 - 7
Fundraising From the Heart
With “The Soul of Money” Author Lynne Twist World-renowned Speaker, Fundraiser, and Activist see entire calendar, teachings, and more at www.upaya.org
santa fe, new mexico 505-986-8518 www.upaya.org registrar@upaya.org
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!
www.southwestpickers-festival.org The Festival is sponsored in part by: The Southwest Traditional and Bluegrass Music Association
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32
PASATIEMPO I August 22-28, 2014
Listen Up, continued from Page 30 which master clarinetist David Shifrin joined forces with the Johannes foursome. The Weber is not a deep piece of chamber music, but it is a fun one. The quartet is deployed like an orchestral string section, a role the Johannes adopted with game enthusiasm. Shifrin plumbed the piece for all the witty sparkle it might provide, even blasting out a high F (concert pitch) with calculated rudeness both unbecoming and entirely apt. The whole thing was delicious. On Aug. 12, the Johannes had a noontime concert all to itself. Its brave programming asked quite a lot of the audience, which remained palpably attentive throughout. The group opened with a work by the Hungarian modernist György Kurtág, his Hommage à Mihály András, 12 Microludes for String Quartet, from 1977. The set consists of 12 miniatures, and I do mean miniatures: together they run only about nine minutes, and several last less than 30 seconds. Each focuses on a principal pitch by highlighting a specific way in which it is contextualized by other notes used in the piece. The 12 principal pitches are the notes of the ascending chromatic scale, and the movements are organized in precisely that order, respectively focusing on C, C-sharp, D, and so on up to B. This reflects the chromatic concerns of dozens of 18th- and 19thcentury collections of pedagogical compositions called “preludes.” Sometimes these earlier preludes were performed before other music, as in preludes and fugues — hence the “pre-” of their name — but often they stood on their own as independent miniatures. More to the point is the second part of their name, which is derived from the Latin ludere, meaning “to play,” or ludus, “game.” Kurtág’s microludes are literally “tiny games,” and he has published many volumes of such pieces throughout his career, most famously in his piano suite Játékok, which is the Hungarian word for “games.” Games are not always carefree, of course, and the Johannes did not approach these works in a spirit one could call playful. In a few of the movements, they did convey a sense of whimsy, but in others their interplay escalated into altercation or collision. Overall, they maintained a serious mien — and, frankly, so do Kurtág and his pianist wife, Márta, when they play his Játékok and other microludial piano
pieces. I would have preferred longer pauses between the movements, the better to set off the distinct personality of each item. The work to which Kurtág’s Microludes are invariably compared is Webern’s Six Bagatelles for String Quartet (Op. 9), composed from 1911 to 1913 but not premiered until 1924. Otherwise put, they were written during the same span as Stravinsky’s explosive The Rite of Spring, and their premiere followed that of Gershwin’s snazzy Rhapsody in Blue by just five months. Webern’s Bagatelles occupy the other end of the sonic spectrum. They are compact exercises in evanescence, the next step in the miniaturization Webern had explored a few years earlier in his groundbreaking Five Movements for String Quartet (Op. 5), which the Johannes foursome performed here last summer. I found their take on that work to be overly solemn, but they infused the Bagatelles with a sense of delicacy and wistfulness that was captivating. Their carefully calibrated interpretation of this work ran about four minutes in toto, but they were the group’s finest four minutes at the festival. I found myself thinking of Stravinsky’s postmortem observation of Webern: “Doomed to a total failure in a deaf world of ignorance and indifference, he inexorably kept on cutting out his diamonds, his dazzling diamonds, the mines of which he knew to perfection.” One can only imagine how mystifying these Bagatelles would have seemed a century ago. That thought was reinforced by the work the Johannes players programmed next, the String Quartet No. 1 by their namesake composer, Johannes Brahms, who was the dominant figure in musical Vienna until his death in 1897, only 16 years before Webern completed his Bagatelles. His String Quartet No. 1, composed from 1866 to 1873, is a tough and rugged piece, not particularly lovable yet not entirely lacking in endearing moments. The ensemble proved hearty advocates of its thorny side, but I wish they had reveled more in its more lyrical asides, at least in the trio of the intermezzolike second movement, which might be allowed to be a bit flirtatious. It was a solid performance, if one short on “Aha!” moments. Still, the work’s finale proved an emphatic success, an object lesson in well-negotiated quartet playing. ◀
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IT MIGHT GET LOUD Fiesta Melodrama
Jennifer Levin I The New Mexican
M
any traditions are associated with the Santa Fe Playhouse’s annual Fiesta Melodrama, which has been presented almost every year for the better part of nine decades. Perhaps the most enduring tradition is that of keeping the writers anonymous to protect them from possible retribution by the people they skewer through satirical songs and ridiculously over-the-top story lines. The Melodrama pokes great fun — not all that gently — at the year’s biggest scandals and personalities in Santa Fe. Legend has it that one year, something in the Melodrama led to the resignation of an archbishop. The 2014 Fiesta Melodrama opens Friday, Aug. 22, and this year it features a bit of meta-melodrama behind the scenes with regard to that anonymity rule. Some of the writers revolted, demanding credit for their work. But others wanted to maintain the sacred shroud of secrecy. “Some of them want the fame and the glory — the riches and things that come with being a Melodrama writer,” said Andy Primm, who is directing the annual play for the second consecutive year. “It’s causing contention in the group — so to some of their great chagrin, the writers will remain nameless.” Primm 34
PASATIEMPO I August 22 -28, 2014
declined to name even himself as a writer but then added that Julia Goldberg, host of the Julia Goldberg Morning Show on KVSF-FM 101.5, should be credited with rewriting popular songs with locally appropriate lyrics. Primm offered no explanation for why only Goldberg’s name has been released to the press. Another tradition of the Fiesta Melodrama, and of melodramas in general, is to have several alternate titles. This year’s is called Game of Groans, or Last Train to Artsville, or Zozobra for Dummies, or Hot Massage on the Sexually Oriented Express, or No Country Music for Old Men. The set, designed by Pat Briggs, technical director at the Playhouse, is a train. “It’s the Rail Runner from 100 years ago,” Primm explained. Its basic premise — if ever a Fiesta Melodrama premise could be considered “basic” — is that Governor Thoothanna Dinero (played by Felix Cordova, who has shaved his beard for the role) is riding the train as part of her re-election bid, accompanied by an illiterate 80-year-old third-grader, Hermie (Cliff Russell), whom she plans to suddenly teach to read as a publicity stunt. Even though Hermie has never passed third grade, he is a member of the public water commission. “I’m actually 79,” grumbled Russell, who has been in 13 Fiesta Melodramas. “I don’t know why they didn’t just make me 79. I guess ‘80-year-old’ is easier to say.” Also riding the olden-days “Rail Runner” are members of the Albuquerque Police Department, who have been
disarmed thanks to a Department of Justice report and relegated to using implements from the city’s Parks and Recreation Department, including pool noodles. The APD is responsible for transporting the head of Zozobra from Albuquerque to Santa Fe so it can be burned and Santa Fe’s collective gloom can be sent to the sky. The head was fabricated in Albuquerque because Santa Fe’s gross receipts taxes are too high, which made the labor unaffordable here. (The largely self-employed Melodrama cast, gathered for a press interview before rehearsal, grew angry at the mention of Santa Fe’s gross receipts taxes, which are 1.1875 percent higher than Albuquerque’s.) This part of the plot also involves Santa Fe’s plastic bag ban and a hidden stash of meth. The heroine is Betty Bulletproof-Baggypants (Shawna Howley), who, swilling “bulletproof” coffee and addicted to CrossFit, is superstrong and can fight evildoers. “I’m kind of a smartass, if that’s something you can put in the paper,” Howley said. Bulletproof coffee is a breakfast alternative favored by people who do a lot of strength training; it’s made from coffee, butter from grass-fed cows, and medium-chain triglycerides (MCT) oil. Howley doesn’t actually drink it, nor does she actually do CrossFit, though she confessed to being “addicted to kettlebells.” Betty’s father, BertJack Baggypants (Malcom Morgan), is the train conductor, and it’s his birthday. “He’s kind of a train wreck himself,” said Howley, “but I’m throwing
him a party.” Antony Berzack plays the hero, Samuel El Jackson, who was born and raised in Santa Fe but now commutes from Rio Rancho, where he can afford to live. “I am a third-grade teacher — a commuting teacher of heroic proportions,” Berzack said of his character. All melodramas must have a villain. Scott Shuker plays Namaste Ne’erDo-Well-Smith. “For my friends in the press,” said Shuker, “my character’s last name is hyphenated.” He described Namaste as the “quintessential New Age healer who has a lot of deep wounds and serious, serious issues. He is very manipulative and the Rasputin of the governor.” Namaste’s mission is to prevent Zozobra’s head from reaching Santa Fe so he can market magic oil to the populace as the only cure for gloom. Other characters in the show include a gang of “overly confident teenagers” and two guys sitting off to the side hurling insults at the show, in the tradition of Statler and Waldorf of the Muppets. Audience participation is a big melodrama tradition and is encouraged. People cheer the hero and heroine, and they hiss at the villain. “But be careful — if you elect to be part of the show, you might get a retort that surprises you,” Primm warned. “We let the audience know how clever they really are,” said Shuker. (One year, the villain brought a loud little boy onto the stage, unintentionally terrifying him.) In addition to the regular 7:30 p.m. shows on Thursdays, Fridays, and Saturdays, there are 10 p.m. “late-night” shows that are bawdier and feature live music and a beer sponsor. Admission to the late-night shows is $10, which is half the cost of the earlier presentations. No Melodrama is performed on Aug. 29, the night of Zozobra — which has been moved, at long last, to Friday night. “We’re the Fiesta Melodrama, and Zozobra’s a big part of Fiesta and getting rid of gloom,” said Primm, who grew up in Santa Fe and is a well-known musician and freelance videographer. “Sometimes with Fiesta there can be a lot of cultural wounds opened up. I think the Melodrama is a way to come together through humor and laughter and try to heal things a little bit. It’s a big reason I believe in the Melodrama.” He recalled being a kid and seeing Melodramas that lasted three hours and represented everyone in town. He promised a fast-paced show for modern times. “It’s a potentially explosive piece,” he said. “It may get out of control and even run off the rails at times.” ◀
! S W G NE
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details ▼ 2014 Fiesta Melodrama ▼ Santa Fe Playhouse, 142 E. De Vargas St. ▼ Friday, Aug. 22-Sept. 7; Thursday, Friday & Saturday evening performances begin at 7:30 p.m.; late-night shows on Aug. 30, Sept. 5, and Sept. 6 begin at 10 p.m., Sunday matinees begin at 4 p.m.; no performance Aug. 29
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▼ Fiesta Court Gala 6 p.m. Wednesday, Aug. 27 ▼ $20 general admission; $15 for seniors, students, educators & military ▼ Late-night shows $10; Fiesta Court Gala $25 ▼ Reservations at 505-988-4262 or www.santafeplayhouse.org
October 3–4, 2014, with Deng Ming-Dao, author of 365 Tao and Scholar Warrior
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explore santa fe’s best calendar live Music & nightlife | outdoors seasonal activities | community events Movie showtimes | Galleries and Museums pasapicks | and more
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PASATIEMPO I August 22 - 28, 2014
An exhibition honoring the hundreth birth year of world-renown artist/mentor Allan Houser, and featuring the works of thirteen Native American sculptors whose lives he changed forever:
larry ahvakana · don chunestudey · cliff fragua · craig dan goseyun rollie grandbois · bob haozous · phillip mangas haozous · doug hyde oreland joe · tony lee · estella loretto · bill prokopiof · robert shorty
on view now through june 1, 2015
Museum of Indian Arts & Culture Museum Hill off Old Santa Fe Trail, Santa Fe, New Mexico | (505) 476-1269 | indianartsandculture.org | Pictured: Allan Houser (Warm Springs Chiricahua Apache, 1914–19914), Homeward Bound, 1989. © Allan Houser, Inc. Photograph by Lynn Lown.
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PASATIEMPO I August 22 - 28, 2014
LANB.com
MEMBER FDIC
King of croon: Tony Bennett
Legendary singer Tony Bennett, who turned 88 on Aug. 3, appears at the Santa Fe Opera on Sunday, Aug. 24, at 7 p.m. Hits like “I Left My Heart in San Francisco,” “The Good Life,” and “Cold, Cold Heart,” helped Bennett earn 17 Grammy Awards and multiple gold and platinum records over a sixdecade career. His daughter Antonia Bennett, a jazz singer, is his guest star at the concert. Tickets are $60-$149, available at the Santa Fe Opera box office; call 505-986-5900. — Michael Wade Simpson
RANDOM ACTS Americana, O’Connor-style
Violinist Mark O’Connor has gained a devoted following among fusion fanatics, assuming into his style aspects of bluegrass, jazz, classical, and folk fiddling traditions. He has published an instructional method to assist student violinists interested in developing a similar repertoire, written music for various Americana television and movie projects, sold an impressive number of CDs, and produced a prodigious catalog of compositions, most of which are of the cross-genre kind. If that’s your bag, the Santa Fe Chamber Music Festival beckons on Friday, Aug. 22, at 8 p.m., when the O’Connor String Quartet (which he heads) delivers the New Mexico premiere of his String Quartet No. 3, subtitled “Old-Time,” along with a passel of American traditional music in his own arrangements. The concert takes place at the Lensic Performing Arts Center, 211 W. San Francisco St. Tickets ($10-$42) can be purchased from the festival at 505-982-1890 or 888-221-9836, ext. 102, or through ticketssantafe.org (505-988-1234). — James M. Keller
THIS WEEK
Blue Ridge brotherhood
Seth and Scott Avett, along with a ragtag ensemble of musicians, are known as the Avett Brothers, critically acclaimed performers of earnest, Blue Ridge Mountain indie-pop roots rock. They played with Bob Dylan and Mumford and Sons at the 2011 Grammy Awards, on the heels of their major-label debut, I and Love and You. The Avett Brothers, known for high-energy live shows, grace the stage at the Santa Fe Opera on Wednesday, Aug. 27, at 8 p.m. Tickets are $35 to $55 in advance, $5 more on the day of the show. Go to ticketmaster.com or call 800-745-3000. — Jennifer Levin
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Create the ambience of an outdoor room while blocking the wind & sun and keeping the view.
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Post present
Pamela Brown
Pamela weaves vignettes from her daily life and was featured at The Wheelwright’s “Nizhoni Shima”
“Sister Is Scared!” 10” x 18”
“Lizard in the Weaving Room” 9” x 18”
“UFO in Navajo Land” 7” x 13”
Pamela Brown is the Granddaughter of Legendary Master Weaver Bessie Manygoats
Museum Hill Café Friday Night Only Happy “ 2 “ Hours 4 – 6
Dinner among 20 new sculptures Celebrating Allan Houser on Museum Hill Tonight Bossa Nova with
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Native Jackets u On The Plaza u 66 East San Francisco Street 505-984-0005 u 888-420-0005
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PASATIEMPO I August 22 - 28, 2014
Julie Yates Vocals Tim Drackert Guitar Friday Night Dinner 5 – 8 Reservations recommended 505-984-8900
Santa Fe Chamber Music Festival: ONLY 4 MORE! Concert venue this week—LEN: The Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe
4 Exquisite Evenings at the Lensic!
SAT AUG 23
TONIGHT!
6 pm @ LEN
8 pm @ LEN
MARK O’CONNOR STRING QUARTET
SPONSORED BY THORNBURG INVESTMENT MANAGEMENT
BRANDENBURG CONCERTOS 1, 2 & 6
SPONSORED BY THORNBURG INVESTMENT MANAGEMENT
SUN AUG 24
MON AUG 25
BEETHOVEN TRIO, BRAHMS SEXTET
FESTIVAL FINALE
6 pm @ LEN
6 pm @ LEN
SPONSORED BY OMAHA STEAKS
TONIGHT AT 8, Grammy Award-winner for Best Country Instrumental Performance Mark O’Connor takes American Music to new heights, with his own phenomenal fiddle playing, and virtuosic performances from fellow members of the O’Connor String Quartet! This concert will include O’Connor’s String Quartet No. 3 “Old Time” composed on commission for the Quadricentennial of the Hudson River. TOMORROW NIGHT, August 23 at 6 – we complete our offering of Bach’s Brandenburg Concertos with Nos. 1, 2 and 6. Benjamin Beilman, violin; Cynthia Phelps, viola; Liang Wang, oboe; Eric Kim, cello; Caleb Hudson, trumpet; and many more chamber music greats celebrate Bach’s landmark creation with you! SUNDAY NIGHT, August 24 at 6 it’s time for Beethoven, Brahms and a taste of Takemitsu! Rain Spell –Takemitsu’s beautiful tapestry of multiphonics. Beethoven’s compelling “Ghost” Trio brings violinist Benny Kim, cellist Eric Kim, and pianist Inon Barnatan together for an unforgettable performance. Then, the mighty Brahms String Sextet will fill your senses, performed by star chamber musicians Martin Beaver, violin; Benjamin Beilman, violin; Cynthia Phelps, viola; Milena Pajaro-van de Stadt, viola; Clive Greensmith, cello; and Ronald Thomas, cello. FOR THE FESTIVAL FINALE on Monday, August 25 at 6, we proudly present Telemann’s melodic Fantasia, Astor Piazzolla’s amazing tango-infused Oblivion, and Kodály’s vibrant Serenade, all performed by the some of the world’s most celebrated chamber musicians. Finally, Dvořák’s stunning Piano Quintet will close the evening–and our season–performed by Benjamin Beilman, violin; Benny Kim, violin; Cynthia Phelps, viola; Ronald Thomas, cello; and Inon Barnatan, piano.
Marc Neikrug, Artistic Director
RESERVE YOUR SEATS NOW!
THANK YOU
505.982.1890
for being a part of the 2014 Santa Fe Chamber Music Festival. New York Philharmonic Music Director Alan Gilbert returns to Santa Fe next summer as our Artist-in-Residence, with a bevy of chamber music stars!
SantaFeChamberMusic.com
Find out more at SantaFeChamberMusic.com. Call or visit our Ticket Office to purchase your 2015 subscription at 2014 prices!
Ticket Office: NM Museum of Art, 107 West Palace Avenue
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.
PASATIEMPOMAGAZINE.COM
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CAREFUL CUSTODIANS
T
Museums repatriate their tribal objects his past April, The New York Times reported on a trip Zuni elder Octavius Seowtewa took to Europe to visit museums across the continent that have Ahayuda (carved wooden poles sacred to the Zuni) in their collections. Seowtewa met with representatives from the British Museum in London, the Musée du Quai Branly in Paris, and the Ethnological Museum in Berlin, asking them to return the Ahayuda to the tribe. For the most part, the museums refused. A spokesperson from the British Museum told the Times that its trustees want the collection to remain intact, in order to “tell the story of human cultural achievement from two million years ago to the present day.” The practice of collecting tribal objects (often without asking) is hardly new; it was once the standard in academia and is the foundation of many museum collections, in America and abroad. But in the United States, and particularly in New Mexico, museum directors, curators, archaeologists, anthropologists, and archivists have developed a nuanced approach to Native American cultural patrimony, one that chiefly considers the objects’ place and 42
PASATIEMPO I August 22-28, 2014
people of origin. Staff members at the Wheelwright Museum of the American Indian, the Laboratory of Anthropology at the Museum of Indian Arts & Culture, the New Mexico Office of Archaeological Studies, and the Photo Archives at the Palace of the Governors work closely with tribes to return sacred and sensitive material and to properly care for objects in their custody. “It’s a responsibility that we take very seriously,” said Julia Clifton, the curator of archaeological research collections at the Laboratory of Anthropology. “We don’t want to do the wrong thing with these materials. Most Native American people feel that anything ancestral that came out of the ground has a sacredness about it, and we try to be respectful of that. Even if something doesn’t seem important scientifically, it still represents someone’s ancestors.” In part, contemporary museum practice when handling sensitive Native American materials is compulsory. Since the passage of the North American Graves Protection and Repatriation Act (NAGPRA) in 1990, institutions that receive federal funding are required to inventory their collections’ Native American objects of cultural significance (including human remains and items with funerary or sacred implications — everything from pots, tools, and textiles to photographs of certain dances to sand paintings) and return these items if requested to do so by the affiliated tribe. According to the National Park
Adele Oliveira I For The New Mexican
Service, 38,671 human remains and approximately 1.2 million objects had been repatriated as of 2009. While institutions in Santa Fe are in compliance with the law, a sense of respect permeates their approach beyond mandates and obligation. “There are always individual expectations, but historically, in general, academics, anthropologists, and archaeologists treated Native American cultures as if they were subjects of study rather than living peoples with beliefs and feelings,” said Eric Blinman, director of the New Mexico Office of Archaeological Studies. “The center of the bell curve has certainly shifted toward respecting integrity and validity of Native American cultures’ rights to controlling their own patrimony.” At the Museum of Indian Arts & Culture, Native people are consulted quarterly and weigh in on how to preserve sensitive material that remains in the collection. Diane Bird, from Santo Domingo Pueblo, is the museum’s archivist, also coordinating its Indian Advisory Panel, which consists of 16 representatives from tribes in Arizona and New Mexico. The panel also offers advice on public programming and exhibitions. Bird said the biggest changes she’s seen in her field center on conservation departments. “It used to be that conservation departments weren’t as concerned with the content [of an object] but with preservation,” Bird said. “But departments have come to have an improved understanding of how Native people view our objects.”
In some ways, repatriation is the easy part: when an affiliated tribe asks to have something returned, it gets it back. But thousands of materials in state and private museum collections, for one reason or another, haven’t been returned to their tribe. Objects may not have been identified with a tribe, or even if their origins are known, the time might not be right for an item to be returned. In some cases, tribes ask museums to safeguard pieces (and to keep them away from public view) because they lack suitable storage facilities, which could involve physical-space or controlled-climate needs. The Wheelwright Museum houses a collection of early-20th-century wax cylinder recordings of Navajo religious teachings: prayers and stories told through song and chant. The cylinders were transferred to reel-to-reel tapes, then to cassettes, and finally to CDs before being digitized. Though the Wheelwright was envisioned as a repository for Navajo ceremonial and religious teachings, museum director Jonathan Batkin explained that its mission shifted in the 1970s, nearly 20 years before NAGPRA was enacted. He refers to this as the Wheelwright’s “identity crisis.” The museum was founded by Mary Wheelwright in 1937 in part to house recordings she made with Navajo medicine man and singer Hastiin Klah. Born in 1867, Klah witnessed the attempts to destroy Navajo culture through missionary efforts and federal government programs. He partnered with Wheelwright in the 1920s to record his religious knowledge. “I believe that the museum was probably somewhat controversial from the very beginning,” Batkin said. “Klah was a major figure and a brilliant singer, and he
was concerned about the future of Navajo religious practices. He wanted the recordings to be here for preservation and for access. But other Navajo singers didn’t agree with what Klah was doing.” In the late 1960s, a group of Navajo singers formed a group called the Navajo Medicine Men’s Association. “We’re not sure if they started making demands or suggested we quit exhibiting certain material to the public, but the board decided to repatriate,” Batkin explained. Nearly all of the medicine bundles in the collection were returned, along with large oil reproductions of sand paintings. “It’s not really my decision what happens with any sensitive material here,” Batkin said. “I haven’t seen 99 percent of it.” But Batkin pointed out that, in addition to having the proper storage conditions, access is an advantage of keeping the audio recordings at the Wheelwright, and it’s one reason many Navajo singers prefer the material to be housed at the museum. The Wheelwright’s redirection is sharp, but other institutions reflect similar changes. Sensitive material is off-limits to nonaffiliated tribal members. Academics must receive permission from the tribe in question before conducting research. When tribal members visit objects or listen to recordings, they’re left alone with the material. “I set up the reel-to-reel for them, and then I leave,” Bird said. “I don’t need to be there.” Many museums have had to accept that certain Native material was never really
theirs to begin with. Here, the contrast to European museums is especially stark. In the U.S., it has been common museum practice to ask tribes to take the lead. Antonio Chavarilla, curator of ethnology at the Laboratory of Anthropology, recalled debates that preceded NAGPRA. “Many museums throughout the country were worried that collections would be decimated by repatriation,” Chavarilla said. “But that really hasn’t been the case. The numbers of repatriated objects have not been great. There’s no set time frame, but consultations can turn into requests very quickly. Then we move at the pace at which the community wishes to proceed. While they wait for the right time, we remain the respectful custodians.” ◀
Wheelwright Museum, circa 1937
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PASATIEMPO I August 22 - 28, 2014
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505-466-7526 for an appointment
www.eldoaudiology.com 5 Caliente Rd. #5 • In Eldorado Business Condos Next To La Tienda Mall
ENCORE OPERA
APPRENTICE CONCERT
UNPARALLELED IN-TOWN RESIDENCE $1,575,000
You are cordially invited to the final Apprentice Concert of the season at Four Seasons Resort Rancho Encantado. Meet apprentice singers from The Santa Fe Opera and listen to them perform this complimentary concert in an intimate, romantic setting.
TANO & QUAIL RUN
Friday, August 22 at 6:15 p.m.
High ceilings, cream-toned plaster, extraordinary kitchen, marvelous master suite, glorious gardens, and interior courtyard.
T AC TR ON C R DE UN
TASTE OF TERRA
Enjoy our “pop-up restaurant” buffet in the Terra Courtyard.
Then top your evening off with our “Dinner and a Movie” series showcasing classic feature films on a 25-foot screen—a luxurious twist to the iconic American drive-in theater.
CLASSIC TANO ROAD $654,950
ULTIMATE QUAIL RUN $525,000
santafeabby@ gmail.com
DON’T MISS OUT
on this special evening of performing & culinary arts.
Call (505) 946-5700 or visit fourseasons.com/santafe for more information.
570.0335
326 Grant Avenue, Santa Fe, NM 87501 505.988.2533
Sotheby’s International Realty and the Sotheby’s International Realty logo are registered (or unregistered) service marks used with permission. Operated by Sotheby’s International Realty, Inc. Real estate agents affiliated with Sotheby’s International Realty, Inc. are independent contractor sales associates and are not employees of Sotheby’s International Realty, Inc. Equal housing opportunity.
PASATIEMPOMAGAZINE.COM
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the life and times of Allan Houser
PORTRAIT O F A N A R T I S T
Lee Marmon
Paul Weideman I The New Mexican
A
llan Houser was the consummate artist and quintessential Native artist, his path a combination of honoring Apache tradition and pure artistic exploration and realization. He may not have been the stereotypical tortured artist, but his evolution — as that of other American Indians trying to advance in the United States in the early 20th century — was framed by significant adversities, and in spite of them his searchings and successes were really undertaken on his own terms. According to family history, Houser was the first Chiricahua Apache baby born after the tribe was freed from 27 years spent as prisoners of war. He was a member of the Warm Springs band (or Eastern Chiricahua), which was traditionally centered in the location of today’s Truth or Consequences, New Mexico. In 1886, the tribe surrendered following two centuries of fighting “in an effort to resist the illegal expansion of Spanish, Mexican, and . . . American missionaries, soldiers, and settlers into their sovereign lands,” writes W. Jackson Rushing III in Allan Houser: An American Master (Harry N. Abrams, 2004). The Apaches were shuttled among reservations and forts in Florida, Alabama, and finally Fort Sill, Oklahoma. When they were released in 1913, some went to share a reservation in Southern New Mexico with the Mescalero Apache and some — including Sam and Blossom Haozous — remained in Oklahoma. Houser (who changed his name from Haozous as an aspiring young artist attempting to fit in with the wider art world) later treasured his memories of a childhood on the farm, of harvesting crops and tending livestock and enjoying fishing and swimming. He endured a couple of years at two military-style Indian schools and also played sports (he was a boxing champion in his late teens), but his heart was more and more set on art. In 1934, the Apache farm boy decided to focus on it by enrolling at the Santa Fe Indian School. There, Dorothy Dunn (educated at the Art Institute of Chicago) had designed a curriculum that prioritized Native perspectives and artistic precedents. However, Houser reacted against what Rushing typifies as her “fairly rigid conception of what constituted authentic Amerindian art.” His first solo exhibition — 19 watercolor paintings — was staged at the Museum of New Mexico in 1937. In 1939, the year he left the Indian School, he had work shown at the Art Institute of Chicago, the Golden Gate International Exposition, and the New York World’s Fair, and he married Anna Marie Gallegos, a young woman of Navajo and Hispanic heritage from Northern New Mexico. The Houser family moved to Los Angeles when the U.S. entered World War II. They remained there for six years. In 1948, Houser won a competition, sponsored by the Haskell Institute in Lawrence, Kansas, to design a memorial sculpture for Indian soldiers lost in the war. He and his wife moved to Kansas, sending the kids to stay with his parents in Oklahoma. “It was difficult,” their son Phillip Haozous told Pasatiempo. “They left us in Oklahoma, and the rest of the family went on to Kansas, but they never explained why, so it felt like being abandoned, almost, with our grandparents living on the farm there, and they mostly spoke Apache, and we couldn’t understand that. My dad didn’t teach us Apache.” Both Phillip and his brother Bob Haozous — two of Houser’s five sons — grew up to be sculptors. When asked about his memories of his father, Phillip said, “Back when I was 4 or 5 years old, he was painting oils, and I remember smelling the paints and turpentine in the house. The first half of his career he was a painter.” The subjects of his father’s paintings did not continued on Page 48
Houser works on the clay bust of Warm Springs Apache
Allan Houser, center, with brother Alfred, left, and cousin Mildred Imach (Cleghorn)
Houser teaches sculpture to students at Intermountain Indian School, circa 1935
Allan Houser the artist is famous — he's internationally known, he has beautiful work —
Houser in front of his Santa Fe home on Garcia Street, circa 1938
but Allan Houser the man is something that nobody really ever focused on. — Bob Haozous Houser with Comrade in Mourning in 1948
Images courtesy Allan Houser Inc.; copyrights Allan Houser Inc.
The artist working on the wax original of Navajo Runner, circa 1976
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Allan Houser, continued from Page 46 register at the time. “I didn’t really notice. It was just Dad doing what he did. He liked to be on his own without interruption. It wasn’t until later, when I saw a sculpture my father did of Geronimo, who was a cousin of ours — that was the first time I recognized what my dad was doing.” The memorial Houser created for the Haskell Institute, Comrade in Mourning, was a significant achievement in what he would build into a monumental career as a sculptor. His figures and forms, in the early years quite realistic and by the late 1980s often very abstracted, were always energetic and shapely. He mentored a generation of Native sculptors, including during a stint teaching at the Institute of American Indian Arts from 1962 to 1975. In 1992, Houser was Houser at the public dedication of As Long As the Waters Flow at the Oklahoma State Capitol in 1989
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PASATIEMPO I August 22 -28, 2014
the first Indian to be awarded the National Medal of Arts. Two years later, first lady Hillary Rodham Clinton accepted Houser’s sculpture May We Have Peace, dedicated “to the American people of the United States from the First Americans.” The artist died on Aug. 22, 1994. “Art was my father’s means of communicating,” Bob Haozous told Pasatiempo in a recent interview. “That was the tool he chose, and he made beautiful art. I’m a sculptor, but I don’t see anybody close to him. He was a good man, and he was smart. I loved talking to him.” But Haozous is critical of some aspects of his forebears’ lives. “Allan Houser’s father and mother, who was half-white, had agreed that the old ways were dead. That was only a superficial belief to get their children to adapt to the American way, because my grandfather healed people. He was very much Apache, but he saw that the younger ones were going to be another form of Apache. [My father] was one of those told to go out and become a white person. He somewhat betrayed the Apache identity by marrying a brown-skin woman from Abiquiú whose father was Navajo, and he felt the wrath of some of his siblings. But everything is a spider web, everything overlaps, because her father was married to a Jicarilla [Apache] woman.” Anna Marie Houser, who turned 102 in early August, has been at work for several years on a book that includes information about her father, Juan de Dios Gallegos, who served as a guide on the Santa Fe Trail. “My father was instructed from the very beginning in art to ‘play pretty,’ as I call it: to use art as a vocation, not a tool for intellectual communication,” Bob Haozous said. “He was told to try to glorify the beauty of the past, because he lived it. He had tremendous love for all people, and Indian people especially. It’s a very complex story. Allan Houser the artist is famous — he’s internationally known, he has beautiful work — but Allan Houser the man is something that nobody really ever focused on.” Most Indian artists today are “trying to represent a culture that they fantasize,” Haozous said. “It’s not the real culture. You go to [Santa Fe] Indian Market, and you look at the art, and you say, Where is the statement that comes from the people? Instead, you see statements that come from a romantic definition or a historic definition or a fantasy definition of who we’re supposed to be. We should be creating a language that’s based on honesty and firsthand relationships to one another, but we can’t. I call it cultural cowardice, because we’re afraid of retribution, and that can come physically or economically.” Just before the interview, Haozous had been at the Museum of Indian Arts & Culture (MIAC), where the exhibition Footprints: The Inspiration and Influence of Allan Houser opened earlier in August. “There are some really good people at MIAC, but some are like the little fish around the jaws of the shark, waiting for crumbs. Everything is beautiful at MIAC, all the sculptures with the beautiful curves and beautiful Indian faces, but in that beauty is a horrendous amount of ugliness, because there’s no honesty. It’s just marketable. Allan would say it’s good — the artists are making money, they’re supporting their families — but at the same time, he would say, I would think he would say, that he wanted to teach them to be honest in who they were. Everybody in the world is trying to be like America, and America is the most misguided place
on Earth. You know what happened at the honoring for Allan Houser at MIAC? They planted the flag, and this Marine came and sang the 7th Cavalry song, ‘She Wore a Yellow Ribbon.’ It was so ridiculous and sad.” Haozous said he is not currently focusing on selling his art. “I want my grandchildren to be Apache, and they’re three-quarters white, or more, but I want to teach them about the essence of being indigenous. Most Native people were pagan. We gave life to all things. With Christianity, we came up with the mangod, and all of a sudden the Earth was no longer alive — a contradiction to their basic belief. I’m 71, and I’m trying to do what people my age do — and that’s make sense of their lives and the world.” Phillip Haozous has been enjoying making and playing flutes. He started crafting them 40 years ago and has won about a dozen Indian Market awards for his flutes and his jewelry. As president and CEO of Allan Houser Inc. [his brother Stephen is secretary and treasurer], he said his job “is to ensure that the legacy of Allan Houser goes on forever. I speak and represent the family and my dad at events all over the country. I’m kind of a storyteller now. I play my flute like my dad did. I put his flute on his casket, and two years later he came back [in a dream] and handed it to me.” Haozous, who designed and built the Allan Houser Sculpture Garden and Studio near Madrid, recalled that his father at one time had “a little spot” on the KVSF-FM 101.5 radio station. “He played country and western songs on the guitar. Later on, he loved the blues. My brother Roy and I were into the blues when we were in high school, back in the 1950s. T-Bone Walker was our favorite. We used to find good albums and play them at home, and Dad started to understand the blues. We had an opening one time at a gallery in Chicago, and afterward we went blues-club hopping. My dad loved it.” Sam Haozous, the son of Bob Haozous, said his grandfather was also interested in new wave music — at least in one of its top acts. “He actually introduced me to Devo; he was a huge fan of their music. I remember listening to their eight-track tapes in his car when we were driving out to his studio when he first built it. I kind of went my own way and ended up in the whole punk-rock-culture thing on the West Coast for a good 20 years, and I like to think that he helped at least start part of that.” Sam is an artist working in experimental photography and music. In October, he and Melissa Dominguez have a Halloween-themed show going up at the Jean Cocteau Gallery, where he is the manager. Among the young man’s memories of his grandfather are the trips to Houser’s house in the mid-1970s and early 1980s. “I used to sit on his lap when he was doing his charcoal sketches, and I’d do sketches, too.” Are there echoes of the great sculptor’s work in Sam Haozous’ art? “Well,” he answered, “my artwork is so different from anything that our family has done. One of my photographic pieces got picked up by MIAC, I think because one of Allan Houser’s pieces was kind of incorporated, although if you didn’t know the piece you would never see that. When my grandfather started, it was kind of going through the whole Dorothy Dunn kind of thing, but he rejected all of her premises about how art should go. He went his own way, and that’s one of the reasons why there are so many people who sort of follow along and mimic a lot of the ethos that he created.” ◀
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August 30 | 8:00pm The Lensic, Santa Fe’s Performing Arts Center
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PHOTO: SHAREN BRADFORD
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Allan Houser: Ready to Dance, 1988, bronze; right, Desert Dweller, 1990, bronze; all images copyright and courtesy Allan Houser Inc.
M O NUM ENTAL S
omething Oklahoma and New Mexico have in common is that both can claim Chiricahua Apache Allan Houser (1914-1994) as a favorite son. Houser, a prolific sculptor and painter, was an influential teacher and mentor at some of the nation’s premier Native art institutions. Notable among these are the Intermountain Indian School, a Brigham City, Utah, boarding school for Native Americans in operation between 1950 and 1984 — where Houser taught for about a dozen years, starting at the time of its inception — and Santa Fe’s Institute of American Indian Arts. In 1962, when IAIA was founded, Houser was asked to join its teaching staff. He continued his career there as an educator through the mid-1970s. As part of this year’s centennial observations in the artist-teacher’s honor, museums nationwide have been paying homage with major exhibitions of his work and that of many of his students, each one focusing on different themes from Houser’s legacy. A quick survey of the more prominent Houser shows easily confirms the extent of his influence on generations of Native artists as well as his broad range of styles and motifs. Earlier in the year, the National Cowboy and Western Heritage Museum in Houser’s home state of Oklahoma hosted the exhibit Allan Houser and His Students, featuring works by Houser, his son Bob Haozous, Kevin Red Star, T.C. Cannon, Fritz Scholder, and others. A show of Houser’s drawings, which are not as well known as his sculptures and paintings, closed in May at the Fred Jones Jr. Museum at the University of Oklahoma. Form and Line: Allan Houser’s Sculpture and Drawings wrapped up in June at the Gilcrease Museum in Tulsa, and current shows include five monumental sculptures by the artist at the Oklahoma State Capitol and the Philbrook Downtown in Tulsa. There are shows at Dartmouth College’s Hood Museum, where Houser was its artist in residence in 1979, and at the Heard Museum in Phoenix. Santa Fe has offered the public the chance to experience Houser’s work with its permanent display of a portion of his sculpture since it first opened in 1993 as the Allan Houser Art Park at the Museum of Contemporary Native Arts. This is the site of the Indian Market weekend premiere of Cannupa Hanska Luger’s film project, This Is a Stereotype, a collaboration with director Dylan McLaughlin and producer Ginger Dunnill that was inspired by the Native artist’s thought-provoking 2013 MoCNA exhibit, Stereotype:
the enduring influence of
ALLAN HOUSER Michael Abatemarco I The New Mexican Misconceptions of the Native American. Visitors to Museum Hill can see Houser’s work at Footprints: The Inspiration and Influence of Allan Houser, a show on view at the Museum of Indian Arts & Culture through spring of next year. In addition, an unparalleled selection of monumental pieces resides at the Allan Houser Studio and Sculpture Gardens situated on a portion of the Houser-Haozous family compound. Its annual open house takes place over Indian Market weekend. David Rettig, who is curator of collections at Allan Houser Inc., a corporation that was founded in 1982 to preserve Houser’s legacy, runs the Studio and Sculpture Gardens and manages Houser’s archives. “Philip Haozous, Allan’s son, purchased the property and started building Allan’s house in 1979, and Allan’s studio was finished in ’82,” Rettig told Pasatiempo. “The dance ground and visitor’s center were created in ’85. His last design and drawing studio was built in 1990.” The garden contains about 80 works by Houser, carved in stone, cast in bronze, or made from fabricated sheet metal. But Houser began his career as a painter. Under Dorothy Dunn’s direction at the Santa Fe Indian School Art Studio, the paintings he made in the 1930s reflected the flat fields of color and narrative focus promoted by the school as an authentic expression of Indian art. This style, as taught by Dunn, recalled historic ledger painting, while the school also imposed parameters for the Native students to follow that some found too rigid. “Dorothy Dunn wanted students to use their oral histories, family stories, and
ceremonies,” said Rettig. “Allan had not experienced that much but, through his father and through his family, had heard lots of stories about these ceremonies, so they became a principal subject of his early paintings.” During the years when Houser taught art at the Intermountain Indian School, his great ability to mentor and inspire his many students became evident. This was also a time in Houser’s life when he could focus on his painting, finishing hundreds of canvases and experimenting with a variety of mediums, including watercolors and oils. “I thought it was important to show that, not only was he a master artist, he was a master teacher,” said Della Warrior, MIAC’s director. “His art was always evolving into many dimensions. Over the years I learned of all the different painters and sculptors who were influenced by Mr. Houser.” The challenge for Warrior and Footprints’ guest curator, Dorothy Grandbois, was to present an exhibit that places Houser in a particular context while using only a limited number of works to convey his wide range of artistic concerns. “It was important to show that he didn’t have one particular style he was locked into,” said Warrior. Due to the sculptures’ large size, the exhibit is located outside the museum’s entrance on Milner Plaza. The show includes works by several artists with a history at IAIA, where Warrior once served as president. “I got a list of his students that were there for a long time, like Chuck Dailey and Bob Harcourt,” she said. “We called them up and asked if they would like to be in it. They were all very enthused and wanted to do this for Mr. Houser, out of their love and respect and appreciation. These are his former students ... and other people that he guided.” Footprints also features works by Cliff Fragua, Rollie Grandbois, Estella Loretto, Doug Hyde, and Bob and Philip Haozous. Philip Haozous’ realist portrait of his father, Allan Houser Haozous, 1914-1994, a life-size commemorative bronze, stands just inside the museum’s entrance. Houser continued to produce narrative, realist works in sculpture and painting throughout his career, but his passions clearly lay in creating modernist sculpture. His influences included luminaries such as Constantin Brâncu¸si, Auguste Rodin, Barbara Hepworth, Henry Moore, and Isamu Noguchi. Houser was particularly interested in Noguchi’s use of negative space. The Sculpture Gardens contain some of Houser’s animal and human figures with a Noguchi-like passageway continued on Page 52
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Allan Houser, continued from Page 51
running through them. Though representational, the forms are reductive, streamlined carvings that draw the eye to their circular centers. “He wanted people to know that modernist pieces were the singular influence, the strongest influence on all of his work,” said Rettig. “Some of his most abstract pieces still have a body and a spirit in there somehow. I knew him for many years, and we talked about all kinds of different influences and artists he liked. I once said to him, ‘You must really like Ernst Barlach.’ He was a turn-of-the-century German Expressionist doing sculptural work, a contemporary of Max Beckmann. He did a lot of these shrouded forms. Allan said he didn’t know his stuff, but then I saw a reference to Barlach in one of his sketchbooks.”
Throughout his most prolific time making sculpture, a period during the 1980s and 1990s, Houser experimented with different materials, such as bronze sheet metal and corten steel, that allowed him to produce smooth, rounded forms with a seamless appearance — such as his 1993 piece Fabricated Buffalo. “[Tesuque foundry and gallery] Shidoni had a guy working out there named Ryan Rich. Allan was impressed with Ryan’s technical abilities to work in bronze, and they ended up forming a collaboration,” said Rettig. “Ryan built for Allan about 25 different editions of the buffalo made from sheet bronze. It’s a thin metal, and each segment is cut out from a 4-by-8-foot plate and welded and shaped and ground down. They’re impeccably crafted.” Although many of his works on paper stand on their own as complete compositions, Houser also used drawing to examine an idea from every angle and position, working out his sculpture in the round two-dimensionally before setting it in more permanent form. He crafted a profuse number of works over the years, but he was a discerning sculptor. Themes appear and reappear throughout his career, such as his bold and detailed Apache spirit dancers — mysterious hooded figures in ceremonial dress — a subject he also depicted in early paintings, such as his Ghan Dancers, a tempera on board from 1934, which is in the collection of MIAC. But when people think of Houser, the theme that often comes to mind is that of mother and child, such as the depiction in his Earth Mother, a bronze from 1986. It was a subject he sculpted in various formats, from realist depictions to abstract, rounded works with just a suggestion of figuration. “This is the quintessential Houser,” said Rettig. “He created this style. He authored this style. There are thousands of Native artists, and non-Native artists as well, who do some form of this sculpture. I was in Los Angeles 25 years ago. There’s a big shopping center off La Cienega called the Beverly Center. I was looking for a bathroom and got off the escalator up in the housewares section and there’s all these lamps,
sofas, and coffee tables. On one of the coffee tables was a plaster tchotchke of Earth Mother. It’s copied in every detail, but it’s all out of proportion — like a lump of clay that got dropped on its side. When I told Allan someone was ripping him off, he said, ‘I see those all over. They have them at Dillard’s here in town.’ He was nonchalant about the whole thing, but it drove home to me how the genre of sculpture he created had become so much a part of the public consciousness.” Another such instance is the official State of Oklahoma license plate that depicts Houser’s Sacred Rain Arrow, one of his most iconic works. The piece was inspired by the pro-civil rights gesture made by African American sprinters John Carlos and Tommie Smith at the 1968 Summer Olympics in Mexico City. There, they raised black-gloved fists during the singing of the American national anthem, an action assumed by many to be a Black Power salute. Houser’s original version of the sculpture, carved in ebony, showed a clenched fist, lifted into the air and bearing a truncated bow — a symbol of power, strength, and solidarity with Native struggles. A more detailed bronze of Sacred Rain Arrow, made much later, was a featured work at Salt Lake City’s Olympic Village for the 2002 Winter Games it hosted. Among the last pieces Houser completed before his death was a polychrome sculpture, made in a small edition, called Spirit of the Mountains, an example of which resides at the Sculpture Gardens. It is the only polychrome bronze of Houser’s that Rettig is aware of. “There was some confusion after his death because it had been done so close to the time he passed away that there were some family members who thought that it wasn’t in a patina he specified. There’s an artist, Star York, and an artist — deceased now — named Dave McGary, who did these brightly painted pieces they were working on at Shidoni, and someone thought they decided to paint one of Allan’s. But since then, we’ve found a photograph of him standing very proudly next to it after it was completed.” ◀
ALLAN HOUSER EVENTS Footprints The Inspiration and Influence of Allan Houser
Exhibit through June 1, 2015 Museum of Indian Arts & Culture, 710 Camino Lejo, 505-476-1250
Legends, Legacy and Living Artists A Tribute to Allan Houser
Opening reception with Indian Market artists 5 p.m. Thursday, Aug. 21 Museum of Indian Arts & Culture, 710 Camino Lejo, 505-982-5057 Tickets are $100 (discounts available); call the museum to purchase
Douglas Miles The Art of Apache Resistance
Opening reception 6 p.m. Friday, Aug. 22; exhibit through Sept. 3 Allan Houser Gallery, 125 Lincoln Ave., 505-982-4705
Allan Houser Studio and Sculpture Gardens’ Annual Open House
10 a.m. to 4 p.m. Saturday and Sunday, Aug. 23 and 24 26 ABCD Haozous Rd. Call 505-471-1528 or email toursandevents@allanhouser.com for information and directions
Premiere of “This Is a Stereotype”
11 a.m. Saturday and Sunday, Aug. 23 and 24 Museum of Contemporary Native Arts, Allan Houser Art Park, 108 Cathedral Place, 505-983-1666
Lifetime Achievement Allan Houser Legacy and Pov’ika Awards and SWAIA Fellowships Presentation Apache Crown Dance, 1953, casein on paper; top, Sacred Rain Arrow, 1988, bronze 52
PASATIEMPO I August 22 -28, 2014
11:30 a.m. Saturday, Aug. 23 Santa Fe Plaza; free to the public
&
MUNSON GRAPHICS
T.C. Cannon
223E. Palace Avenue Santa Fe, NM 87501 Gallery 505-983-6429 Cell 505-690-3323 email: michael@munsongraphics.com
French Table Linen Warehouse Sale
Turn of the Century Dandy
Presents Historic Woodcuts from
Thursday, August 28th through Monday, September 1st
Santa Fe’S hIdden tReaSuRe
10am - 5pm daily
books • GIFTs • mUsIc
133 RomeRo StReet, Santa Fe nm In the RaIlyaRd behInd ReI
monday-SatuRday 10-6 & Sunday 11-5 • 505-988-3709 • www.arkbooks.com
“Wisdom Week” for Women
Photography At Ghost Ranch, NM
Hike & photograph with photographer Karen Ruckman in the magical landscape as we explore the high desert and our lives in the context of passages and poetry. Questions for Karen: (202) 491-7700 To register by phone: (877) 804-4678 ext. 4152
October 27 to November 2
An Impressively Large Selection of Unique, Easy Care Tablecloths, Rounds, Runners, Napkins, Placemats, 100% Cotton, Jacquards & many Acrylic-coated patterns. Decorator Pillows, Dish Towels, Olive Oil Soaps & More ... Imported directly from the South of France. On Sale at Great Prices. Also Available: Custom Sizes, Extra Wide Tablecloths, & Extra Large Rounds.
Workshop ID: G14S1111B Price: $410
Santa Fe Women’s Club
1616 Old Pecos Trail, Santa Fe www.GhostRanch.org
860-876-0800 • www.ameliemichel.com PASATIEMPOMAGAZINE.COM
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Monday, August 25, 6pm My Life in Art
Suzanne Lacy, artist with Elizabeth Sackler, historian and Board Chair of the Brooklyn Museum Armory for the Arts Theater, 1050 Old Pecos Trail Co-sponsored by David Richard Gallery & Vazquez Portfolio Group, UBS Financial Services, Inc. Tickets: $10/$5, please call 505.989.1199 or visit sitesantafe.org SITE’s Art & Culture programs are organized in series, including My Life in Art and SITEcenter, and are made possible by a grant from the Marlene Nathan Meyerson Family Foundation. This announcement is made possible in part by the Santa Fe Arts Commission and the 1% Lodgers Tax.
1606 Paseo de Peralta, Santa Fe, NM 87501 www.sitesantafe.org
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PASATIEMPO I August 22 - 28, 2014
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Contemporary Native Group Show Rick Bartow Yatika Starr Fields Harry Fonseca Lisa Holt & Harlan Reano Emmi Whitehorse
August 22 - 31 Reception: Friday, August 22, 5-7pm Also on View
Rose B. Simpson Finding Center
c h i a r o s c u r o 702 1/2
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708 CANYON RD
AT
GYPSY ALLEY, SANTA FE, NM
505-992-0711
w w w .chi a rosc urosa n ta fe . c om Rick Bartow, Dance Bear Mask, 2014, Acrylic & graphite on canvas, 73 x 96
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There are many ways to tell a story. Sometimes simplest is best. It’s close to 150 years since the Long Walk of the Navajo, the forced relocation of more than 8,500 people from their homes to internment at Hwéeldi, the Place of Suffering, at Bosque Redondo in southeastern New Mexico. Thousands met their deaths from disease and starvation and exhaustion. Magazines rely on the printed word, with illustrations to provide insights into the text. Here photographs tell their own story. Start on this page, the cover of a photo album called Souvenir of New Mexico. The actual album, which resides in the Photo Archives of the Palace of the Governors, has a brown leather binding bearing its title embossed in gold lettering. It’s similar to, if more austere than, other early Victorian photo albums chronicling military campaigns of the period.
In this case, the album draws us into New Mexico’s history, presenting a photo essay that was at one time a souvenir — a remembrance of a time in the life of a member of the 1st New Mexico Cavalry, perhaps an officer, the photo album’s anonymous creator. He was most certainly creating a campaign keepsake, a remarkable chronological photographic record. We can imagine him at the center of the plot, “starring” in his own narrative but curiously absent. Turn the page, and it’s impossible not to be struck by how the story unfolds. The syntax is hard to know — who did what, and then, and then, and then — 150 years later, in a story whose borders and shadings surround our everyday lives. If we study history (or we watch Ken Burns documentaries), we’re accustomed to antique photography. Long before the advent of casual
snapshots, much less Instagrammed selfies, portraits were posed and formal, stilted. The sitter’s gaze — often directly into the camera’s lens — had a guarded quality we don’t find in contemporary portraits. There’s an uncanny stillness in early images. We gaze at the faces, and they gaze back at us. We wish they could speak. Essays by contributing editor Khristaan Villela on Page 62 and Devorah Romanek on Page 88 offer background and considerations of the photos in Souvenir of New Mexico. That this photo album is not in a private collection means it can be shared, discussed, and interpreted. It’s one of the many treasures held in trust by the State of New Mexico at the Photo Archives. The photo essay in this issue can also be seen on Pasatiempo’s website. — Kristina Melcher
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Khristaan D. Villela
For The New Mexican
Remembrance of times Southwest
S
ouvenir of New Mexico is a remarkable album of mounted photographs from the 1860s that is one of the jewels of the Palace of the Governors Photo Archives. According to notes preserved with the album, architect John Gaw Meem acquired it in the 1930s from New York rarebook dealers Dauber and Pine. The album, which was donated in 2007 to the Palace of the Governors, contains 64 photographs, each measuring 7 by 9 inches and mounted one to a page, with captions in pencil. The photographs were made using the wet glass plate collodion technique and reproduced as either a salt or albumen print. The album spans the transition between salt prints, which were more characteristic of photography up to 1860, and albumen prints, which were the main variety after that date. They are bound in an album with the title on the front cover. The collection was almost certainly assembled shortly after the Civil War by a U.S. Army officer serving at one or more of the forts and posts in New Mexico Territory. The photos were intended to remind their owner of the important faces and places in New Mexico during this period, and they reveal the dramatis personae of the era — U.S. soldiers, Mexican politicians, and Native Americans. Of the military installations photographed in New Mexico and Texas, the largest number of images show Fort Sumner’s buildings and soldiers and the Navajos and Apaches forced to move and live there between 1864 and 1868. These are likely the earliest photographs of the Navajo or Apache, and they were made during a particularly dark period in the history of relations between the U.S. and Native American tribes. Souvenir of New Mexico begins with studio portraits of Mexican president Benito Juárez (1806-1872) and members of his
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cabinet, including Sebastián Lerdo de Tejada, minister of foreign affairs and later president of Mexico; General Ignacio Mejía, minister of war; and José María Yglesias, minister of public education. While portraits of Mexican politicians might seem out of place as the introduction to an album assembled in New Mexico, they illuminate the broader geopolitical situation of the U.S. and Mexico after the end of the Civil War in 1865 and during the French intervention in Mexico. The French army had invaded Mexico in 1862 to advance the interests of Emperor
These are likely the earliest photographs of the Navajo or Apache, and they were made during a particularly dark period in the history of relations between the U.S. and Native American tribes.
Napoléon III in the Americas. The U.S. could not respond to this direct challenge to the Monroe Doctrine because it was at war with secessionist states. Part of Napoléon’s plan for Mexico was the restoration of a monarchy, in the person of Archduke Ferdinand Maximilian of Habsburg, younger brother of Franz Joseph, ruler of the Austro-Hungarian Empire. Although Juárez’s republican army had defeated the French in 1862 at the famous May 5 battle of Puebla, he and his cabinet soon were forced to evacuate Mexico City.
For the next five years, Juárez fought a guerrilla war against the French and, after the summer of 1864, against Emperor Maximilian. Some parts of northern Mexico were never under French control, and Juárez shuttled between the cities of Monterrey, Chihuahua, and El Paso del Norte — what is now Ciudad Juárez. In El Paso del Norte, on the Mexican side of the border, a studio photographer captured the image of Juárez that’s included in Souvenir of New Mexico. In the article “President Juárez at Old El Paso,” published in November 1915 in the Bulletin of the Pan American Union, L.S. Bartlett, the former acting customs officer at Franklin — today’s El Paso — recalled how the Mexican president spent 10 months on the border beginning in August 1865. The portrait of Juárez in the article is the same as in the album, so Bartlett and the unknown owner of Souvenir might have purchased a print from the same photographer. From the end of the Civil War to the execution of Maximilian in June 1867, the U.S. funneled arms to Juárez’s forces, sometimes secretly and often overtly. In one incident of many, Bartlett recalled how a confidential agent of Juárez crossed into the U.S. in early 1865 and traveled to Santa Fe to meet with Major General James Henry Carleton, commander of the military department of New Mexico. The agent then traveled to Washington, D.C., for negotiations that resulted in the U.S. government’s condemning of 1,000 guns as unserviceable, along with a large quantity of ammunition. At an auction in Las Cruces, all of the arms were purchased at low cost by one of Juárez’s confidants and shipped to Mexico. Bartlett noted that all of Juárez’s mail from Europe and the U.S. was conveyed across the plains to Santa Fe and from there to El Paso, as there was no secure route through the southern United States. Communiqués from the Mexican minister in Washington, D.C.,
also passed through U.S. government offices in Santa Fe and then Franklin, Texas. Much socializing took place between the U.S. officers and their Mexican counterparts. When Juárez planned to leave the border in early November 1865, a farewell ball was planned at Fort Bliss, two miles from Franklin. Because the Mexican president wouldn’t cross the border into the U.S., the party was held in El Paso del Norte, at the home of Rafael Velarde. Juárez soon returned from Monterrey and fortified El Paso del Norte with 10 American artillery pieces. This time he stayed until the summer of 1866, when he departed northern Mexico for the final battles with Maximilian’s forces, which had been abandoned by the French army. Maximilian was eventually betrayed by one of his officers and was tried and executed by Juárez’s order on June 19, 1867.
Band of blue coats The next portraits in Souvenir of New Mexico are of U.S. Army officers, government officials, and one civilian — N. Webb, the sutler to the American forces in Franklin, at Fort Union, and elsewhere in Southern New Mexico. Probably the most arresting of these portraits is of Carleton, who marched Union troops in 1862 from California across Arizona into New Mexico after Confederates were forced to retreat from New Mexico following the Battle of Glorieta Pass in April. Carleton is best recalled for his role in fighting the Mescalero Apaches and the Navajo during this period. More than anyone else, he is responsible for initiating the campaigns that led to the Long Walk, the forced removal of Native peoples to Fort Sumner. The album also has portraits of Henry Cuniffe, the U.S. consul at Franklin; the U.S. paymaster; and three officers who served at Franklin and forts Union and Sumner. Included among these are Major William McCleave, the commanding officer at Fort Sumner. Most of the portraits were created in front of the same studio backdrop and props as the images of Juárez and his cabi-
net, which suggests the same photographer made them. These images of well-known personalities are grouped with pictures of people who are little more than historical footnotes. But one notorious figure from this time in our region’s history is conspicuously absent from Souvenir: Christopher “Kit” Carson, who is often paired with Carleton and equally condemned for his actions against the Apache, Navajo, and Comanche. It seems certain that photographic portraits, probably cartes de visite, of Carson would have been available for purchase in Santa Fe, as the town had at least one photographic studio. St. Louis photographer Nicholas Brown and his son William opened that business in August 1866, according to R. Rudisill’s Photographers of the New Mexico Territory, 1854-1912 (Museum of New Mexico Press, 1973). The Browns may have been responsible for all these portraits along with the important photographs of Native Americans that close the collection. Following the pictures of officers and officials are significant early views of U.S. Army installations, as well as some of the first photographs of the Santa Fe Plaza. Fort Union images include the old and new officers’ quarters, the hospital, workshops, storehouses, corncribs, and earthen fortifications. Santa Fe is first glimpsed from the hill where Fort Marcy once stood: the image shows the U.S. Army buildings and officers’ quarters along what are now Lincoln and Washington avenues and also the old parroquia, or Santa Fe parish church, which Archbishop Jean-Baptiste Lamy began to replace with the existing Cathedral Basilica of St. Francis of Assisi in 1869. Between Fort Marcy and the parroquia is a large field of corn. One image shows the U.S. hospital, two others show Fort Marcy, and one is of General Carleton’s quarters in Santa Fe; judging from the hill behind the general’s quarters, it was close to the corner of Washington Avenue and Paseo de Peralta. Because Carleton was reassigned toward the end of 1866, the image was probably taken before then. The three views of the Santa Fe
Plaza show the west side and the southeast and southwest corners. The Plaza itself is enclosed by a white picket fence, and corn grows within. The surrounding buildings are a collection of ramshackle adobes; one has a sign reading “Bakery.” After Santa Fe, the images in the album head back south, down the Río Grande Valley, to the post at Los Pinos, near presentday Los Lunas, and to Fort Craig, about 35 miles south of Socorro. Then it returns to Texas, with a view of a store in Franklin that bears the sign: “S. Schutz & Bro. Tienda Barata” — the 1860s version of the five-anddime. Several views of nearby Fort Bliss follow — including one showing officers’ quarters, ruined when the Confederate forces evacuated in 1862, and other buildings under repair. All of these photographs of forts and buildings are salt prints, produced from glass negatives that were coated with collodion, a toxic and potentially explosive chemical mixture. This laborious technique required that the plates be prepared just before exposure and then immediately developed. Photographers who used this technique often erected tents or used wagons, all of which would have been sweltering and poorly ventilated. Photo Archives curator Daniel Kosharek believes the U.S. Army Signal Corps made these images of military installations.
Faces of diaspora The last and largest group of photographs in Souvenir of New Mexico depicts life in the Bosque Redondo and Fort Sumner for U.S. Army soldiers and their Navajo and Apache captives. The idea to remove the Mescalero Apache and Navajo to the newly built Fort Sumner in Bosque Redondo originated with Carleton. Almost as soon as he took command of the military department of New Mexico, he faced an ongoing war continued on Page 64
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Remembrance, continued from Page 63 between the Navajo and Apache on one side and U.S. government forces and native Mexicans and Hispanos on the other. Many of these conflicts stretched back into the Mexican period — and even before 1821, into Spanish colonial times. As James F. Brooks details in his book Captives and Cousins: Slavery, Kinship, and Community in the Southwest Borderlands (University of North Carolina Press, 2002), land pressures caused friction between the Hispanos on one side and Pueblo Indians and Navajos on the other, and all sides played out these hereditary conflicts by raiding neighboring communities for slaves and property. Women and children were often stolen and either ransomed or put to work as servants. Carleton’s solution was to remove what he considered the “offending” tribes from their homeland and “civilize” them by teaching them to become farmers and Christians, while sending their children to American-style schools. Carleton began with the Mescalero Apache, who were living in the Sacramento Mountains in the southcentral New Mexico. On Oct. 12, 1862, he ordered Carson to pursue the Mescalero Apache with these words, as recorded in the Condition of the Indian Tribes, Report of the Joint Special Committee, Appointed Under Joint Resolution of March 3, 1865 (U.S. Government Printing Office, 1867): “All Indian men of that tribe are to be killed whenever and wherever you can find them. The women and children will not be harmed, but you will take them prisoners, and feed them at Fort Stanton until you receive other instructions about them.” In his biography of Carson, Blood and Thunder (Doubleday, 2006), Hampton Sides notes that while Carson refused to carry out these orders to letter, he subdued the Mescalero in two months and persuaded several of their leaders to surrender to Carleton in Santa Fe. They were the first to march their people to the Bosque Redondo. The Navajo were next. Although Carson tried to resign before that campaign, Carleton persuaded him to lead a large army into the Navajo heartland in the summer of 1863. Fort Defiance, near today’s Window Rock, Arizona, was renovated and renamed Fort Canby, after which Carson directed his troops to make war on the Navajo. Because the Navajo lived in dispersed settlements, finding them was
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not easy, so federal troops destroyed Navajo crops, livestock, and homesteads. At the end of the year, Carson and Carleton decided to clear the Navajos from Canyon de Chelly. In January 1864, two U.S. armies occupied the canyon, and many Navajo capitulated — mostly because of hunger, as their means of subsistence had been destroyed and their water sources were spoiled or guarded by Ute tribesmen working for the United States. Sides writes that Carson ordered the canyon’s 3,000 peach trees to be destroyed, but it was impractical to cut them down in the winter. The trees were not burned until the next summer, when Carson was beginning a brief tenure as superintendent
Manuelito is the only Native individual identified by name in an album in which every white man is named.
at Fort Sumner. When Canyon de Chelly fell to U.S. forces, Navajos began surrendering in large numbers. The Navajo call their forced relocation the Long Walk. All through 1864 and 1865, some 9,000 men, women, and children trudged to the Bosque Redondo by several indirect routes. The walk took a great toll. Not only were the Navajo poorly dressed for the elements, but many authors describe deaths from starvation, as well as ongoing raids by New Mexican slave traders, who preyed upon the columns of walkers. Their destination was not suited to be a large reservation, as Carleton’s men had warned him before Fort Sumner was founded: it had little firewood, and the Pecos River was so alkaline that its waters worked like castor oil on the digestive system. U.S. government provisions were never enough. Mortality was high. Farming, religious conversion, and schools all failed. The Navajo called Fort Sumner and the Bosque Redondo Hwéeldi, which, Sides writes, was a loan
word from the Spanish fuerte, or “fort.” Whatever the case, the term today means “place of suffering.” In November 1865, the Apaches all escaped. By 1866, Carleton’s experiment was costing more than $1 million a year, and the general and the reservation he oversaw were immensely unpopular in New Mexico, frequently the subject of withering critiques in Santa Fe newspapers. Sides recounts how in June 1865, Congress sent Senator James Doolittle to New Mexico to investigate Carleton and determine why the Navajo imprisonment at Fort Sumner was so controversial. Doolittle was distressed to learn from Carson that slavery existed in New Mexico after the U.S. had just completed a crippling war over slavery and other conflicts. The resulting report, Condition of the Indian Tribes, noted that one-third of the Navajos were serving as slaves or debt peons in New Mexican households, including in Carson’s Taos home. Apart from the moral concerns, the great cost of the imprisonment doomed the project. In September 1866, Carleton was relieved of his position in Santa Fe, and soon the reservation was officially transferred to the Department of the Interior’s Office of Indian Affairs. The misery at Bosque Redondo continued until May 1868, when General William T. Sherman brokered a new treaty with the Navajo and they began returning to their homelands. The photographs in the last section of Souvenir of New Mexico convey the suffering of those years. When we see photos of Native Americans dressed in traditional clothing and posed in a studio, the work of Edward Curtis comes to mind. His monumental project The North American Indian (1907-1930) defined the popular idea of how Natives should look in photographs. But Curtis did not invent this genre: Souvenir was compiled decades before he took his first image of a Native person in 1896 — his photograph of Princess Angeline, daughter of Chief Seattle. Although many of the compositional characteristics used in the late 1860s to create compelling images are present in Curtis’ photographs, they also convey much about their time and place. A few seem to show Navajos and Apaches building structures at the fort, perhaps as early as 1864. Other
images show large groups of people who are probably Navajo (and not Apache, whom the Navajo outnumbered almost 20 to 1) in desert settings, perhaps when they were being counted. Other pictures appear to show the seven-mile acequia the Navajo were compelled to dig, as well as cornfields — perhaps even the bumper crop of 1864 that was ruined by cutworms. Other photographs must date from later on, like the portrait of Manuelito, a prominent Navajo, which has the caption “Pistol-Bullet, 6 ft. 4 in.” Jennifer Nez Denetdale, University of New Mexico associate professor of American Studies, writes in her book The Long Walk: The Forced Navajo Exile (Chelsea House, 2008) that Manuelito was among those who signed the first of a series of treaties between his people and the U.S. (these eventually culminated in 1868 with the Treaty of Bosque Redondo). In the following decades, he became a respected and wealthy figure among the Navajo, even leading a force of a thousand warriors against Fort Defiance in 1860. Although he made a clandestine visit to Bosque Redondo in 1865 to learn about the condition of the Navajo there, he did not surrender with his band until September of the following year. So the studio portrait in Souvenir of New Mexico probably was made in late 1866 or 1867. Manuelito is the only Native individual identified by name in an album in which every white man is named. The album includes a number of studio portraits of young Navajo women. Several are posed with the same rough Pueblo-style textile and in front of the same backdrop seen in the images of Juárez and his cabinet and the U.S. officers. A photograph titled “Belle of the Navajo” shows a young woman reclining in a pose that recalls an Orientalist odalisque. At first glance, the picture might remind viewers of later Curtis images, which he intended as documents of a race that appeared to be vanishing and to present his subjects in a dignified manner. But this “belle” has no real name. She and other Navajo women and girls in the collection are photographed as passive objects, to be consumed by the male gaze, recalling similar images made during the period of women in North Africa. A medical report filed from Fort Sumner on Sept. 6, 1866, by Michael Hillary, an assistant U.S. Army surgeon, may hint at a
darker motive for these photos of Navajo women. In it, Hillary noted that syphilis far outnumbered any other ailment treated in the hospital, which he described as “only fit to keep pigs in,” adding that “the Indian women have not the slightest idea of virtue, and are bought and sold by their own people like cattle.” The Navajo were so desperate at Fort Sumner, Sides writes, that they were willing to do anything, even prostitute their family members, for more provisions. “Belle” calls to mind names adopted by women in frontier brothels. Many of the pictures show men holding the same group of props, especially a bow and arrows, as they strike harmlessly bellicose poses. (Who, for instance, would shoot an arrow while sitting down?) In general, the photographed Navajos look worn down, with ragged clothes and jewelry passed from sitter to sitter. No matter what the buyers thought they were purchasing from the photographer, these are portraits of misery.
In general, the photographed Navajos look worn down, with ragged clothes and jewelry passed from sitter to sitter. No matter what the buyers thought they were purchasing from the photographer, these are portraits of misery.
Souvenir of New Mexico has never been published in its entirety, but many of the images have been published separately. It’s no surprise that the person who assembled the album was not the only one who bought photos of Benito Juárez and some studio portraits taken at Fort Sumner. When these photographs were taken, it was common for photographers to sell negatives or copy negatives for other photographers so more copies could be made from prints, especially if the images were popular and sold well. The photo of Juárez in the album is widely known, and a copy hangs in the Juárez memorial rooms at the National Palace in
Mexico. Copies of some of the Fort Sumner images are found at the National Archives in Washington, D.C., and were used in an episode of Ken Burns’ PBS documentary The West (1996). Souvenir of New Mexico is referenced in print as early as 1944, in John Adair’s The Navajo and Pueblo Silversmiths. The dearth of silver visible in the Fort Sumner portraits could be evidence that silversmithing had not yet developed among the Navajo. A few years after Adair, Albuquerque attorney and amateur historian William A. Keleher wrote Meem that he had had an opportunity to look at Souvenir of New Mexico and “never saw such an interesting photograph of General Carleton. All the photos of him that I have seen are taken from the group photo of 1865 of the men who ran New Mexico during the Navajo War, Kit Carson, [Charles P.] Clever, [Major Daniel H.] Rucker, et al.” This photo hangs in Santa Fe in the Montezuma Lodge No. 1 of New Mexico Freemasons. The letter, which is preserved with the album in the Photo Archives, requests permission to publish some of the images in his book Turmoil in New Mexico, 1846-1868 (Rydal Press, 1952). More recently, both Denetdale and Sides published images from the album in their books. Souvenir of New Mexico is a rare glimpse of a vanished time and place, of key figures in Mexico and the American Southwest in the late 1860s. The album seems to tell a story, and a sense of agency is evident in its order and contents, even if we cannot say who assembled the photographs. While no comparable photographic albums from New Mexico during this period are known to exist, similar examples were made in Mexico by French officers serving Maximilian. The Getty Research Institute and the Library of Congress have scanned French albums made in Mexico in the 1860s; the Getty has Louis Falconnet’s Mexique, 1865 and the Library of Congress has Portraits of Rulers, Politicians, Military Figures … Relating to the Reign of Maximilian of Mexico, 1864-1867. Both albums contain images of leaders and military officers, Natives, cities, and country landscapes. ◀ All the images in “Souvenir of New Mexico” can be viewed online at econtent.unm.edu, selecting “Palace of the Governors Photo Archives Collection,” and searching for “Meem.”
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Negative No. 038166
Negative No. 038164
General Ignacio MejĂa, Minister of War, Paso del Norte, Mexico, 1866
President of Mexico Benito JuĂĄrez, Paso del Norte, Mexico, 1866
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Negative No. 009152
Negative No. 023138
Captain David Hammett Brotherton, 5th United States Army Infantry, 1866
Major William McCleave (1823-1904), United States Army, 1866
Negative No. 022938
Brevet Brigadier General James Henry Carleton, Santa Fe, New Mexico, 1866
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Negative No. 038174
Officers quarters, Fort Union, New Mexico, 1866
Negative No. 001839
Repair workshops at Fort Union, New Mexico, 1866, photo United States Army Signal Corps
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Negative No. 014543
United States Army General Hospital, Fort Union, New Mexico, 1866, photo United States Army Signal Corps
Negative No. 038175
Government storehouses, Fort Union, New Mexico, 1866
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Negative No. 038176
Santa Fe, New Mexico, looking south, showing La Parroquia Church, 1866
Negative No. 038178
Southwest corner of the Plaza, Santa Fe, New Mexico, 1866
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Negative No. 023136
West side of the Plaza, Santa Fe, New Mexico, 1866
Negative No. 038179
Southeast corner of the Plaza, Santa Fe, New Mexico, 1866
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Negative No. 038180
General J.H. Carleton’s quarters, Santa Fe, New Mexico, 1866
Negative No. 001700
United States Hospital (1846-1875) at Fort Marcy, Santa Fe, New Mexico, 1866, photo United States Army Signal Corps
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Negative No. 038181
View of Fort Marcy looking west, Santa Fe, New Mexico, circa 1870
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Negative No. 038182
View inside Fort Marcy looking east, Santa Fe, New Mexico, 1866
Negative No. 038183
Street scene in Franklin, Texas, 1866
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Negative No. 038188
Repairing adobe buildings, Fort Bliss, Texas, 1866
Negative No. 001816
Indian captives building the fort, Fort Sumner, New Mexico, 1866
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Negative No. 001817
Group of soldiers and Indians gathered in street, Fort Sumner, New Mexico, 1866
Negative No. 023128
Soldiers and tents, Fort Sumner, New Mexico, 1866, photo United States Army Signal Corps
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Negative No. 023130
Navajo Chief Manuelito [Pistol Bullet], Fort Sumner, New Mexico, 1866
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Negative No. 038194
Large group of Indian captives at Fort Sumner, New Mexico, 1866
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Negative No. 038195
Apache boy at Fort Sumner, New Mexico, 1866
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Negative No. 038199
The Belle of the Navajos, Fort Sumner, New Mexico, 1866
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Negative No. 003242
Navajo woman and baby at Fort Sumner, Bosque Redondo era, New Mexico, circa 1864-1868
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Negative No. 038202
Navajo man at Fort Sumner, New Mexico, 1866
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Negative No. 038203
Navajo thieves at Fort Sumner, Bosque Redondo era, New Mexico, circa 1864-1868
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Negative No. 038204
Navajo Indians at Fort Sumner, New Mexico, 1866, photo United States Army Signal Corps
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Negative No. 038205
Navajo Indian prisoners husking corn, Fort Sumner, New Mexico, Bosque Redondo era, circa 1864-1868
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Negative No. 038206
Navajo chiefs accused of counterfeiting ration tickets at Bosque Redondo, Fort Sumner, New Mexico, 1866, photo United States Army Signal Corps
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Negative No. 038207
Navajo women and children at Fort Sumner, Bosque Redondo era, New Mexico, circa 1864-1868
All images courtesy Palace of the Governors Photo Archives (NMHM/DCA) PASATIEMPOMAGAZINE.COM
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Devorah Romanek
For The New Mexican
A Certain Regard
P
hotography arrived in New Mexico at about the same time as Mexico lost the territory to the United States. Souvenir of New Mexico — dating to 1866, some 20 years after the first known photographic image was taken in New Mexico — contains the earliest images of Navajos and Mescalero Apaches yet discovered. Of all the photographs in the album, the images of Navajos and other Native Americans at the back are the most intriguing and the most troubling and painful. The pain is related to both the history portrayed and the anonymity of those pictured, the anonymity rendering the viewer mute, unable to call their names. Reciting a name may be the most powerful human act there is. In this way, the album calls to mind Susan Sontag’s 2003 publication, Regarding the Pain of Others. In that book, the last Sontag published before her death in 2004, she considers whether it is possible through a photograph to understand the pain that others have lived through if we have not experienced it ourselves. That’s a question to bear in mind when moving through Souvenir.
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Negative No. 030332
Conquest of place and people The photographs in this album record many things, including post-Civil War American expansionism. They are part of the chronicle of the controlled, orchestrated, and violent campaigns that were launched in pursuit of land and resources in the West. The seemingly innocuous and static photographs of military forts can be understood as simple documentation of the existence of these military structures and outposts, but they can also be seen as subtle attempts by the forces that commissioned them to legitimize the interests of Anglos and the expansionist policies of the United States. Images like “Government storehouses, Fort Union” (Negative No. 038175), “Indian captives building the fort, Fort Sumner” (Negative No. 001816), and “Repair workshops at Fort Union” (Negative No. 001839) all speak to an application of order and control with the introduction of hard-edged symmetry into the
Navajo men, Fort Sumner, New Mexico, 1866
Western landscape. Perhaps the most conceptually interesting of these photographs of military forts is the image “Buildings and corrals at Fort Union” (Negative No. 014545). Fort Union was established as a frontier post in 1851 in Mora County, about 100 miles from Santa Fe, and was largely abandoned by the end of 1863. Particularly poignant in this image is the sixsided structure in the center, reminiscent of a Navajo hogan but also suggesting the panopticon of institutional control. The panopticon is an 18th-century design of Englishman Jeremy Bentham that was used for observation and oversight, employed in numerous designs for prisons and forts. The images of Fort Sumner and the largescale incarceration of Navajos and Mescalero Apaches are the first in which the military landscape becomes inhabited by imprisoned Native peoples and U.S. army personnel. Those images are too vague and blurry to specifically depict any of the action caught on camera, but the vast number of people in a bleak landscape under military guard is evident (as in “Navajo Indians at Fort Sumner,” Negative No. 038204). Multiple photographers might have taken the images of forts in this album for the Army Signal Corps, though the most likely candidates are J.G. Gaige, who contracted with the chief quartermaster of the New Mexico military district in 1865 to photograph the military posts, or William A. Smith, engaged through the Army Signal Corps in New Mexico at the time. The most provocative of all the images are at the end of the album: the portraits of Navajos, Apaches, and Utes. Roughly two years before these pictures were taken, the U.S. government began its forced removal of the Navajo from their lands. During the Long Walk, Navajos traveled more than 300 miles by foot to an internment camp on the Pecos River, the Bosque Redondo reservation next to the military outpost of Fort Sumner. The portraits of Native people in the album, as well as the portraits of Mexican politicians, were almost certainly taken by Nicholas Brown, who established a studio on Aug. 11, 1866, in Santa Fe, with his son, William Henry Brown. The Browns photographed numerous forts in New Mexico in 1866. In 1867, Nicholas Brown left for Chihuahua to set up a studio, and he also opened studios in Durango, Ixtlaxco, and El Paso. The captive-Navajo photographs having
been circulated as cartes de visite (photographic prints mounted on a card typically measuring 2 1/2 by 4 inches — the most popular photographic format between 1860 and 1870), these images are found in various archives, most often on cards with backmarks from Brown’s studios, noted as either “N. Brown and Son” or, in Spanish, as “N. Brown e Hijo.” These portraits were made under the brutal conditions of imprisonment, and they picture people who were starving and ill. The anonymity of the subjects is striking in multiple ways. Not only are most of the images lacking captions and names, but the studio setting in which they were taken is empty and plain, with many of the props reused in numerous images and with multiple sitters. In the portraits of Native Americans, only one person is named, Navajo leader Manuelito (023130), born to the Bit’aa’nii (Folded Arms People) Clan. Manuelito sits shirtless, upright in a chair, and holds a bow and arrows. Like the other Native portrait sitters in this series, his face expresses his defeat and oppression. Often in the analysis of photographic portraits, such assumptions seem like reaching, but in this instance, the anguish of the people portrayed is palpable and undeniable.
Naming names The painful history of these images and the lingering, nameless anonymity attached to them was the motivation to undertake the research necessary to try to identify as many of the pictured Natives as possible. One archive, the Library of Congress, had copy prints of five of the portraits (Negative Nos. 038208, 023130, 003242, 038192, and 038200); three had captions naming sitters, but the names were improbable, and the photography credits were erroneously given to John Gaw Meem, who purchased the album but didn’t take the photographs. Finding these five mislabeled copy prints explained where numerous internet retailers had sourced these images to copy, mislabel, and sell as posters online. Wading through mountains of images at various archives yielded the identities of four more of the men from the Native American portraits. “Navajo man with bow and arrow and lynx” cap (Negative No. 038200) is a portrait of Ganado Mucho, born into the Tatsohnii
(Big Water) Clan. He is shown and named in portraits from 1874 by C.M. Bell and is the central standing figure in a group portrait of Navajo men by German-born photographer Charles Weitfle taken around the same time, although that group is oddly mislabeled “Three Ute Indian Braves.” In the group portrait, Mucho is posing with two other Navajo leaders: Tienesuse and Mariano Martinez. Martinez, from the Táchii’nii (Red Running Into Water) Clan, also appears in “Navajo men, Fort Sumner” (Negative No. 030332). He is seated on the bottom right, and Navajo leader Narbona Primero is the central seated figure, wearing a top hat and checked shirt. Martinez and Primero appear together in another 1874 group portrait by Bell that also shows Manuelito and other Navajo leaders who had traveled that year to Washington, D.C., to discuss provisions of the 1868 Treaty of Bosque Redondo between the U.S. and the Navajo. Primero, called “Sub-Chief Narbona Primero of the Western Navajo” in all discovered portraits, is not the same Narbona Primero who participated in the Navajo wars and was killed by U.S. soldiers on Aug. 30, 1849. The portrait “Navajo man at Fort Sumner” (038202), in which the sitter holds a bow and arrow and wears a cap with a visor and a beaded choker-style necklace, is not of a Navajo man after all; it portrays the Southern Ute Capote chief Sobita. The Southern Ute allied themselves with the Americans after the Mexican-American War, aiding the U.S. military in its campaigns against the Navajo and Apache. The same portrait of Sobita is found in the archived photo album of American artist James E. Taylor, along with a letter from Lieutenant Colonel Albert A. Pfeiffer to Taylor, in which Pfeiffer recounts his efforts to track Navajo with Sobita’s help. It’s moving to be able to name some of the people in the portraits — to be able to link the images to stories and lives. But the portraits of most Native people in the album remain unnamed, including nearly all images of women and children. Who were they, and what became of them? ◀ Anthropologist Devorah Romanek is curator of exhibits at the Maxwell Museum of Anthropology at the University of New Mexico.
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Futher reading Bailey, Lynn R., The Long Walk: A History of the Navajo Wars, 1846-68. Los Angeles: Westernlore, 1964. Bailey, Lynn R. Bosque Redondo: An American Concentration Camp. Pasadena, California: Socio-Technical Books, 1970. Bial, Raymond. Great Journeys: The Long Walk — The Story of Navajo Captivity. New York: Benchmark Books, 2003. Bruchac, Joseph. Navajo Long Walk: The Tragic Story of a Proud People’s Forced March From Their Homeland. (Illustrated and edited by Shonto Begay) Washington, D.C.: National Geographic Society, 2002. Denetdale, Jennifer Nez. The Long Walk: The Forced Navajo Exile. New York: Chelsea House, 2008. Iverson, Peter. Diné: A History of the Navajos. Albuquerque: University of New Mexico Press, 2002. Keleher, William A. Turmoil in New Mexico, 1846-1868. Santa Fe: Rydal Press, 1952. Kelly, Lawrence. Navajo Roundup: Selected Correspondence of Kit Carson’s Expedition Against the Navajo, 1863-1865. Boulder, Colorado: Pruett Publishing Company, 1970. McNitt, Frank. Navajo Wars. Albuquerque: University of New Mexico Press, 1972.
Remley, David. Kit Carson: The Life of an American Border Man. Norman, Oklahoma: University of Oklahoma Press, 2012. Roberts, Susan A., and Calvin A. Roberts. New Mexico. Albuquerque: University of New Mexico Press, 1988. Roessel, Ruth, ed. Navajo Stories of the Long Walk Period. Tsaile, Arizona: Navajo Community College Press, 1973 Sides, Hampton. Blood and Thunder: An Epic of the American West. New York: Doubleday, 2006. Simmons, Marc. The Little Lion of the Southwest: A Life of Manuel Antonio Chaves. Chicago: The Swallow Press, 1973. Thompson, Gerald. The Army and the Navajo: The Bosque Redondo Reservation Experiment 1863-1868. Tucson, Arizona: The University of Arizona Press, 1976. Turner, Ann Warren. The Girl Who Chased Away Sorrow: The Diary of Sarah Nita, a Navajo Girl, New Mexico, 1864 (Dear America Series). New York: Scholastic Inc., 1999. Wallen, Henry D., Andrew W. Evans, and Jerry D. Thompson. New Mexico Territory During the Civil War: Wallen and Evans Inspection Reports, 1862-1863. Albuquerque: University of New Mexico Press, 2008.
O’Dell, Scott. Sing Down the Moon. New York: Dell Laurel-Leaf, 1970. All images courtesy Palace of the Governors Photo Archives (NMHM/DCA) 90
PASATIEMPO I August 22 -28, 2014
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Man on fire Jonathan Richards I For The New Mexican Burning Bush, drama, not rated, in Czech with subtitles, The Screen, 3.5 chiles Yes, this is a film of political outrage. No, it does not involve an effigy of our 43rd president. The stifling embrace of a totalitarian society is a tough concept to fully appreciate for those of us who have never known it as part of our daily lives. We like to cry out about fascism and dictatorship in our government, but while we have found ourselves tacking closer to those winds at some times in our history than at others, notably during the red scare of the early ’50s, we have little actual experience living with the real thing. Not the way the countries of Eastern Europe did during the years of Soviet dominance and communist rule. In 1968, under the reformist government of Alexander Dubˇcek, Czechoslovakia had a heady flirtation with freedom that was known as the Prague Spring. Late that summer, Soviet tanks rolled into the streets of the capital and ended that dream. The following January, a young university student named Jan Palach doused himself with gasoline in Wenceslas Square and set himself ablaze in protest against the oppressive regime. This is the starting point of director Agnieszka Holland’s powerful, gripping film, originally a threepart miniseries for Czech HBO. Holland (Europa Europa) was a 20-year-old Polish film student at the Academy of Performing Arts in Prague at the time of these events and was arrested for her involvement in the protest movement. Her father, a writer, died under mysterious circumstances in police custody in Poland when she was 13. In other words, Holland brings much real-life experience to her handling of the subject matter.
Family solidarity: Jaroslava Pokorná and Petr Stach
92
PASATIEMPO I August 22 -28, 2014
The court of public opinion: Jan Budarˇ and Tatiana Pauhofová
The story unfolds during the immediate aftermath ˇ of Palach’s self-immolation. A police investigation, led by the thoughtful Major Jireˇs (Ivan Trojan), tiptoes through the evidence, trying to get at the truth of what happened, why Palach committed this act, and whether there really are (as Palach suggested in a note he left behind) others ready to follow in his fiery path if their demands are not met. All this must be balanced against urgent attempts by the Communist Party establishment to hush up the incident, to portray Palach as a crazy loner, and to defuse the sympathy for him and his cause that is spreading like wildfire through the capital. Meanwhile, the Czech government is keeping a wary eye on its Soviet masters, terrified of another crackdown if local officials demonstrate that they can’t handle the situation themselves. So the authorities rewrite history, claiming Palach never intended to burn himself, that the whole thing was supposed to be a harmless stunt involving fake fire, that student radicals secretly substituted real gasoline to make a sensational statement, and that from his hospital deathbed Palach has issued a plea to others not to follow his example. Several characters emerge from the mix, including Jan’s brother (Petr Stach) and his widowed mother (Jaroslava Pokorná), who bring a lawsuit against the Communist Party official (Martin Huba) who slandered her son in a speech reported in the newspapers, and a crusading lawyer, Dagmar Bureˇsová (Tatiana Pauhofová), who takes the case despite the dangers to her firm and her family and the overwhelming odds against beating City Hall. Holland and screenwriter Stepan Hulik build an intricate web of betrayals; counterfeits; deceits; and
official bullying, obfuscation, and lying, counterpointed with acts of conscience and bravery. But the pervading impression they show of life in the grip of late-1960s totalitarianism is one of ordinary people just trying to cover their posteriors and survive against a backdrop of fear. There’s no strong sense of ideological fervor on the side of the party officials — just their care not to make a misstep that will wreck a career or a life. The passions burn brighter on the side of the opposition, but they can usually be doused with threats, bribery, and moral pressure. These are all human beings, and many of them would be inclined, all things being equal, to do the right thing. But all things are seldom equal. Burning Bush sorts itself through a suspenseful investigation and into a tense courtroom drama, one in which the deck is stacked hopelessly against the plaintiffs, witnesses are hidden and silenced, documents are destroyed, and the judge receives her verdict from the powers that be in a sealed envelope. The performances are uniformly excellent, with special mention due to Pauhofová’s intrepid attorney, Trojan’s ethically conflicted police official, and the soulful, determined Pokorná as the martyred youth’s mother. Holland fills the story with stark contrasts, heroism and villainy, and sly social commentary (no woman, no matter how exalted her job, is immune from being asked to bring coffee). Jan Palach remained an icon of Czech resistance, but it was 20 years from the time of these events until the crumbling of the Soviet system and the end of communist repression in Eastern Europe. Passions blaze in the moment, but Holland — and history — take the long view. ◀
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— compiled by Robert Ker
and the nags in her life (including her own inner one) suggest that no woman is whole without a family. So will she find herself a man and settle down? Not rated. 85 minutes. In English, French, and Italian with subtitles. Center for Contemporary Arts, Santa Fe. (Not reviewed) IF I STAY Mia (Chloë Grace Moretz) is a teenage cello prodigy who has a shot at getting into Juilliard and starting a new romance with an indie-rock heartthrob ( Jamie Blackley). Before they can make beautiful music together, she and her family are in a car accident, and Mia is the only survivor. Now in a coma, she has an out-of-body experience that informs her “decision” to live or die. Along with The Fault in our Stars, another adaptation of a popular youngadult book, If I Stay is making this a bleak summer for teenage girls in the cinema. Rated PG-13. 106 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.(Not reviewed)
Eva Green and Josh Brolin in Sin City: A Dame to Kill For, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week ALIVE INSIDE Employing an alternative treatment, the nonprofit organization Music & Memory offers patients with dementia and other illnesses a chance to recapture past memories and emotions through music, and the effects are startling and moving. This documentary follows Music & Memory’s founder Dan Cohen for a day as he prompts patients — some of whom don’t even recognize themselves in photographs — to listen to various songs and the memories and joy come flooding back. It is an emotionally rich, artfully made, if somewhat redundant film on the healing power of music and a damning look at a broken health-care system’s ineffective treatments for dementia. Not rated. 78 minutes. The Screen, Santa Fe. (Michael Abatemarco) BURNING BUSH In 1968, Czechoslovakia had a heady flirtation with freedom that was known as the Prague Spring. Late that summer, Soviet tanks rolled into the streets of the capital and put an end to that dream. The following January, a young university student named Jan Palach set himself ablaze to protest 94
PASATIEMPO I August 22 -28, 2014
the oppressive communist regime. That event is the starting point of director Agnieszka Holland’s powerful, gripping film, originally a miniseries for Czech HBO. Holland and screenwriter Stepan Hulik have built an intricate web of betrayals, deceits, and official bullying counterpointed with acts of conscience and bravery. But the pervading impression of life in the grip of late-1960s totalitarianism is one of ordinary people just trying to cover their posteriors and survive against a backdrop of fear. Not rated. 231 minutes. In Czech with subtitles. The Screen, Santa Fe. ( Jonathan Richards) See review, Page 92. CALVARY Actor Brendan Gleeson and filmmaker John Michael McDonagh, who memorably paired up for 2011’s The Guard, return with another colorful fable from the Emerald Isle. This time it’s not a broad comedy but a mystery, wherein Gleeson plays a priest who is threatened with murder during a confessional and must figure out which of his parishioners is guilty before it’s too late. Rated R. 100 minutes. Regal DeVargas, Santa Fe. (Not reviewed) A FIVE STAR LIFE In what looks suspiciously like “Eat Pray Love 2,” this film follows Irene (Margherita Buy), a critic of five-star hotels, as she travels the world and stays in the best places available. This being the movies, her job is made to look horrible,
THE NOVEMBER MAN Pierce Brosnan gets back in the spy game to play Peter Devereaux, an old hand who’s called out of retirement to protect a gorgeous witness (Olga Kurylenko). When the CIA sics Peter’s most talented protégé (Luke Bracey) on him, a globe-trotting game of cat and mouse ensues. Opens Wednesday, Aug. 27. Rated R. 108 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) RAGNAROK Archaeologist and widower Sigurd (Pål Sverre Hagen) has a one-track mind: he’s obsessed with the mysterious runes found on Viking artifacts. His benefactors think he’s a crackpot, though, and want to revoke his funding. When he and his partner (Nicolai Cleve Broch) unearth some new clues, they take his kids and an assistant (the ass-kicking Sofia Helin) to an island in the northernmost reaches of Norway, certain that what they’ll find there will bring them fame and fortune. This is an intriguing spin on a time-worn premise — part Alien, part Jurassic Park, with a little Indiana Jones and National Treasure thrown in. The film is beautifully shot, and it has a few gripping moments, but it takes too long getting to them, and the ending is disappointingly anticlimactic and far too neat. Rated PG-13. 96 minutes. In Norwegian with subtitles. Jean Cocteau Cinema, Santa Fe. (Laurel Gladden) SIN CITY: A DAME TO KILL FOR Directors Robert Rodriguez and Frank Miller return to the world of Sin City (population: a bunch of dames, private dicks, and corpses) to push film noir to its extremes. The black-and-white visuals pop more, the violence is gorier, and the femme fatales are curvier than in almost any film that has come before. If it all seems cartoony, that’s because the flick is based on a bunch of stories from Miller’s comics (as was its
2005 predecessor). Bruce Willis, Ray Liotta, Joseph Gordon-Levitt, Jessica Alba, Mickey Rourke, and Rosario Dawson head the cast. Not rated. 102 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed)
of self-discovery, part father-son story, and part roadtrip 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)
WHEN THE GAME STANDS TALL After the beloved TV series Friday Night Lights played its last snap, there was a dearth of high-school-football melodramas. Now, thank goodness, we have this movie, also “based on true events,” about a team that went from obscurity to winning 151 games straight. The story centers on the personalities and the many challenges they faced. Jim Caviezel, Michael Chiklis, and Laura Dern star. Rated PG. 115 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
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)
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 (Sterling Jerins) he didn’t know he had — and probably becomes less crusty in the process. His relationship with his neighbor (Diane Keaton) also evolves. 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 childhood’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. 166 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
DRUNKTOWN’S FINEST The first feature by Sydney Freeland is a moving coming-of-age tale that follows three Navajo youths struggling to escape 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 actionmovie heroes, since it boasts (are you ready?) 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) 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
A Five Star Life
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) 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. 95 minutes. Jean Cocteau Cinema and Regal Stadium 14, Santa Fe; DreamCatcher, Española. (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 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 continued on Page 96
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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 mythological figure 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 co-star. Brett Ratner (Rush Hour) directs. Rated PG-13. 98 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (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 that sets 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 tornado-based thriller since 1996’s Twister, and it ramps the severity of the weather up to an almost comical degree. Littleknown actors play various citizens and storm chasers 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 actual 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)
spicy bland
medium
mild
heartburn
Read movie reviews online at www.santafenewmexican.com/pasatiempo
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PASATIEMPO I August 22 -28, 2014
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. (Robert Ker) MAGIC IN THE MOONLIGHT In Woody Allen’s latest, Colin Firth is Stanley, 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) 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 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) 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 2-D only at Regal Stadium 14, Santa Fe. (Not reviewed) 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) 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 this meet-cute rom-com. He plays 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)
other screenings Center for Contemporary Arts, 505-982-1338 The Age of Stupid, presented by Citizens Climate Lobby; Kill Team, presented by Veterans for Peace, with a panel discussion at the 2 p.m. Saturday, Aug. 23, screening. Jean Cocteau Cinema, 505-466-5528 Boogie Nights (1997), Boy, Native Spirits, On the Ice, Skins, To Be Takei. Regal Stadium 14, 505-424-6296 As Above, So Below. ◀
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CCA CINEMATHEQUE AND SCREENING ROOM
1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org The Age of Stupid (NR) Sun. 12:30 p.m. Boyhood (R) Fri. and Sat. 10:45 a.m., 11:30 a.m., 2:45 p.m., 4:30 p.m., 7:45 p.m. Sun. 10:45 a.m., 2:45 p.m., 4:30 p.m., 7:45 p.m. Mon. to Thurs. 11:30 a.m., 2 p.m., 2:45 p.m., 5:15 p.m., 7:45 p.m. A Five Star Life (NR) Fri. 2 p.m., 6 p.m., 8:15 p.m. Sat. and Sun. 6 p.m., 8:15 p.m. Mon. to Thurs. 12 p.m., 6 p.m., 8:15 p.m. The Kill Team (NR) Sat. and Sun. 2 p.m. JEAN COCTEAU CINEMA
418 Montezuma Avenue, 505-466-5528 Boogie Nights (R) Fri. and Sat. 11 p.m. Boy (NR) Sun. 6:30 p.m. Drunktown’s Finest (NR) Fri. and Sat. 8:30 p.m. The Giver (PG-13) Fri. 2:30 p.m. Sat. 4:30 p.m. Sun. 8:30 p.m. Tue. 8:30 p.m. Wed. 4:30 p.m., 8:30 p.m. Thurs. 4:30 p.m. Mood Indigo (NR) Sat. and Sun. 12:30 p.m. Native Spirits (NR) Mon. 7 p.m. On the Ice (R) Fri. 6:30 p.m. Ragnarok (PG-13) Fri. 4:30 p.m. Sat. and Sun. 2:30 p.m. Tue. to Thurs. 6:30 p.m. Skins (R) Sat. 6:30 p.m. To BeTakei (NR) Sun. 4:30 p.m. REGAL DEVARGAS
562 N. Guadalupe St., 505-988-2775, www.fandango.com And So It Goes (PG-13) Fri. to Tue. 1:40 p.m., 7:25 p.m. Calvary (R) Fri. and Sat. 1:50 p.m., 4:50 p.m., 7:40 p.m., 10:05 p.m. Sun. to Tue. 1:50 p.m., 4:50 p.m., 7:40 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 Tue. 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 Tue. 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 Tue. 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 Tue. 1 p.m., 3:50 p.m., 6:50 p.m. What If (PG-13) Fri. and Sat. 4:40 p.m., 9:50 p.m. Sun. to Tue. 4:40 p.m.
4:35 p.m., 7:10 p.m., 9:30 p.m. Let’s Be Cops (R) Fri. to Sun. 1:05 p.m., 1:25 p.m., 4:15 p.m., 7:15 p.m., 9:50 p.m., 10:05 p.m. Lucy (R) Fri. to Sun. 4:30 p.m., 7:05 p.m., 9:25 p.m. Sin City:A Dame to Kill For 3D (R) Fri. to Sun. 12 p.m., 2:35 p.m., 7:45 p.m. Sin City:A Dame to Kill For (R) Fri. to Sun. 5:10 p.m., 10:20 p.m. Step Up All In (PG-13) Fri. to Sun. 2:30 p.m., 10:05 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. 12:20 p.m., 2:50 p.m., 5:20 p.m., 7:50 p.m., 10:20 p.m. When the Game Stands Tall (PG) Fri. to Sun. 1:20 p.m., 4:40 p.m., 7:25 p.m., 10:10 p.m. THE SCREEN
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 473-6494, www.thescreensf.com Alive Inside:A Story of Music and Memory (NR) Fri. 7 p.m., 9 p.m. Sat. 3:30 p.m., 5:15 p.m., 7 p.m., 8:40 p.m. Sun. 12 p.m., 1:45 p.m., 3:30 p.m. Mon. to Thurs. 5:15 p.m., 7 p.m., 8:40 p.m. Burning Bush (NR) Fri. 2:15 p.m. Sat. 11 a.m. Sun. 5:30 p.m. Mon. to Thurs. 1 p.m. MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)
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., 7:20 p.m., 9:40 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:20 p.m., 9:40 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:20 p.m. Mon. to Thurs. 4:50 p.m., 7:20 p.m. 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. If I Stay (PG-13) Fri. 4:45 p.m., 7:10 p.m., 9:45 p.m. Sat. 2:05 p.m., 4:45 p.m., 7:10 p.m., 9:45 p.m. Sun. 2:05 p.m., 4:45 p.m., 7:10 p.m. Mon. to Thurs. 4:45 p.m., 7:10 p.m. Into the Storm (PG-13) Fri. 5 p.m., 7:35 p.m., 9:40 p.m. Sat. 2:30 p.m., 5 p.m., 7:35 p.m., 9:40 p.m. Sun. 2:30 p.m., 5 p.m., 7:35 p.m. Mon. to Thurs. 5 p.m., 7:35 p.m. REGAL STADIUM 14 Let’s Be Cops (R) Fri. 4:40 p.m., 7:25 p.m., 3474 Zafarano Drive, 505-424-6296, 9:50 p.m. Sat. 2:20 p.m., 4:40 p.m., 7:25 p.m., www.fandango.com 9:50 p.m. Sun. 2:20 p.m., 4:40 p.m., 7:25 p.m. As Above, So Below (R) Thurs. 8 p.m., 10:25 p.m. Mon. to Thurs. 4:40 p.m., 7:25 p.m. Dawn of the Planet of the Apes (PG-13) Sin City:A Dame to Kill For (R) Fri. 4:55 p.m., Fri. to Sun. 4:05 p.m., 7:10 p.m. 7:30 p.m., 9:55 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:30 p.m., 9:55 p.m. Sun. 2:25 p.m., 4:55 p.m., Doctor Who Season Premiere (NR) 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. Mon. 7 p.m., 9:30 p.m. The Expendables 3 (PG-13) Fri. to Sun. 12:40 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., 4:10 p.m., 7:15 p.m., 10:10 p.m. 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Get On Up (PG-13) Fri. to Sun. 1:15 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. The Giver (PG-13) Fri. to Sun. 12:30 p.m., Teenage Mutant Ninja Turtles (PG-13) 2:55 p.m., 5:20 p.m., 7:50 p.m., 10:15 p.m. Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., Guardians of the Galaxy 3D (PG-13) 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., Fri. to Sun. 1 p.m., 4 p.m., 7:20 p.m., 10 p.m. 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Guardians of the Galaxy (PG-13) When the Game Stands Tall (PG) Fri. 4:25 p.m., Fri. to Sun. 1:30 p.m., 4:40 p.m., 7:35 p.m., 6:55 p.m., 9:35 p.m. Sat. 1:50 p.m., 4:25 p.m., 10:20 p.m. 6:55 p.m., 9:35 p.m. Sun. 1:50 p.m., 4:25 p.m., Hercules (PG-13) Fri. to Sun. 12:05 p.m., 5:10 p.m., 6:55 p.m. Mon. to Thurs. 4:25 p.m., 6:55 p.m. 7:35 p.m. If I Stay (PG-13) Fri. to Sun. 12:15 p.m., 2:40 p.m., 5:15 p.m., 7:50 p.m., 10:20 p.m.
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RESTAURANT REVIEW Bill Kohlhaase I The New Mexican
Little plates of perfection La Boca 72 W. Marcy St., 505-982-3433 Lunch 11:30 a.m.–3 p.m. daily, half-price tapas “de la tarde” 3–5 p.m. daily, dinner 5–10 p.m. daily Takeout available Vegetarian options Noise level: moderate to loudly buzzing Beer and wine Credit cards, no checks
]
The Short Order Tapas have been available stateside for years now, but few tapas bars produce such excellent, innovative creations as James Campbell Caruso’s La Boca. His sometimes complex dishes, simply presented, combine fine imported ingredients with regionally sourced foods. Subtlety is key, with complementing and contrasting essential parts of the dynamic. Servers can recommend good accompanying — mostly Spanish — wines, and exploring the sherry list would require many visits. The room is tightly packed and often loud, but the experience is worth the noise. Recommended: tapas trio, bruschetta, fried Brussels sprouts, gambas al ajillo, and helado de turrón.
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
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PASATIEMPO I August 22-28, 2014
Let me go out on a limb here and say that La Boca is Santa Fe’s most influential restaurant. Sure, you could make an argument that Charles Dale, of Bouche Bistro fame, has brought a new level of innovation to French cooking that has raised the bar across the whole of Santa Fe’s highly competitive dining culture. Kim Müller’s work at Izanami introduced novel and exciting ways to use fresh regional produce. Then there’s Joseph Wrede’s “culinary pub,” Xavier Grenet’s L’Olivier, Mark Connell’s Arroyo Vino, and other fine kitchens that serve up wonderful creations. All have their influences. But while the tapas craze was well underway when La Boca opened in 2006, for the I then, Campbell Caruso has maintained a eight years since standard of excellence that has had an invigorating effect on the local culinary scene. For starters, his cuisine combines high-quality regionally sourced foods with fine products imported from Spain. He also brings a certain spark by offering dishes with unique ingredient combinations and flavorings. Some of those elements — like the pimentón agri-dulce, a sweet-and-sour sauce spiked with Spanish paprika that’s served with fried shrimp, or the apricot honey, a sweet syrup served with marinated pork tenderloin — are revelations. And Campbell Caruso doesn’t just bring together complementary flavors. He also blends contrasting ones that stand out against one another in surprising ways — pineapple and onion, say, or an escabeche featuring cucumber mixed with adobo-marinated barramundi piled on one of La Boca’s lunchtime sandwiches. Campbell Caruso has a fine sense of balance when it comes to seasoning. Spices, neither overpowering nor invisible, have a subtle presence. In fact, subtlety is often key here. Order the tapas trio — wonderful carrot-garbanzo hummus, a roasted beet and walnut purée, and edamame hummus on our visit — and marvel at the delicate but congenial combination. You’ll need an extra order of the grilled flatbread to do the trio justice. In the bruschetta, a wonderfully rich sauce of cream and crimini mushrooms is topped with a fried egg, truffle oil you can taste, and slightly salty reggianito cheese. The dish becomes something superb when the soft yolk of the egg mixes with the sauce. Fried Brussels sprouts are tenderly done and offer a mild cabbage flavor, while the quickly seared Napa cabbage that comes with the sprouts adds a pronounced grilled contrast. The Mediterranean influence on the menu is most apparent in the seafood. The gambas al ajillo — garlic shrimp with roasted peppers in a white wine and butter sauce — aren’t dominated by the garlic. Croquetas langostos (lobster croquettes) were studded with fresh sweet peas, and a dish of sautéed squid and clams stood apart from all the subtlety with its anything-but-restrained help-
ing of garlic. In one special “tapas de la noche” — smoked salmon, goat cheese, and watercress — the mild salmon and cheese took turns in supporting roles alongside the sharp watercress. The desserts are understated and wonderfully textured. The helado de turrón, a frozen whipped nougat of almonds and honey, was thick and not too sweet. The pastel almendras, a thin almond cake with crème fraîche and berries, was sweetly nutty, and the tres dulces plate wasn’t dulce at all, though it still satisfied. La Boca has an extensive sherry list, and I’ve never been steered wrong when asking servers for a wine recommendation. The dining room is neither large nor quiet. You can have a great time sitting shoulder to shoulder with friends — or strangers, for that matter — at the petite bar at the far end of the room, talking Spanish wines and sampling the evening’s specials. Service is surprisingly efficient, considering the tightness of the space, and is generally spot on — with the exception of the occasional glass-handling faux pas. Lunch can be wonderfully uncrowded, and tapas are offered at half price in the late afternoon. But you’ll most likely need a reservation any evening you go. ◀
Dinner for three at La Boca: Glass, 2011 Can Feixes Blanc Selecció ..........$ 11.00 Glass, 2012 Marc Bredif Vouvray ..................$ 14.00 Tapas trio .......................................................$ 11.00 Fried Brussels sprouts ...................................$ 8.00 Pescado frito ..................................................$ 12.00 Gambas al ajillo .............................................$ 14.00 Croquetas langostos ......................................$ 14.00 Helado de turrón ...........................................$ 9.00 Pastel almendras ............................................$ 9.00 Coffee ............................................................$ 2.50 TOTAL ..........................................................$104.50 (before tax and tip) Lunch for two, another visit: Bruschetta ......................................................$ Pescado frito bocadillo ..................................$ Beet gazpacho ................................................$ Calamari and clams special ...........................$ Tres dulces .....................................................$ TOTAL ...........................................................$ (before tax and tip)
12.00 12.00 7.00 17.00 9.00 57.00
“Alive Inside packs as potent a simple emotional wallop as anything you’ll see - or hear - anywhere this year.” Geoff Pevere, Globe and Mail NiNja TurTles 2D/3D 2:00** 4:30 7:00 The Giver 2:15** 4:50 7:20 GuarDiaNs of The Galaxy 2D 1:55** 4:35 7:15 expeNDables 3 1:45** 4:30 7:15 leT’s be cops 2:20** 4:40 7:25 siN ciTy 2D 2:25** 4:55 7:30 if i sTay 2:05** 4:45 7:10 iNTo The sTorm 2:30** 5:00 7:35 wheN The Game sTaNDs Tall 1:50** 4:25 6:55 **saturday & sunday only *friday & saturday only Times for friday, august 22 - Thursday, august 28
OPENING NIGHT SCREENING INCLUDES INTRODUCTION AND Q/A WITH KELLY WILLENBORG - FOUNDER OF THE HEALING JUKEBOX
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Friday at 7:00 and 9:00 • Saturday at 3:30, 5:15, 7:00 and 8:40 • Sunday at 12:00, 1:45, 3:30 Mon through Thurs at 5:15, 7:00 and 8:40
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PASATIEMPO I August 22 - 28, 2014
C A L E N D A R
L I S T I N G
G U I D E L I N E S
• 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 22-28, 2014
CALENDAR COMPILED BY PAMELA BEACH
FRIDAY 8/22 Gallery & Museum Openings Allan Houser Gallery
125 Lincoln Ave., Suite 112, 505-982-4705 The Art of Apache Resistance, Apache-Akimel O'odham painter and printmaker Douglas Miles, in conjunction with an installation of sculptural works by Allan Houser, reception 6 p.m., through Sept. 3. (See story, Page 50)
Andrea Fisher Fine Pottery
100 W. San Francisco St., 505-986-1234 A Family Affair, Acoma Pueblo Lucario family potters Amanda, Daniel, and Rebecca; Older Than Dirt, historic pots from private collections; reception 4-7 p.m., through Sunday.
Art Gone Wild Gallery
130 Lincoln Ave., 505-820-1004 Paintings by Ben Wright, receptions 5-8 p.m. today and Saturday.
Axle Contemporary
505-670-5854 or 505-670-7612, axleart.com Economologies, money-themed group show, reception 5-7 p.m. outside SITE Santa Fe, 1606 Paseo de Peralta.
Barbara Meikle Fine Art
236 Delgado St., 505-992-0400 Quiet Journeys, paintings by Robert Burt, reception 5-7:30 p.m.
Bill Hester Fine Art
621 Canyon Rd. 505-660-5966 Magical Mystery, paintings by Sally Hall, reception 5-7 p.m., through August.
Blue Rain Gallery
130-C Lincoln Ave., 505-954-9902 Annual Celebration of Contemporary Native American Art, group show, reception 5-8 p.m., through Sunday. Pottery show and sale of works by Tammy Garcia and Richard Zane Smith 8-11 a.m.; bronze-patina demonstrations by Bronzesmith Foundry 11 a.m.-4 p.m.
Pueblo dancers at Fiesta, circa September 1920; courtesy Palace of the Governors Photo Archives (NMHM/DCA), Neg. #52740.
Canyon Road Contemporary
203-A Canyon Rd., 505-988-1875 Paintings by the gallerist; work by Navajo sculptor Ryan Benally, reception 5-7 p.m., through September. Gallery 203 203 Canyon Rd. 505-699-2506 Chiaroscuro Contemporary Art Paintings, prints, and sculpture by 702 ½ Canyon Rd., 505-992-0711 Abraham Gelbart, through August. Contemporary Native Group Show, including
403 Canyon Rd., 505-983-0433 Molly Heizer: 20-Year Gala, totems and katsinas by the ceramicist, reception 5-7 p.m., through August.
Catenary Art Gallery
616 ½ Canyon Rd., 505-982-2700 The Southwest — an Endless Now, landscapes by photographer Rumi Vesselinova, reception 5-7 p.m.
Center for Contemporary Arts
1050 Old Pecos Trail, 505-982-1338 New Perspectives, installation by sculptor Chuck Ginnever (Muñoz Waxman Gallery);
Messages From the Wounded Healers, paintings by Sam Scott (Spector Ripps Project Space); reception 6-8 p.m., through Nov. 2.
Charles Azbell Gallery
Harry Fonseca, Emmi Whitehorse, and Rick Bartow; Rose B. Simpson: Finding Center, ceramic sculpture; reception 5-7 p.m., through August.
Convergence Gallery
219 W. San Francisco St., 505-986-1245 Paintings by Brad Stroman, reception 5-7 p.m., artist talk 6 p.m., through Sept. 12.
Eldorado Hotel & Spa
DeVargas Room, 309 W. San Francisco St., 505-983-9515 Martha Hopkins Struevers' annual Indian Market jewelry and pottery show, featuring jewelry by Raymond Sequaptewa, opening at 11 a.m.
Giacobbe-Fritz Fine Art
702 Canyon Rd., 505-986-1156 The Power of a Woman, paintings by Nocona Burgess, artist lecture 4:15 p.m., reception 5-7 p.m., through Sept. 7.
Handwoven Originals
211 Old Santa Fe Trail, 505-982-4118 Works by New Mexico textile artists and jewelers, reception 4-7 p.m.
Heidi Loewen Porcelain Gallery
315 Johnson St., 505-988-2225 Smoke on the Mirror, smoke-fired and gold-leaf work by the gallerist, reception 2-7 p.m., through September.
Hunter Kirkland Contemporary
220-B Canyon Rd., 505-984-2111 Visual Poetry, works by sculptor Eric Boyer and painter Charlotte Foust, reception 5-7 p.m., through Sept. 7.
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Silver Sun Gallery
656 Canyon Rd., 505-983-8743 Meet Passion & Dedication: Inspiring Turquoise of New Mexico and Arizona, works by Navajo silversmiths Etta Endito, Randy Endito, Shane Hendren, and Bryant Martinez, reception 5-8 p.m.
S.R. Brennen Gallery
555 Canyon Rd., 505-428-0274 Watercolors by Steve Hanks; sculpture by Angela Mia De la Vega, reception 5-7 p.m.
Stan Natchez Art Gallery
201 E. Palace Ave., 505-231-7721 Paintings by the gallerist, receptions 5-7 p.m. today and Saturday.
Sugarman-Peterson Gallery
130 W. Palace Ave., 505-982-0340 Paintings by Heather Foster; jewelry by Lisa Bialac-Jehle and Belle Brooke, reception 5-7:30 p.m., through August.
Tresa Vorenberg Goldsmiths
656 Canyon Rd., 505-988-7215 A Gem-Packed Life, work by jeweler Donna Diglio, reception 5-7 p.m., through Sunday.
Waxlander Gallery
622 Canyon Rd., 505-984-2202 Old Light, New Color, work by Oneida painter Bruce King, reception 5-8 p.m., through Monday.
200 Canyon Rd., 520-465-2655 Works in Stone & Copper, sculptor John Suazo and jeweler and sculptor Joseph Birdsong, reception 5-7 p.m.
376-A Garcia St., 505-988-5152 Avian, photographs by Brad Wilson, reception 5-7 p.m., through Oct. 11.
La Posada de Santa Fe Resort & Spa
200 Canyon Rd., 505-795-7476 Internal Light, paintings by Cody Hooper, reception 5-7 p.m., through Tuesday.
330 E. Palace Ave., 505-986-0000 Paintings by Patrick Dean Hubbell, reception 6-7 p.m., $15 admission fee benefits Southwestern Association for Indian Arts.
Pippin Contemporary
Sage Creek Gallery
Little Bird at Loretto
421 Canyon Rd., 505-988-3444 Indian Market group show, reception 5-8 p.m., through Aug. 29.
McLarry Fine Art
545 Camino de la Familia, 505-984-1122 David Crane & José Sierra, pottery, reception 5-7 p.m., through Sept. 20.
211 Old Santa Fe Trail, 505-820-7413 Group show including works by Ray Tracey and Michael Horse, reception 3-7 p.m., through Sunday.
Santa Fe Clay
225 Canyon Rd., 505-988-1161 Poteet Victory: New Works, paintings; Chuck Sabatino: Santa Fe Art Collector Gallery New Oil Paintings, reception 5-7 p.m., through Sept. 5. 217 Galisteo St., 505-988-5545 Meyer East Gallery Paintings by Ken Bonner, reception 5-7 p.m. 225 Canyon Rd., 505-983-1657 The Santa Fe Gallery Mixed-media beadwork by Ali Launer and sculpture by Eddy Shorty, reception 5-7 p.m., through Aug. 29. 223 E. Palace Ave., 505-983-6429 Sand-painting demonstration by Navajo Molecule Industrial Contemporary artist Shawn Nelson, 10 a.m.-5 p.m. daily 1226 Flagman Way, 505-989-9806 through Sunday. Dubai Diptychs, paintings by Cash Rome, Sculpture 619 receptions 5-8 p.m. today and Saturday. 619 Canyon Rd., 505-983-8600 Morning Star Gallery Paintings by Dave Lambard, reception 5-7 p.m., 513 Canyon Rd., 505-982-8187 through Sept. 22. Vivid: Dolores Purdy, ledger art, reception 5-7 p.m., through Sunday.
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PASATIEMPO I August 22 -28, 2014
Classical Meets Flamenco
Music Room at Garretts 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.
The English Beat
Skylight Frontman Dave Wakeling's ska band, 7:30 p.m., $22, 505-988-1234, ticketssantafe.org.
In the Mood: Artists and Musicians in Collaboration
William & Joseph Gallery
One World Beat
Winterowd Fine Art
Photo-eye Bookstore + Project Space
Santa Fe County Fairgrounds, 3229 Rodeo Rd. Including Todalo Shakers and Bayou Seco & Friends, 7-10 p.m., $15-$40, three-day pass $50, ages 16 and under no charge, tickets available in advance and at the door, southwestpickers-fesitival.org, through Sunday.
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: drum and flute duo Judy Cormier and Rick Cormier, no charge.
727 Canyon Rd., 505-982-9404 Dreaming in Color, paintings by Reid Richardson, reception 5-7 p.m., through Sept. 25.
Jane Hamilton Fine Art
In Concert 40th Annual Santa Fe Bluegrass & Old Time Music Festival
Windsor Betts
143 Lincoln Ave., 505-820-1234 Crow Chronicles, paintings by Kevin Red Star, reception/book signing 5-8 p.m., through Oct. 1.
The annual Palace of the Governor's Portal Artist Celebration runs Saturday and Sunday in the courtyard.
TGIF organ recital
First Presbyterian Church of Santa Fe, 208 Grant Ave., 505-982-8544, Ext. 16. Frederick Frahm performs music of Riccardo Gnudi and Huw Morgan, 5:30-6 p.m., donations welcome.
701 Canyon Rd., 505-992-8878 Modern Illusions in Native American Art, including works by Marla Allison, Brian Coffin, Joel McHorse, and Wendy Red Star, reception 5-8 p.m., through August.
Worrell Gallery
103 Washington Ave., 505-989-4900 Sculpture by Bill Worrell, reception 5-7 p.m.
Zane Bennett Contemporary
435 S. Guadalupe St., 505-982-8111 Impacts!, group show of works by Japanese artists, painting demonstration by Kato Ai 4-6 p.m., reception 5-7 p.m., through Sept. 22.
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.
Camel Rock Casino, Tesuque Traditional and contemporary Native dances and music, 7 p.m.-midnight today and Saturday, performers include Jemez Pueblo Butterfly Dance, electronic-music band We Drew Lightning, and hoop dancer Nakota Larance, $25 in advance at holdmyticket.com.
Robert Mirabal
El Farol Dinner show with the Taos Pueblo flutist, dinner 5:30 p.m., performance 6:30 p.m., $25, 505-983-9912.
A Tribe Called Red
Shadeh, Buffalo Thunder Resort & Casino, Pojoaque Pueblo, U.S. 84/285 Canadian electronic-music band, 9 p.m., $15 in advance, $20 at the door, swaia.org.
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.
Santa Fe Fiesta Melodrama: opening night
Classical Music
Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 Annual send-up all things Santa Fe, directed by Andy Primm, 7:30 p.m., $20, discounts available, Thursdays-Sundays through Sept. 7. (See story, Page 34)
Santa Fe Chamber Music Festival
Books/Talks
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. William Kinderman, pianist, music of Beethoven, 6 p.m., no charge, santafechambermusic.com.
Santa Fe Chamber Music Festival
The Lensic Mark O'Connor String Quartet, 8 p.m., $10-$42, 505-988-1234, ticketssantafe.org or 505-982-1890, santafechambermusic.com.
Sundance Institute Native American and Indigenous Program 20th Anniversary
Museum of Contemporary Native Arts, 108 Cathedral Place, 505-983-1777 Panel discussion and reception; featuring Navajo punk duo the Discotays and panelists program director Bird Runningwater and Native directors Sydney Freeland and Sterlin Harjo, 5-7 p.m., no charge.
Events 93rd Annual Indian Market events
A free State of the Arts symposium 3 p.m., New Mexico History Museum, 107 W. Palace Ave.; Sneak preview and general preview of awardwinning works 5:30-9:30 p.m., $150 and $50 respectively, Santa Fe Community Convention Center, 201 W. Marcy St. Visit swaia.org for full schedule of events.
Indigenous Fine Art Market (IFAM)
Santa Fe Railyard Plaza Inaugural open-air market featuring more than 300 artists, music and spoken-word performances, youth events, and food; 10 a.m.-5 p.m. today and Saturday, stage performances noon-4 p.m.; Lightning and Thunder hip-hop concert 4-7 p.m.; , no charge, indigefam.org.
Country Western & Swing Dance
Dance Station, 947-B W. Alameda St., Solana Center Dance to The Rifters, 7:30-10:30 p.m., $15 at the door.
Native Cinema Showcase
New Mexico Museum of History, 113 Lincoln Ave. Shorts and features shown daily through Sunday at no charge; some filmmakers in attendance for post-screening conversations; visit swaia.org for full schedule of films.
Santa Fe Opera Backstage Tour
Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered at 9 a.m., $10; seniors $8; no charge for ages 22 and under, final tour of the season.
Swiss Bakery Pastries and Bistro
Troubadour Gerry Carthy, on the patio, 7-10 p.m.
The Underground at Evangelo's
Dance cover band Chango, 9:30 p.m., call for cover.
Vanessie
Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.
SATURDAY 8/23 Gallery & Museum Openings Allan Houser Studio and Sculpture Gardens
26 ABCD Haozous Rd., 505-471-1528 Open house and guided tour of the 12-acre estate 10 a.m.-4 p.m. today and Sunday. (See story, Page 50)
Heidi Loewen Porcelain Gallery
315 Johnson St., 505-988-2225 Smoke on the Mirror, smoke-fired and gold-leaf work by the gallerist, receptions noon-6 p.m. today and Sunday, through September.
Little Bird at Loretto
211 Old Santa Fe Trail, 505-820-7413 Group show including works by Stephen McCullough and Michael McCullough, and Mary Hunt, reception 3-7 p.m., through Sunday.
Pop Gallery
125 Lincoln Ave., Suite 111, 505-820-0788 Paintings by Lynden St. Victor, through September; work by painter Joel Nakamura, through August; reception 6 p.m.
Opera
Carmen
Santa Fe Opera, 301 Opera Dr., 505-986-5900 Santa Fe Opera Ranch Tour In this Stephen Lawless production, Bizet's tragedy Santa Fe Opera, 301 Opera Dr., 505-986-5900 unrolls in the U.S.-Mexican borderlands a half Extended tour of the grounds known as the Opera century ago, with black-and-white film integrating Ranch, 10 a.m., ranch tour $12, combined backstage with live stage action to enhance the period feel. and ranch tour $20, meet at the box office. Ana María Martínez is Carmen, Joyce El-Khoury sings Micaëla, Roberto De Biasio portrays Don José. Nightlife 8 p.m., tickets begin at $32, standing room $15. (See Page 104 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
Troubadour Gerry Carthy 5-7:30 p.m.; blues band Gary Farmer & the Troublemakers, 8:30 p.m., no cover.
¡Chispa! at El Mesón
Three Faces of Jazz, featuring guest saxophonist Dave Anderson, 7:30-10:30 p.m., no cover.
Duel Brewing
Les Malzman opens for Joe West, 7:30-10:30 p.m., no cover.
El Farol
Rock band Little Leroy & His Pack of Lies, 9 p.m.-close, call for cover.
La Fiesta Lounge at La Fonda
Singer/songwriter Chris Chickering, 8 p.m.-close, no cover.
Classical Music Santa Fe Chamber Music Festival
The Lensic Bach: Brandenberg concertos No. 1, 6, and 2, performers include violinist Benjamin Beilman, violist Cynthia Phelps, and harpsichordist Kathleen McIntosh, 6 p.m., $10-$45, 505-988-1234, ticketssantafe.org or santafechambermusic.com, 505-982-1890.
In Concert 40th Annual Santa Fe Bluegrass & Old Time Music Festival
Santa Fe County Fairgrounds, 3229 Rodeo Rd. Including Eastside Ramblers, James Reams & The Barnstormers, and The Chapmans, 9 a.m.-10 p.m., $15-$40, three-day pass $50, ages 16 and under no charge, tickets available in advance and at the door, southwestpickers-fesitival.org, through Sunday.
Livers of Steel Tour
Palace Restaurant and Saloon
Skylight Country bands Reckless Kelly, Micky & The Motorcars, and Cody Canada & The Departed, 7:30 p.m., $25, ticketssantafe.org, 505-988-1234.
La Posada de Santa Fe Resort and Spa
One World Beat
Digital Storm Riders, electronic-remix, 10 p.m., call for cover. Nacha Mendez Quartet, 6:30-9:30 p.m., no cover.
Pranzo Italian Grill
Piano and vocals, John Rangel and Barbara Bentree, 6-9 p.m., call for cover.
Second Street Brewery
Kodama Trio, jazz, 6 p.m., no cover.
Second Street Brewery at the Railyard
Electro-marimba-trance band Jaka, 7 p.m., no cover.
Camel Rock Casino, Tesuque Traditional and contemporary Native dances and music, 7 p.m.-midnight, performers include reggae band Native Roots, contemporary dance company Dancing Earth, and flutist Robert Mirabal, $25 in advance at holdmyticket.com.
Santa Fe Bandstand Southside
SANTA FE INDIAN MARKET/IFAM EVENTS AUGUST 22-24 93rd Annual Santa Fe Indian Market 7 a.m.-5 p.m. Saturday and 8 a.m.-5 p.m. Sunday, Aug. 23-24
Pre-market Friday events include a free State of the Arts symposium 3 p.m., New Mexico History Museum; sneak preview and general preview of award-winning works 5:30-9:30 p.m., $150 and $50, Santa Fe Community Convention Center. Saturday events include a free children's activity tent, 10 a.m.-3 p.m., Washington Avenue; Lifetime Achievement Allan Houser Legacy and Pov'ika Awards and SWAIA Fellowships Presentation, 11:30 a.m., on the Plaza; SWAIA Official Fashion Show 2-2:30 p.m., in Cathedral Park. Sunday events: SWAIA Fashion and Designer Challenge, 9 a.m.-noon, on the Plaza; Classification X award winners film screening, 1 p.m., New Mexico History Museum. Visit swaia.org for full schedule of events.
Indigenous Fine Art Market (IFAM) 10 a.m.-5 p.m. Friday and Saturday, Aug. 22-23
Inaugural open-air market featuring more than 300 artists, music and spoken-word performances, youth events, and food, Santa Fe Railyard Plaza, no charge. Friday IFAM stage performances noon-4 p.m.; Lightning and Thunder hip-hop concert 4-7 p.m.; indigefam.org. Saturday IFAM stage performances noon-4 p.m., performers include roots band Indigiefemme, Acoma Rain Dancers, drum group Black Eagle, hip-hop artist Quese IMC, magician Shark Wayne, and alternative-rock and blues band Zachariah Julian. Wheelwright Museum of the American Indian auction 10 a.m.-5 p.m. Friday, Aug. 22
39th annual fundraiser; collector's table 10 a.m.-11:30 p.m.; artist demonstrations 10 a.m.-noon; auction preview 10:30 a.m.-1 p.m.; live auction 1-5 p.m.; WMAI, 704 Camino Lejo, Museum Hill, no charge, 505-982-4636, wheelwright.org.
Native Cinema Showcase Friday-Sunday, Aug. 22-24
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.
Sundance Institute Native Film Series 6:30 p.m. Friday-Sunday, Aug. 22-24
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.
Palace of the Governors Portal Artisans Celebration 10 a.m.-5 p.m. Saturday and Sunday, Aug. 23-24
Music, handcrafted wares, raffles, traditional dances, and food, POG courtyard, through the Blue Gate on Lincoln Avenue, no charge.
Native Film and Dialogue 11 a.m.-noon Saturday, Aug. 23
Artist Cannupa Hanska Luger and filmmaker Dylan McLaughlin preview their film This Is a Stereotype, Allan Houser Art Park, Museum of Contemporary Native Arts, 108 Cathedral Place, 505-983-1777 11 a.m.-noon, Q & A follows, no charge.
Santa Fe Pow-Wow 5 p.m. Saturday, Aug. 23
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, Genoveva Chavez Community Center, 3221 Rodeo Rd., $5 at the door, discounts available.
Sihasin 5-10 p.m. Saturday, Aug. 23
IFAM and Warehouse 21 present the duo Jeneda Benally and Clayson Benally, traditional Navajo and folk/punk fusion, Concert Hall, W21, 1614 Paseo de Peralta, no charge.
3466 Zafarano Dr. Hispanic-pop recording artist Ernestine Romero, 7 p.m.; Hispanic-pop and cumbia band Severo y Grupo Fuego, 8:15 p.m.; no charge, final week.
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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.
Santa Fe Fiesta Melodrama
Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262
for updates an Check with venues
Annual send-up of everything Santa Fe, directed by Andy Primm, 7:30 p.m., $20, discounts available, Thursdays-Sundays through Sept. 7. (See story, Page 34)
Books/Talks Artist talk
Spector Ripps Project Space, Center for Contemporary Arts, 1050 Old Pecos Trail, 505-982-1338 Sam Scott discusses his paintings in the exhibit Messages From the Wounded Healers, 2 p.m., no charge.
d special events
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R O O M S, V E N U E S
PASATIEMPO I August 22 -28, 2014
Contemporary Indigenous Discourse Series
Native Cinema Showcase
Allan Houser Art Park, Museum of Contemporary Native Arts, 108 Cathedral Place, 505-983-1777 Forum for indigenous peoples sharing knowledge and strategies for advancing tribal self-determination in an era of globalization, 4-5 p.m., no charge.
New Mexico Museum of History, 113 Lincoln Ave. Shorts and features shown daily through Sunday at no charge; some filmmakers in attendance for post-screening conversations; visit swaia.org for full schedule of films.
Gallery panel discussion
Palace of the Governors Portal Artisans Celebration
Zane Bennett Contemporary Art, 435 S. Guadalupe St., 505-982-8111 Held in conjunction with the exhibit Impacts!; panelists include MOMA curator of Japanese art John Carpenter and Mizuma Art Gallery director Mizuma Sueo, 1:30-3:30 p.m.
Malcolm Ebright, Rick Hendricks, and Richard W. Hughes Op. Cit. Books, 500 Montezuma Ave., Sanbusco Center, 505-428-0321 The authors read from and sign copies of Four Square Leagues: Pueblo Indian Land in New Mexico, 4 p.m.
Museum of Contemporary Native Arts Artist Gallery Sessions
Artist Gallery, MoCNA, 108 Cathedral Place, 505-983-1777 Artists Mario Martinez and Da-ka-xeen Mehner discuss their current exhibits, 10-11 a.m., no charge, continues Sunday.
Museum of Contemporary Native Arts Engagement Artists-in-Residence
MoCNA Artist Studio and Allan Houser Art Park, 108 Cathedral Place, 505-983-1777 Residents include poet Sherwin Bitsui, artist Merritt Johnson, members of the art collective The Ephemerals, and choreographer/dancer Rosy Simas; performance by Simas 2 p.m., artists talk 2:30 p.m., no charge.
Native Film and Dialogue
Allan Houser Art Park, Museum of Contemporary Native Arts, 108 Cathedral Place, 505-983-1777 Artist Cannupa Hanska Luger and filmmaker Dylan McLaughlin preview their film This Is a Stereotype, 11 a.m.-noon, Q & A follows, no charge. (See story, Page 50)
Robert K. Wittman
La Posada de Santa Fe Resort & Spa, 330 E. Palace Ave., 505-986-0000 The Spanish Colonial Society presents a lecture by the author of Priceless: How I Went Undercover to Rescue the World's Stolen Treasures, noon-3 p.m., luncheon and book signing included, $45, call the Spanish Colonial Museum of Art for tickets, 505-982-2226, Ext. 109, or visit spanishcolonial.org.
Events 93rd Annual Indian Market The Plaza
Market 7 a.m.-5 p.m.; free children's activity tent, 10 a.m.-3 p.m., Washington Avenue; Lifetime Achievement Allan Houser Legacy and Pov'ika Awards and SWAIA Fellowships Presentation, 11:30 a.m., on the Plaza; SWAIA Official Fashion Show 2-2:30 p.m., in Cathedral Park. Visit swaia.org for full schedule of events.
Indigenous Fine Art Market (IFAM)
Santa Fe Railyard Plaza Inaugural open-air market featuring more than 300 artists, music and spoken-word performances, youth events, and food; 10 a.m.-5 p.m.; stage performances noon-4 p.m., performers include roots band Indigiefemme, Acoma Rain Dancers, drum group Black Eagle, hip-hop artist Quese IMC, magician Shark Wayne, and alternative-rock and blues band Zachariah Julian, no charge, indigefam.org.
POG courtyard, through the Blue Gate on Lincoln Avenue, 505-476-5100 Music, handcrafted wares, raffles, traditional dances, and food, 10 a.m.-5 p.m. today and Sunday, no charge.
Santa Fe Opera Insider Day
Santa Fe Opera, 301 Opera Dr., 505-986-5900 Opera Guild members welcome guests at 8:30 a.m. with coffee and muffins, learn about a particular area or opera during a complimentary backstage tour at 8:45 p.m., meet at the box office, no charge.
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., grand entry is at 7:30 p.m., $5 at the door, discounts available.
Zozofest
Railyard Plaza, 1607 Paseo de Peralta, and Sanbusco Market, 500 Montezuma Ave. Kick-off party for the 90th annual burning of Zozobra; including a sneak peak of the big guy, the 10th Annual Will Schuster's Art & Photography Exhibit of historic and contemporary works, live music at the Water Tower, and the 2014 poster signing, 3-10 p.m., presented by the Santa Fe Kiwanis Club, no charge, continues Sunday.
Nightlife
(See addresses at left)
Burro Alley Café
Reggae band Brotherhood Sound System, 10 p.m., call for cover.
¡Chispa! at El Mesón
John Rangel Piano Quartet, 7:30 p.m., call for cover.
Cowgirl BBQ
Bluesman Kenny Skywolf, 2-5 p.m.; juke-joint, biker-bar rock band Broomdust Caravan, 8:30 p.m.-close; no cover.
Duel Brewing
Rock band Greenfield, 7:30-10:30 p.m., no cover.
El Farol
Gary Farmer and the Troublemakers, 9 p.m., call for cover.
Evangelo's
Rock and roll cover band Chango, 9 p.m., call for cover.
La Fiesta Lounge at La Fonda
Singer/songwriter Chris Chickering, 8 p.m.-close, no cover.
La Posada de Santa Fe Resort and Spa
Guitarist Pat Malone's jazz trio, 8 p.m., call for cover.
Palace Restaurant and Saloon
Connie Long & Fast Patsy, on the patio, 2 p.m., no cover. Funn Adixx, 10 p.m., call for cover.
Second Street Brewery
Busy & the Crazy 88, 6-9 p.m., no cover.
Second Street Brewery at the Railyard
Gypsy-jazz ensemble Swing Soleil, 7 p.m.-close, no cover.
Sweetwater Harvest Kitchen
John Serkin on Hawaiian slack-key guitar, 6 p.m., no cover.
Upper Crust Pizza
Singer/songwriter Dana Smith, 6-9 p.m., no cover.
Vanessie
Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.
SUNDAY 8/24 Gallery & Museum Openings Allan Houser Studio and Sculpture Gardens 26 ABCD Haozous Rd., 505-471-1528 Open house and guided tour of the 12-acre estate 10 a.m.-4 p.m.; 1:30 p.m. talk by painter and printmaker Douglas Miles. (See story, Page 50)
Little Bird at Loretto
211 Old Santa Fe Trail, 505-820-7413 Group show including works by Mary Hunt, Denny Wainscott, and Spencer Nutima, reception 3-6 p.m.
Classical Music Santa Fe Chamber Music Festival
The Lensic Music of Beethoven, Brahms, and Takemitsu, performers include pianist Inon Barnatan, violinist Benny Kim, and cellist Clive Greensmith, 6 p.m., $12-$75, 505-988-1234, ticketssantafe.org or santafechambermusic.com, 505-982-1890.
In Concert 40th Annual Santa Fe Bluegrass & Old Time Music Festival Santa Fe County Fairgrounds, 3229 Rodeo Rd. Musical contests and performances by The Chapmans and Higher Ground, $15-$40, ages 16 and under no charge, tickets available in advance and at the door, southwestpickers-festival.org.
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.
Tony Bennet
Santa Fe Opera, 301 Opera Dr., 505-986-5900 With Antonia Bennett, 7 p.m., $60-$149.
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.
Dancing Earth
Skylight Origi-Nation: Roots and Seeds, the dance troupe's 10th-anniversary performance, 6 p.m., dance party follows at 8 p.m., $25, VIP tickets $50, dance party only $10, for advance tickets email dancingearthtkts@gmail.com.
Flamenco’s Next Generation: series finale
The Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco group from the María Benítez Institute for Spanish Arts, 2 p.m., institutespanisharts.org.
Santa Fe Fiesta Melodrama
Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 Annual send-up of everything Santa Fe, directed by Andy Primm, 4 p.m., $20, discounts available, Thursdays-Sundays through Sept. 7. (See story, Page 34)
Morning Star Gallery shows ledger art by Dolores Purdy, 513 Canyon Rd.
Books/Talks Journey Santa Fe
Collected Works Bookstore, 202 Galisteo St., 505-988-4226 Grass, Soil, Hope: A Journey Through Carbon Country author Courtney White in conversation with KSFR Radio host Xubi Wilson, 11 a.m.
Museum of Contemporary Arts Artist Gallery Sessions
Artist Gallery, MoCNA, 108 Cathedral Place, 505-983-1777 Artists Mario Martinez and Da-ka-xeen Mehner discuss their current exhibits, 2-3 p.m., no charge.
Sarah Stark
Garcia Street Books, 376 Garcia St., 505-986-0151 The author reads from and signs copies of Out There: A Novel, 2 p.m.
Events 93rd Annual Indian Market
The Plaza Market 8 a.m.-5 p.m.; SWAIA Fashion and Designer Challenge, 9 a.m.-noon, on the Plaza; Classification X award winners film screening, 1 p.m., New Mexico History Museum.
Native Cinema Showcase
New Mexico Museum of History, 113 Lincoln Ave. Shorts and features; some filmmakers in attendance for post-screening conversations; vcoisit swaia.org for full schedule of films, final day.
Palace of the Governors Portal Artisans Celebration POG courtyard, through the Blue Gate on Lincoln Avenue, 505-476-5100 Music, handcrafted wares, raffles, traditional dances, and food, 10 a.m.-5 p.m., no charge.
Zozofest
Railyard Plaza, 1607 Paseo de Peralta and Sanbusco Market, 500 Montezuma Ave. Kick-off party for the 90th annual burning of
Zozobra; including a sneak peak of the big guy, the 10th Annual Will Schuster's Art & Photography exhibit of historic and contemporary works, live music at the Water Tower, and the 2014 poster signing, 11 a.m.-6 p.m., presented by the Santa Fe Kiwanis Club, no charge.
Nightlife
(See Page 104 for addresses)
Cowgirl BBQ
Bottom Dollar String Band, noon-3 p.m.; Cajun/ blues/pop guitarist Rick Mena, 8 p.m.; no cover.
Duel Brewing
Prana Jazz Trio, 5-7 p.m., no cover.
In Concert Native Spirits
Jean Cocteau Cinema Contemporary Native Trio; Sky Redhawk on flute, Ken Estrada on drums, and Tommy Vigil on drums and flute, 7 p.m., $10 in advance online at jeancocteaucinema.com, $15 at the door.
Santa Fe Bandstand
The Plaza Folk-rock trio Wildewood, 6-7 p.m.; honky-tonk pianist Earl "Poole" Ball & Friends, 7:15 p.m.; no charge, final week.
El Farol
Theater/Dance
Evangelo’s
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.
Chanteuse Nacha Mendez, 7:30 p.m., call for cover. Tone and Company jam band, 8:30 p.m., call for cover.
La Posada de Santa Fe Resort and Spa
Country singer Wiley Jim, 7 p.m., call for cover.
Mine Shaft Tavern
Havana in Madrid!, chef Amaury Torres' pig roast; cocktails 5 p.m., Victor Alvarez and Savor, Cuban rhythms, 6 p.m., dinner 7 p.m., $40.
Second Street Brewery at the Railyard
Hot Honey, 1-4 p.m., no cover.
Vanessie
Antonio Granjero and EntreFlamenco
O'Keeffe! opening night
Warehouse 21 Carolyn Wickwire performs in a Flower and Bone Productions presentation of Lucinda McDermott's one-woman play, 7:30 p.m. $15 in advance at brownpapertickets.com, runs through Aug. 31.
Pianist Doug Montgomery, 6:30 p.m., call for cover.
Books/Talks
MONDAY 8/25
My Life in Art lecture series
Classical Music Santa Fe Chamber Music Festival finale
The Lensic Music of Telemann, Piazzolla, and Kodály; performers include oboist Liang Wang, violinist Benjamin Beilman, and cellist Ronald Thomas, 6 p.m., $10-$75, 505-988-1234, ticketssantafe.org or 505-982-1890, santafechambermusic.com.
SITE Santa Fe, 1606 Paseo de Peralta, 505-989-1199 Visual artist Suzanne Lacy discusses her work with Elizabeth Sackler of the Brooklyn Museum, 6 p.m., $5-$10.
Southwest Seminars lecture
Hotel Santa Fe, 1501 Paseo de Peralta, 505-466-2775 Native Peoples and Sovereignty, with Suzan Shown Harjo, 6 p.m., $12 at the door, series schedule available online at southwestseminars.org.
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WEDNESDAY 8/27 In Concert Avett Brothers
Santa Fe Opera, 301 Opera Dr. North Carolina-based folk-rock band, 8 p.m., $35-$55 in advance, ticketmaster.com, $40-$60 day of show.
Lila Downs
The Lensic Latin singer, 7:30 p.m., $39-$59, 505-988-1234, ticketssantafe.org.
Santa Fe Bandstand
The Plaza Roots/rockabilly band D.K. & The Affordables, 6-7 p.m.; new rock, country-wave band Drastic Andrew, 7:15-8:45 p.m.
O'Keeffe!
Santa Fe Fiesta Melodrama gala
Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 Annual send-up of every thing Santa Fe, directed by Andy Primm, gala opening 6 p.m., curtain 7:30 p.m., $25. (See story, Page 34)
Books/Talks
Odd Fellows Hall, 1125 Cerrillos Rd. Weekly all-ages informal swing dance, lessons 7-8 p.m., dance 8-10 p.m., dance $3, lesson and dance $8, 505-473-0955.
Nightlife
(See Page 104 for addresses)
Cowgirl BBQ
Karaoke with Michele Leidig, 8 p.m., no cover.
El Farol
Monday blues with the Tiho Dimitrov Band, 8:30 p.m., call for cover.
In Concert Santa Fe Bandstand
The Plaza Rock and roll cover band Chango, 6-7 p.m.; funk band The Sticky, 7:15-8:45 p.m.; no charge.
Nightlife
(See Page 104 for addresses)
¡Chispa! at El Mesón
Argentine Tango Milonga, 7:30-11 p.m., call for cover.
Cowgirl BBQ
Nashville-based singer/songwriters Tom Whall and Emily Earle, 8 p.m., no cover.
La Fiesta Lounge at La Fonda
El Farol
Bill Hearne Trio, pure country, 7:30-11 p.m., no cover.
Canyon Road Blues Jam, 8:30 p.m., call for cover.
Upper Crust Pizza
Bill Hearne Trio, pure country, 7:30-11 p.m., no cover.
Troubadour Gerry Carthy, 6-9 p.m., no cover.
Vanessie
Pianist Doug Montgomery, 6:30 p.m., call for cover.
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PASATIEMPO I August 22 -28, 2014
La Fiesta Lounge at La Fonda
Tiny’s
Singer/songwriters open-mic, 7-11 p.m., no cover.
Vanessie
Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.
THURSDAY 8/28 Gallery and Museum Openings New Mexico Museum of Art
107 W. Palace Ave., 505-476-5072 Syncretism, photographs by Delilah Montoya; Cameraless, group show of photograms; The Photo Lab, mixed-media photographs from the museum collection; Alcove Shows 1917-1927, works from the museum collection; free reception 5-7 p.m., through Dec. 7.
In Concert
The Plaza Songwriter Joe West and his theatrical-folk music bring the summer series to a close, 6-8:30 p.m.
Warehouse 21 Carolyn Wickwire performs in a Flower and Bone Productions presentation of Lucinda McDermott's one-woman play, 7:30 p.m., $20 in advance at brownpapertickets.com, runs through Aug. 31.
TUESDAY 8/26
Pianist Bob Finnie, 6:30-9:30 p.m., call for cover.
Theater/Dance Antonio Granjero and EntreFlamenco
Swing dance
Vanessie
Trova
María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco dance troupe, 8 p.m., $25-$45, 505-988-1234, ticketssantafe.org, nightly, except Tuesdays, through August.
Events
Electric jam, 8:30-11:30 p.m., no cover.
Dwight Yoakam
El Farol Latin global music ensemble with Nacha Mendez, Melanie Monsour, Carla Kountoupes, and Polly Tapia Ferber, 8 p.m. Wednesdays through August, $25.
Bareiss Gallery in Taos shows work by photographer Meredith Mason Garcia, 15 Ski Valley Rd.
Tiny’s
Mark O'Connor
Santa Fe Public Library, Main Branch, 145 Washington Ave. The violinist demonstrates his teaching method with violinist Maggie Dixon, 3:30 p.m.
Nightlife
(See Page 104 for addresses)
Burro Alley Café Lounge
Jazz (off the Plaza), with Le Chat Lunatique on the patio; swing-dance lessons and DJ inside; 7-11 p.m., no cover.
¡Chispa! at El Mesón
Flamenco guitarist Chuscales, 7-9 p.m., no cover.
Cowgirl BBQ
Alto Street Band, nugrass, 8 p.m., no cover.
Duel Brewing
Santa Fe Opera, 301 Opera Dr., 505-986-5900 Country singer/songwriter, 7:30 p.m., $153-$178, proceeds benefit Santa Fe Prep's tuition-assistance program.
Santa Fe Bandstand closing night
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.
O'Keeffe!
Warehouse 21 Carolyn Wickwire performs in a Flower and Bone Productions presentation of Lucinda McDermott's one-woman play, 7:30 p.m., $20 in advance at brownpapertickets.com, runs through Aug. 31.
Santa Fe Fiesta Melodrama
Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 Annual send-up of every thing Santa Fe, directed by Andy Primm, 7:30 p.m., $20, discounts available, Thursdays-Sundays through Sept. 7. (See story, Page 34)
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 Valerie Verzuh of the David Bradley exhibit, 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.
Kathleen Wall: Harvesting Traditions
Pablita Velarde Museum of Indian Women in the Arts, 213 Cathedral Place, 505-988-8900 The noon dialogue series continues with the ceramicist, by museum admission, pvmiwa.org.
Nightlife
Bluegrass band Them Traveling Birds, 7:30 p.m., no cover.
(See Page 104 for addresses)
La Fiesta Lounge at La Fonda
¡Chispa! at El Mesón
La Posada de Santa Fe Resort and Spa
Cowgirl BBQ
Soulstatic, 7:30 p.m.-close, no cover. Country singer Wiley Jim, 7 p.m., call for cover.
Palace Restaurant & Saloon
DJ Oona, trash disco, 8:30 p.m., no cover.
Jazz pianist John Rangel, 7-9 p.m., no cover. Bluegrass band Locust Honey, 8 p.m., no cover.
Duel Brewing
Rockers Bill Palmer and Stephanie Hatfield, 7:30-10:30 p.m., no cover.
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
Soulstatic, 7:30 p.m.-close, no cover.
La Posada de Santa Fe Resort and Spa
Pat Malone Jazz Trio, 6:30-8:30 p.m., no cover.
Palace Restaurant and Saloon
Limelight karaoke, 10 p.m., no cover.
Pranzo Italian Grill
Pianist Robin Holloway, 6-9 p.m., call for cover.
The Matador
DJ Inky Inc. spins soul/punk/ska, 8:30 p.m., no cover.
Second Street Brewery
Paw Cole & The Clinkers, 6-9 p.m., no cover.
Shadeh
DJ Oona, retro rewind, 6-9 p.m., no cover.
Vanessie
Pianist Bob Finnie, 6:30-9:30 p.m., call for cover.
ALBUQUERQUE
Christo: Over the River
Albuquerque Museum of Art & History 2000 Mountain Rd. N.W., 505-243-7255 The artist discusses his planned site-specific installation Over the River: Project for the Arkansas River, Colorado, 6-8 p.m. Friday, Aug. 22, catalogue signing follows, call 505-338-8760 to reserve a seat for this free event.
Albuquerque Latin Dance Festival 2014
National Hispanic Cultural Center, 1701 Fourth St. S.W. The festival culminates in a double-bill concert featuring Toby Love and Son Como Son, 6:30 p.m. Saturday, Aug. 23, $37 in advance, $40 day of show, 505-724-4771.
Digital Latin America public programs
UNM Interdisciplinary Film & Digital Media, Mesa del Sol, 5700-B University West Blvd. Free screenings of Miguel Alvear's films: Blak Mama and Más allá del Mall? (Why Not the Mall?), 7 p.m. Saturday, August 23, held in conjunction with 516 Arts group show Digital Latin America, call 505-277-2286 or 505-242-1445 for information.
Rahim Alhaj
Outpost Performance Space, 210 Yale Blvd. S.E., 505-268-0044 Oud player, with percussionist Issa Malluf and members of the Chatter String Quartet, 7 p.m. Saturday, Aug. 23, $25 in advance at brownpapertickets.com.
Chatter Sunday
The Kosmos, 1715 Fifth St. N.W. The ensemble performs music of Bach and Steve Reich, 10:30 a.m. Sunday, Aug. 24, poetry reading follows, $15 at the door only, discounts available, chatterabq.org.
Chatter Cabaret
Hotel Andaluz, 125 Second St. N.W. James D'León: piano recital; music of Liszt, Stephen Montague, and Alberto Ginastera, 5 p.m. Sunday, Aug. 24, $25 in advance at brownpapertickets.com.
ANGEL FIRE
Music From Angel Fire
Angel Fire Community Center, 15-CS Ranch Rd. The 31st festival season continues with an annual salon concert, 2 p.m. Sunday, Aug. 24, tickets start at $30, discounts available, musicfromangelfire.org., 888-377-3300.
EAGLE NEST
Music From Angel Fire
Eagle Nest Elementary/Middle School, 225 Lake St. Free youth and family concert, 10 a.m. Thursday, Aug. 28, musicfromangelfire.org, 888-377-3300.
LOS ALAMOS
Gordons’ Summer Concerts
The free music series continues with Nashvillebased rock and Americana band Heavy Heavy Hearts, 7 p.m. Friday, Aug. 22, Ashley Pond, performance schedule available online at gordonssummerconcerts.com.
PEÑASCO
Peñasco Theatre
15046 NM 75, 575-587-2726 Aerial-dance and physical-theater trio Mandy Greenlee, Julie Rooney, and Sonya Smith perform in a show titled Convergent Forms, 7:30 p.m. Friday and Saturday, Aug. 22-23, $10 in advance at brownpapertickets.com.
TAOS
Filmmakers/Performers/Playwrights Coro de Cámara
UNDER 21
Miles Ahead
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.
Warehouse 21, 1614 Paseo de Peralta, 505-989-4423 Local jazz percussionist John Trentacosta introduces the 1986 PBS documentary as part of a free jazz film series, 7 p.m. Monday, Aug. 25.
Santa Fe Playhouse Workshops auditions
Garden Sprouts
Santa Fe Playhouse Workshops, 3205-B Richards Lane, 505-988-4262 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 fewer 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 no later than Monday, Sept. 15 to Cristina Duarte at the playhouse.
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.
PASA KIDS
Santa Fe Botanical Garden, 725 Camino Lejo, Museum Hill Storytelling and hands-on activities for children ages 3-5 accompanied by an adult, 9-10 a.m. Friday, Aug. 22, $5 suggested donation.
Zozofest
Railyard Plaza, 1607 Paseo de Peralta and Sanbusco Market, 500 Montezuma Ave. Kick-off party for the 90th annual burning of Zozobra; including a sneak peak of the big guy, the 10th Annual Will Schuster's Art & Photography exhibit of historical and contemporary artwork and photographs, live music at the Water Tower, and the 2014 poster signing, 3-10 p.m. Saturday, Aug. 23, 11 a.m.-6 p.m. Sunday, Aug. 24, presented by the Santa Fe Kiwanis Club, no charge.
Flamenco’s Next Generation: series finale
The Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco group from the María Benítez Institute for Spanish Arts, 2 p.m. Sunday, Aug. 24, institutespanisharts.org. ◀
Events/Performances Music From Angel Fire
Taos Community Auditorium, Taos Center for the Arts, 145 Paseo del Pueblo Norte 7 p.m. Saturday, Aug. 23: music of Bach, Saint-Saëns, and Bright Sheng, performers include pianist Andrew Hsu, cellist Peter Wiley, violist Steven Tenenbom, and the Coyote Quartet; 10 a.m. Wednesday, Aug. 27: free youth and family concert performed by musicians from the Young Artist program and hosted by Toby Appel; 7 p.m. Wednesday, Aug. 27: Barocco Italiano, music of Farina, Tartini, and Vivaldi; performers include harpsichordist Robert Wolinsky, oboist Stephen Taylor, flutist Tara Helen O'Connor, and violinist Ani Kavafian, tickets start at $30, discounts available, musicfromangelfire.org, 888-377-3300.
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 Wednesday, Sept. 17, guidelines and fee information are available online at santafeworkshops.com.
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
Call for sponsors, volunteers, and vendors to participate in an inaugural evening of live music and other entertainment, with food trucks, 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. Windsor Betts shows work by painter Kevin Red Star, 143 Lincoln Ave.
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Justin Furstenfeld: An Open Book Tour
Gig Performance Space, 1808 Second St. Guitarist/songwriter, 7:30 p.m. Saturday, Sept. 13, $20 at the door, gigsantafe.com.
Violent Femmes
10th Annual ShortGrass Music Festival
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
MUSIC
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
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.
Michael Hearne's 12th Annual Big Barndance Music Festival
Taos Valley Sky Valley The lineup includes, Butch Hancock, Max Gomez, Trout Fishing in America, Shake Russell, The Rifters, and Michael Hearne and South by Southwest, Thursday-Saturday, Sept. 4-6, festival pass $100, Thursday or Friday only $40, Saturday, $45, advance tickets available at holdmyticket.com.
Big Al Anderson
Jean Cocteau Cinema Singer/songwriter, 7 p.m. Wednesday, Sept. 10, $25, jeancocteaucinema.com.
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.
Cabaret and the Spirit of Montmartre
Santa Fe Playhouse, 142 E De Vargas St., 505-988-4262 Pianist and singer Charles Tichenor's one-man show, 7 p.m. Friday and Saturday, 2 p.m. Sunday, Sept. 12-14, $20.
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.
Santa Fe Symphony
The Lensic The 31st-season opener titled Showcase of the Stars features soloists violinist Mark Kaplan and cellist Clancy Newman, led by guest conductor Kevin Rhodes, music of Monti, Popper, and Tchaikovsky, 4 p.m. Sunday, Sept. 14, free lecture 3 p.m., $22-$76, discounts available, 505-988-1234, ticketssantafe.org.
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.
Kiva Cimarroncita Ranch Retreat at Ute Park, Colfax Tavern, and United Methodist Church of Cimarron Jarana Beat 7 p.m. Friday, Sept. 19, $10; Randy McAllister, Hwy 38 Houndogs open, 7 p.m. Saturday, Sept. 20, $20, 21+; violist Matthew Lipman and pianist Yi-Fang Huang, 4 p.m. Sunday, Sept. 21, $10; 575-376-2417, shortgrassfestival.com.
¡Globalquerque!
National Hispanic Cultural Center, 1701 Second St. S.W. The 10th annual celebration of world music and culture boasts an international lineup headed up by Afro-Cuban All-Stars, Beto Jamaica Rey Vallento (Columbia), Calypso Rose and Kobo Town (Trinidad and Tobago), and DVA (Czech Republic), Friday and Saturday, Sept. 19-20, $19-$69, tickets available in advance online at globalquerque.org or at the box office.
Santa Fe Music Collective jazz concerts
Museum Hill Café, 710 Camino Lejo Friday, Sept. 19, flugelhornist Dmitri Matheny; Thursday, Oct. 2, guitarist Joshua Breakstone; Friday, Oct. 17, flutist Ali Ryerson; all performances begin at 7 p.m., $25, 505-983-6820.
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).
Serenata of Santa Fe
First Presbyterian Church, 208 Grant Ave. All Chamber Music all the Time ushers in the 2014-2015 season; programs include music of Golijov, Reinecke, Britten, and Barber; visit serenataofsantafe.org for details.
Buckwheat Zydeco
Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta Stanley "Buckwheat" Dural Jr. performs in support of KSFR Radio, 7:30 p.m. Wednesday, Sept. 24, $25 in advance at brownpapertickets.com, $30 at the door.
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
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.
Cascarones
Teatro Paraguas, 3205 Calle Marie DNAWORKS and Teatro Paraguas presents a play by Irma Mayorga, 7 p.m. Thursdays-Saturdays, 5 p.m. Sundays, Sept. 4-14, $15, discounts available, gala performance and reception Saturday, Sept. 6, $100, 866-394-6033. Lyle Lovett performs at the Downs of Santa Fe on Sept. 13.
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National Theatre of London in HD
The Lensic The broadcast series continues with Medea, 7 p.m. Thursday, Sept. 11; A Streetcar Named Desire, 7 p.m. Tuesday, Sept. 16; $22, 505-988-1234, ticketssantafe.org.
HAPPENINGS
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.
Tony Hsieh
James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. The Zappos CEO and philanthropist in conversation with Geoffrey West of Santa Fe Institute on the science behind urban growth as it applies to Santa Fe, 6 p.m. Wednesday, Sept. 3, $20, students $5, 505-988-1234, ticketssantafe.org.
Tribute luncheon honoring Nancy Zeckendorf
La Posada de Santa Fe Resort & Spa Benefit for Women to Watch at the National Museum of Women in the Arts, 11:30 a.m. Friday, Sept. 5, $100, registration information available online at newmexicowomeninthearts.org.
FUZE-SW 2014: Food + Folklore Festival
Museum of Indian Arts and Culture and Museum of International Folk Art, Museum Hill A food conference offering conversations with chefs, authors, and artists, tastings, breakfasts, lunches, and dinners; held FridaySunday, Sept. 12-14, details and tickets available online at fuzesw.museumofnewmexico.org.
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 Cheeseburger 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.
Santa Fe Renaissance Fair
El Rancho de las Golondrinas, 334 Los Pinos Rd. 505-471-2261 Juggling/stilt-walking/magic troupe Clan Tynker performs amongst medieval-combat re-enactments; also, kids' games and food vendors, 10 a.m.-6 p.m. Saturday and Sunday, Sept. 20-21, $10, discounts available.
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.
AT THE GALLERIES
Art Exchange Gallery
60 E. San Francisco St., Suite 210, 505-603-4485 Quanah Parker Burgess: New Paintings and Prints, 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, through Aug. 30.
David Rothermel Contemporary
142 Lincoln Ave., Suite 102, 575-642-4981 Archetype Series, paintings by the gallerist, through Wednesday, Aug. 27.
Than Povi Fine Art Gallery
6 Banana Lane, 505-455-9988. Paintings, prints, and micaceous jewelry by Gerald New Deer Nailor, through Sunday, Aug. 24.
William Siegal Gallery
540 S. Guadalupe St., 505-820-3300 Balandrán, 17th- and 18th-century Aymara and Quechua ponchos, through Tuesday, Aug. 26.
MUSEUMS & ART SPACES Santa Fe Center for Contemporary Arts
1050 Old Pecos Trail, 505-982-1338 New Perspectives, installation by sculptor Chuck Ginnever (Muñoz Waxman Gallery); Messages From the Wounded Healers, paintings by Sam Scott (Spector Ripps Project Space); reception 6-8 p.m. Friday, Aug. 22; through Nov. 2 • Subliminal Memory, paintings by David Rudolph, through Sept. 7. Open Thursdays-Sundays; ccasantafe.org.
SITE Santa Fe
western Pottery, traditional and contemporary works • Here, Now, and Always, artifacts from the museum collection; indianartsandculture.org; open daily.
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.
1606 Paseo de Peralta, 505-989-1199 SITElines 2014: Unsettled Landscapes, biennial exhibit New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072 of contemporary international works, through Jan. 11. Open Thursdays-Sundays; sitesantafe.org. Thursday, Aug. 28, openings: Syncretism, photographs by Delilah Montoya; Cameraless, Georgia O’Keeffe Museum group show of photograms; The Photo Lab, 217 Johnson St., 505-946-1000 mixed-media photographs from the museum Georgia O’Keeffe and Ansel Adams: The Hawaii collection; Alcove Shows 1917-1927, works from Pictures • Abiquiú Views; through Sept. 17. the museum collection; free reception 5-7 p.m. Open daily; okeeffemuseum.org. Thursday, Aug. 28, through Dec. 7 • Local Color: Judy Chicago in New Mexico 1984-2014, focusing Museum of Contemporary Native Arts on public and personal projects, through Oct. 12 108 Cathedral Place, 505-983-1777 • Focus on Photography, rotating exhibits • Beneath Rattlebone, paintings and prints by Ric Gendron; Our Feet, photographs by Joan Myers • Grounded, The Desert Never Left "The City," work by painter landscapes from the museum collection • Photo Mario Martinez; Saligaaw (it is loud-voiced), Lab, interactive exhibit explaining the processes mixed media by Da-ka-xeen Mehner; Breach: used to make color and platinum-palladium Log 14, video installation by Courtney M. Leonard; prints from the collection, through March 2015 exhibits run through December • Looping • New Mexico Art Tells New Mexico History, screenings of the documentary Bert & Wei Wei: including works by E. Irving Couse, T.C. Cannon, TIME 2014 by Daniel Hyde and Blackhorse Lowe and Agnes Martin, through 2015 • Spotlight through Oct. 16; iaia.edu/museum; closed on Gustave Baumann, works from the museum’s Tuesdays. collection, through 2015; nmartmuseum.org; Museum of Indian Arts & Culture open daily through Oct. 7. 710 Camino Lejo, Museum Hill, 505-476-1250 Pablita Velarde Museum of Indian Women (See story, Page 50) Footprints: The Inspiration and in the Arts Influence of Allan Houser, five monumental works 213 Cathedral Place, 505-988-8900 by the late Chiricahua Apache sculptor displayed outdoors; accompanied by works of other sculptors Harvesting Traditions, work by ceramicist Kathleen Wall, through Jan. 4, 2015. Closed including Houser's sons Bob Haozous and Philip Mondays; pvmiwa.org. Mangas Haozous, Doug Hyde, Estella Loretto, and Robert Shorty; through May 2015 • Turquoise, Poeh Cultural Center and Museum Water, Sky: The Stone and Its Meaning, highlights 78 Cities of Gold Rd., 505-455-3334 from the museum’s collection of jewelry, longterm The P'osuwäegeh Ówingeh Story: Scarcity & • Native American Portraits: Points of Inquiry, Abundance, contemporary pottery, sculpture, and vintage and contemporary photographs, through jewelry, through Nov. 14 • The Kee …, 2-D and 3-D January 2015 • The Buchsbaum Gallery of South video installation by Ehren Kee Natay, through Nov. 14 • Nah Poeh Meng, 1,600-square-foot installation highlighting the works of Pueblo artists
Cuff by Angie Reano Owen of Santo Domingo Pueblo, in the Museum of Indian Arts & Culture exhibit Turquoise, Water, Sky: The Stone and Its Meaning.
and Pueblo history; poehcenter.org; closed Saturdays and Sundays. Also, ongoing sculpture exhibits in the Tower Gallery, 505-455-3037; roxanneswentzell.net; closed Sundays.
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.
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.
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Brad Wilson: Bateleur Eagle # 1, St. Louis, MO 2012, archival pigment print
A P E E K AT W H AT’S S H OW I N G A R O U N D TOW N
Wendy Red Star: Abilene Tight Spot 2014, archival pigment print Winterowd Fine Art, 701 Canyon Road, 505-992-8878 Curator Silvester Hustito and Winterowd present Modern Illusions in Native American Art, a show exploring Native culture in paintings, sculptures, installations, and works on paper. Pieces by Marla Allison, Jamison Chas Banks, Brian Coffin, Wendy Red Star, and others are included. The opening reception is on Friday, Aug. 22, at 5 p.m.
Photo-eye Bookstore + Project Space 376-A Garcia St. 505-988-5152 Avian: Selected Works From the Affinity Series is an exhibition of Brad Wilson’s dramatic studio portraits of ravens, owls, eagles, and other birds of prey shot in striking detail against a black backdrop. The opening reception is at 5 p.m. Friday, Aug. 22, and includes a signing of Wilson’s new monograph, Wild Life, published by Prestel.
Brad Stroman: Taos Twilight 2014, acrylic on panel Convergence Gallery, 219 W. San Francisco St., 505-986-1245 The gallery presents new paintings by Brad Stroman. Inspired by the Japanese Zen philosophy of wabi-sabi and combining abstract and figurative imagery, Stroman’s paintings are meditative reflections on nature and the impact of humans on the environment. The reception takes place on Friday, Aug. 22, at 5 p.m.; the artist gives a talk about his work at 6 p.m.
Matthew Chase-Daniel: Dollar Distribution 2014, photograph
John Hitchcock: Owler 2014, screen-print and ink Eggman and Walrus Art Gallery, 130 W. Palace Ave., 2nd floor 505-660-0048 A show titled Bombs, Birds & Buffalos exhibits contemporary Native art by John Hitchcock and Monty Little. Hitchcock’s prints explore social and political issues through hybrid military and animal imagery. Little creates nonobjective abstractions in mixed media. The show, on view beginning Friday, Aug. 22, also includes works by Duhon James, Stephanie Love, and others. The opening reception is on Saturday, Aug. 23, at 6 p.m.
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Axle Contemporary 505-670-5854 or 505-670-7612 Axle Contemporary’s series Economologies features events centered around art and economic systems. On Friday, Aug. 22, at 5 p.m., a money-related exhibit opens at Axle’s mobile gallery, which will be located at 1606 Paseo de Peralta, in front of SITE Santa Fe. On Wednesday, Aug. 27, a roundtable discussion, Creative Approaches for Economics, Ecology, and Life, takes place at the Santa Fe Art Institute (1600 St. Michael’s Dr.). For a complete list of Economologies events, locations, and times, visit www.axleart.com. Events are free to the public.