The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture August 29, 2014
www.sfsr.com
Train Rides!
Santa Fe Southern Railway Trains include: Call now! 1-855-730-2 040
eat
Gourmet | Local | On Board
explore
Southwest | Scenery | Santa Fe
experience
Vintage | Comfort | Unforgettable
Ask us about 526 Galisteo Street • 820.0919 www.restaurantmartin.com
lunch / dinner every day including:
Zozobra! This Friday, August 29th, 2014
‘CASUAL’ MENU ITEMS AVAILABLE AT DINNER Join us for Happy Hour (4 - 6 p.m. Mon. thru Fri.)
FULL BAR • FREE WI-FI • HDTV 231 Washington Ave. • Santa Fe
505 • 984 • 1788
please visit our website for full menus & ‘Instant’ Gift Certificates!
www.santacafe.com
2
PASATIEMPO I August 29 - September 4, 2014
Ride Only Options!
Book Now
25% off
Use code: NM714
Super SuMMer Sale 40% - 75% OFF Cottons • Jerseys • Linens
This is not a sofa bed,
it’s an eye-catching, sleep-inducing, marvel of modern engineering.
25% OFF
Summer Hats • Rare Textiles • Costumes India Prints • Mexican Embroidered or Beaded Shirts • India Kurtas Great Sale Racks
$20 - $40 - $60
The New Comfort Sleeper
™
505-988-2323 | originssantafe.com 135 West San Francisco St. Santa Fe, NM 87501
ortegas O N
T H E
botwin eye group
&
e y e s
P L A Z A
o p t i c s s a n t a
f e
Don Lucas
505.954.4442
Dennis Hogan
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. Dr. Mark Botwin
101 W. SAN FRANCISCO ST
SANTA FE
505-988-1866
OPEN 7 DAYS
| Dr. Jonathan Botwin | Dr. Jeremy Botwin
Mon-Fri 8:00-6:00, Sat 8:30-12:00 444 St Michaels Drive | BotwinEyeGroup.com
PASATIEMPOMAGAZINE.COM
3
2014–2015 EVENTS
4
17 SEPTEMBER
Alfredo Corchado with Melissa del Bosque
10 OCTOBER
Max Blumenthal with Amy Goodman
[FR I DAY]
22 OCTOBER
Alice McDermott with Michael Silverblatt
12 NOVEMBER
Ann Jones with Andrew Bacevich
10 DECEMBER
Gary Shteyngart with Mary Karr
28 JANUARY
Karen Russell with Porochista Khakpour
4 FEBRUARY
James Baldwin Tribute Evening
4 MARCH
Kevin Barry with Ethan Nosowsky
18 MARCH
Noam Chomsky with David Barsamian
8 APRIL
Ta-Nehisi Coates
15 APRIL
Wallace Shawn with Michael Silverblatt
29 APRIL
Naomi Klein with Katharine Viner
6 MAY
Claudia Rankine with Saskia Hamilton
PASATIEMPO I August 29 - September 4, 2014
Goodbye! We’ll Miss You!
THE OPPORTUNITY IS GOLDEN SO IS THE STANDARD from
ClosinG sale 20-70% off everYThinG
$349/month + ttl*
IS
RX from
Thank You!
$409/month + ttl* GS from
$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.
223 Galisteo between Water & Alameda • 505.983.6331 Monday-Saturday 10-6 • Sunday 11-5 Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room • Bedroom • Entertainment • Lighting • Accessories
Southwestern Style • One-of-a-kind Pieces Reasonable prices every day of the year
Las Cruces Two Door Credenza $686 or Four Door $1096
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
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THE RAILYARD S
HA
A AL FESTIV
E AN T A F
SEPTEMBER
AT THE RAILYARD SEPTEMBER 7 • 6 – 9pm / Farmers Market Pavilion
French Table Linen Warehouse Sale Thursday, August 28th through Monday, September 1st 10am - 5pm daily
GREEN CHILE CHEESEBURGER SMACKDOWN
Vote to choose who will wear the crown! • santafe.org SEPTEMBER 13 • 9am – 12pm / Railyard Park
WALK TO END ALZHEIMERS
Come walk with us to fight Alzheimers • alz.org SEPTEMBER 14 • 1– 9pm / Railyard Plaza
4TH ANNUAL AHA FESTIVAL
Arts, Music, Dance, Food & more – all day long! • ahafestival.com SEPTEMBER 26 • 5 – 7pm / All Railyard Galleries
LAST FRIDAY ARTWALK
Presented by RAD, a cooperative of 10 Railyard art galleries, the last Friday of every month • santaferailyardartsdistrict.com SEPTEMBER 26 • 5 – 7pm / Railyard Water Tower Cool jazz for the Water Music Series from Santa Fe’s Swingset A project of the Railyard Art Committee.
CONTINUING . . .
SANTA FE ARTISTS MARKET
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 ...
RAILYARD ARTISAN MARKET
Imported directly from the South of France. On Sale at Great Prices.
SANTA FE FARMERS MARKET
Tuesday 8am–1pm / Saturday 7am-12pm Railyard Plaza & Shade Structure • santafefarmersmarket.com Saturdays / 8am–1pm / Railyard Park • santafeartistsmarket.com Sundays 10am– 4pm / Farmers Market Pavilion artmarketsantafe.com
SECOND STREET BREWERY
Also Available: Custom Sizes, Extra Wide Tablecloths, & Extra Large Rounds.
Live Music Thursday–Sunday / Open Mic Night 6–9pm Tuesday secondstreetbrewery.com
WAREHOUSE 21 OPEN JAM NIGHT
Wednesdays / 7–9pm
•
warehouse21.org
AXLE CONTEMPORARY PERFORMANCE ART SERIES Various Dates / Shade Structure Various times and artists • axleart.com
ALL EVENTS FREE UNLESS NOTED For more information, and a printable Railyard map, visit:
WWW.R AILYARD S AN TA F E .C OM 6
PASATIEMPO I August 29 - September 4, 2014
Santa Fe Women’s Club
1616 Old Pecos Trail, Santa Fe 860-876-0800 • www.ameliemichel.com
BMW VALUE SERVICE. If your BMW is out of warranty, BMW Value Service is here to help. Reasonable costs combined with the peace of mind of knowing your vehicle is in the hands of BMW trained technicians make BMW Value Service a clear choice. Schedule a complimentary multi point inspection, or better yet, take us up on our $79.95* oil change. Santa Fe BMW 2578 Camino Entrada | Santa Fe, NM 87501 | SantaFeBMW.com *Offer is valid for all BMW 3 series models except for M cars. Price excludes tax. Please Call for details.
Lensic Presents
Broadcast in Hd
Medea
by Euripides
September 11, 7 pm $22
Helen McCrory (The Last of the Haussmans) stars in this classic Greek tragedy of revenge.
(505) 216-3800 6824 CERRILLOS RD
“Extraordinary. Helen McCrory ascends to greatness.” —Sunday Times (UK)
SponSorEd by
“A piercing, painful vision of passion and betrayal.” —Evening Standard (UK)
Tickets: 505-988-1234 www.TicketsSantaFe.org SERVICE CHARGES APPLY AT ALL POINTS OF PURCHASE
th e lensic is a non profit, member-supported organ ization
PASATIEMPOMAGAZINE.COM
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RECEPTION SPONSOR LANB PRESENTING SPONSOR Pond Bay Charitable Gift Fund LUNCHEON SPONSOR Chevron LEGEND SPONSORS Tom and Martha Dillenberg EAGLE SPONSOR MERRILL LYNCH BIRDIE SPONORS C.T. Herman and Merrill Lynch Gillespie, Robinson & Grimm, Inc. Hub International Keller Williams Walmart Espanola HOLE-IN-ONE SPONSOR Furry’s Buick GMC TEAM SPONSORS Tom Abrams Bob and Susan Buddendorf Susie and Gary Fisher Mark and Rosa Silbert Bill and Robin Eiland Zlotnick, Laws, Sandoval, PC PNM Susan Phillips Santa Fe Community Foundation Furry’s Buick GMC Creative Interiors, Inc. Coca Cola Bottling Co. of Santa Fe Tom Moss The Galpert*Ortega Group of Wells Fargo Advisors Sam Haas and Bob Busch Las Campanas Realty Alicia and Bill Miller Reynolds Insurance Ed and Kathy Schulz Buck and Kelly Smith Tsay Corporation Wells Fargo Foundation TEE SPONSORS Ambassador Sidney Graybeal Century Bank Dermatology of Santa Fe Malouf on the Plaza EAI/Envall Asssociates, Inc. Albert and Elizabeth Kidd Sotheby’s International Realty Foundation Center for Venous Disease Nancy and Jacques Herzog Percy Trujillo Phillip and Carole Coviello Joe and Gayle Forehand Ildy and Skip Poliner Stauffer & Associates PLLC Constellation Home Electronics Los Alamos National Security Laboratory Barker Realty, LLC and Christie’s Int’l Real Estate 8
DONORS Mauna Kea Beach Hotel Cheryl Jernigan Gary and Arlene Frossard Black Mesa Golf Club Randy Chitto BMW of Santa Fe Roseta M. Santiago The Club at Las Campanas Gabriel’s The Compound Phyllis Frier Jinja Bar & Bistro Nedra Matteucci Galleries PAA-KO Ridge Golf Club Santa Fe Country Club Santa Fe Dining, Inc. Four Seasons Rancho Encantado Hyatt Regency Tamaya Resort & Spa Patricia McFate The Shed, Inc. Towa Golf Club at the Santa Fe Hilton Twin Warriors Golf Club Winterowd Fine Art Santa Fe Women’s Ensemble David & Stephanie Wirt Drew Setter, Inc. Signs & Images Santa Fe Print & Images Lynn Petrelli Canyon Ranch Resort & Luxury Spa Dr. & Mrs. Carl Trinca Mr. & Mrs. Edward Henry J.R. Rippel & Co. Santa Fe Balloons Dr. Phil Edgerton Hutton Broadcasting Moss Designs Bon Marche Phil George High Desert Health Care & Massage Christine McHorse Buffalo Thunder Resort & Casino Drury Hotel Jason Epstein Dell Fox Jewelry Nambe Nance Lopez Santa Fe Pens Array Samuel Design Group Bob Campbell Photography Charlotte Fine Jewelry Michael Naminga Rane Miller Rob Schneider Tom and Martha Dillenberg Roberta and Roger King Bouche 315 Bistro & Bar Dave Bigby Peter Wirth Carroll and Carol McDonald Gary and Priscilla Seger Tom Gordon Chris McLarry Charles Stephen and Company, Inc. Marty Sanchez de Links Taos Ski Valley Dancing Ladies de Santa Fe Tomasita’s Queen’s Ransom Alexander Valley Wines
PASATIEMPO I August 29 - September 4, 2014
Black Mesa Golf Club Cochiti Golf Club Jewel Mark/Jacqueline’s Place Artful Tea Pilates of Santa Fe Ulti-Skin Aesthetics by Ulti-Med Il Piatto Don Kirby L’Olivier Jambo Cafe Restaurant Martin Mid-Town Bistro Coyote Cafe Walter Burke Catering The Spanish Table Whole Hog Cafe Ten Thousand Waves/ Izanami Perfect 10 Budding Lotus Body Work Greg Gibson Endurance Nutrition Dr. Ryan Jensen Historic Taos Inn Chez Mamou BMW Championship John Heinritz Doug Lanham David and Peggy Feldt Tony and Sarah Sawtell
SEPTEMBER
Thank You to All the Supporters of Play It Forward 2014
4
CALENDAR OF EVENTS THURS
Southwestern Sleepers Sleep Apnea Lecture and Discussion 5:30 p.m., Health & Sci., Rm 433
5
FRI
AARP Back to Work 50+ Info Session 10 a.m. to Noon, Jemez Rooms
16
TUES
18
THURS
EVENT COODINATOR Lynn Petrelli AUCTIONEER MacKenzie Allen
855-850-2525
SFCC Governing Board Meeting
5 p.m., Board Room 505-428-1148 Board packet materials and information at www.sfcc.edu/about_SFCC/governing_board.
Opening Reception: PREcognition\ REcognition, Examining the Reciprocal Gaze in Godfrey Reggio’s Film “VISITORS” 5 to 7 p.m., Visual Arts Gallery
505-428-1501
Help SFCC Unleash the Power! Solar PV Array Ribbon Cutting Ceremony
PLAY IT FORWARD 2014 COMMITTEE CO-CHAIRS Bob Buddendorf Tom Dillenberg PLAY IT FORWARD 2014 COMMITTEE Tom Abrams Martha Dillenberg Tina Gibson Tom Moss Susan Phillips Antonio Lopez David Zlotnick Suzanne Zlotnick Patricia McFate C.T. Herman Gary Fisher Susie Fisher John Mikkelsen Jane Egan Chad Gasper David Loan Deborah Fahie Elle Webb Britt Gladu Jason Epstein Juan Mitchell
505-428-3101
Thursday, Sept. 18 1 p.m. Trades & Advanced Technology Center www.sfcc.edu/about_sfcc/solar_array See how 5 acres and more than 2,000 solar panels generates 1.5 megawatts of energy to fuel SFCC. While the panels are busy converting the sunlight into electricity, they also serve as teaching tools for SFCC students. PLUS...
College will be closed on Labor Day, Mon., Sept. 1. Registration for credit and noncredit courses is ongoing at sfcc.edu.
LEARN MORE. 505-428-1000 www.sfcc.edu
6401 Richards Ave., Santa Fe, NM 87508
EMPOWER STUDENTS, STRENGTHEN COMMUNITY. EMPODERAR A LOS ESTUDIANTES, FORTALECER A LA COMUNIDAD.
“JAMS” Event
(Jewelers Annual Meet & Swap) Friday, September 12th from 9am to 4pm
e pac s h oot ilable rs. b e e Fre ill ava stom st S cu ay! FJ tod S r fo Call
Up to 50 local jewelers selling recycled tools and jewelry making supplies! RESIDE 3200 Mercantile Ct. 505-988-9157 www.sfjs.net • info@sfjs.net
HOME PASATIEMPOMAGAZINE.COM
9
DON’T MISS OUR
Labor Day Events:
$5 MILLION BACK TO YOU
AUGUST:
29: Coconuts for Cash – Final Drawing 30: Jamaica Me Rich – Final Drawing 31: $10K Labor Day Giveaway – Progressive Cash $25-$1,000
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LABOR DAY
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SEPTEMBER: 1: 1:
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1: All-American Buffet $9.95, Noon-9pm Labor Day 1-800-GO-CAMEL camelrockcasino.com
10 Min. North of DOWNTOWN Santa Fe Exit 175 on Hwy 84/285
Lecture & Workshop Thom Allena, Ph.D.
Community Psychologist based in Santa Fe
Lecture: Place, Voice, and Containment – Pathways to Transforming Conflict & Violence
Coolsmooth: Treat Inner and Outer Thighs $1000 off in September Save the date: September 23rd 5-6 pm Coolsculpting Event Sign up at edenmedispa.com today! 505.988.3772 • www.edenmedispa.com Eden MediSpa 405 Kiva Ct | Santa Fe, NM 87505 10
PASATIEMPO I August 29 - September 4, 2014
Friday, September 5th 7-9pm $10 2 CEUs or 2 Cultural CEUs Drawing upon his work in the fields of restorative justice, conflict transformation and memorialization here in New Mexico and nationally, Dr. Allena will explore the dynamics of conflict and violation as well as practices of restoration and reconciliation within communities and institutions today. Trauma has collective as well as individual dimensions, transmission patterns that can span generations. Dr. Allena has found that meaningful social healing involves metaphoric structures that organize and arise spontaneously, sometimes in concert with, but often outside of our strategic interventions. He will highlight the roles that metaphors, images, memory, places, performance and rituals can each creatively play in processes of social healing and conflict transformation.
Workshop: Finding Our Way back – Reconciling People and Places in New Mexico
Saturday, September 6th 9am-4:30pm $80 6 CEUs or 6 Cultural CEUs In this session Dr. Allena will explore the role of place and history in conflict and violation today, specifically here in New Mexico. How does an unresolved history filled with conquest, violence and colonization influence individuals and communities today? Does a relationship exist between the traumatic history of New Mexico and our contemporary rates of poverty, violence, substance abuse and addictions, suicide, drug overdoses, DWI rates, et cetera? The complex relationship between identity and place in New Mexico will be considered. Could place be more than simply unrelated, inanimate objects? Might it have animated “persona” containing its own interiority, as Jung suggests? Do places carry the visceral remnants of violation as well as the seeds of healing and renewal? We will uncover and reflect upon animated phenomena associated with places in New Mexico that reveal both social violations and the terra firma for reconciling them. Both events take place at Center for Spiritual Living, 505 Camino de los Marquez, Santa Fe
Friday lecture tickets at the door. For Saturday workshop pre-registration call Jacqueline West, 505-984-0102 For expanded program details go to www.santafejung.org
ASPENSANTAFEBALLET
RUTH & PAUL KOVNAT SEASON PRESENTING SPONSOR
Encore!
August 30 | 8:00pm The Lensic, Santa Fe’s Performing Arts Center
LAST SHOW OF THE SUMMER!
“[Aspen Santa Fe Ballet has] big juice that electrifies intimate spaces.” – Chicago Tribune
Tickets: 505-988-1234 or online at www.aspensantafeballet.com CORPORATE SPONSORS
PREFERRED HOTEL PARTNER
BUSINESS PARTNER
Investment Management SEASON PRESENTING SPONSOR
FOUNDATIONS / GOVERNMENT
Melville Hankins
MEDIA SPONSORS
Family Foundation
Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers Tax, and made possible in part by New Mexico Arts, a Division of the Department of Cultural Affairs, and the National Endowment for the Arts.
PHOTO: ROSALIE O’CONNOR
WITH GREAT LOVE, YOUR CHILDREN AND GRANDCHILDREN PASATIEMPOMAGAZINE.COM
11
THE SANTA FE NEW MEXICAN
August 29 - September 4, 2014
www.pasatiempomagazine.com
ON THE COVER 36 Singing the glooms away Music has always played a part in the celebration of Santa Fe Fiesta — can you have a parade without music? — but in the mid-20th century, popular songs began to be written and printed specifically in honor of the event. The most enduring of these is the “Santa Fé Fiesta Song,” penned by bandleader and musician Billy Palou, which lives on to this day as the official song of Santa Fe Fiesta. When it was published in 1947, it sported a cover illustration by Will Shuster of his similarly durable invention, Zozobra, the giant puppet-monster who moans and groans again this week as he goes up in smoke and releases the community’s pent-up cares. (Image from the collection of James M. Keller.)
MOVING IMAGES
BOOKS 18
In Other Words: Colorless Tsukuru and His Years of Pilgrimage and Dear Committee Members
52 The Trip to Italy 54 To Be Takei 56 Land Ho! 58 Chiles Pages
MUSIC AND PERFORMANCE 26 28 32 35
Listen Up: The Dover Quartet Performance Santa Fe: 2014-2015 season Pasa Tempos Album reviews Random Acts: Mariachi Reyna de Los Angeles
CALENDAR 64
AND
ART
17 62
22 Burning Man: You can’t take it with you 40 Marc Dennis: Mind your manners 44 Honest Talk: Modern Illusions in Native American Art 48 Art of Space: Palace of the Governors
PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com
Mike Ross: Big Rig Jig, 2007, 18-wheeler tanker trucks, steel ©Scott London
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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Star Codes Restaurant Review: Anasazi Restaurant & Bar
ADVERTISING: 505-995-3852 santafenewmexican.com Ad deadline 5 p.m. Monday
Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 E. Marcy St., Santa Fe, NM 87501. Editorial: 505-986-3019. E-mail: pasa@sfnewmexican.com
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Pasa Week
Ginny Sohn Publisher
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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007
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MARKETING DIRECTOR Monica Taylor 505-995-3824
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RETAIL SALES MANAGER - PASATIEMPO Art Trujillo 505-995-3852
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ADVERTISING SALES - PASATIEMPO Chris Alexander 505-995-3825 Amy Fleeson 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830
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GRAPHIC DESIGNERS Rick Artiaga, Jeana Francis, Elspeth Hilbert, Joan Scholl
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ADMINISTRATIVE ASSISTANT Claudia Freeman 505-995-3841
Ray Rivera Editor
Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet
SECOND ANNUAL FARMERS SYMPOSIUM
Please join us for a farm-to-table luncheon followed by an educational forum covering local vs. global sourcing, engineered food, GMOs and GEOs and other trending topics in farming.
Sunday, August 31 11:00 a.m. - 2:00 p.m. Terra Courtyard
$35 PER PERSON
MARC DENNIS A$$HOLES ON CELL PHONES
OPENING RECEPTION FRIDAY, AUGUST 29, 5-7 PM UNTIL SEPTEMBER 20, 2014
DON’T MISS OUT on this informative annual event.
Please call (505) 946-5800 to reserve your seat or for more information. fourseasons.com/santafe
A percentage of all Zozobra sales support Kiwanis Club of Santa Fe. ZozobraTM ® Image used with permission of the Kiwanis Club of Santa Fe ©2011 “Will Shusterʼs Zozobra” TM ® The Kiwanis Club of Santa Fe All Rights Reserved
Charms and Pendants in sterling silver and 14kt yellow gold. Price starts at $45. Now available for purchase on our website: fairchildjewelry.com
ZANE BENNETT CONTEMPORARY ART 435 S GUADALUPE ST, SANTA FE, NM 87501 T: 505-982-8111 ZANEBENNETTGALLERY.COM
Stock Is Limited
ABOVE: MARC DENNIS, A$$HOLE ON CELL PHONE #3 (IT’S IMPOSSIBLE), 2014, INK ON PAPER, 22 X 30 IN. (55.9 X 76.2 CM)
505.984.1419 • 800.773.8123 • fairchildjewelry@aol.com • fairchildjewelry.com PASATIEMPOMAGAZINE.COM
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166 Avenida de Compadres $609,000 2859 sqft on 6 glorious acres capture country living at its best from your gracious portal. Spacious courtyard, cooks kitchen with granite counters and large island. MLS 201403224 Call for appointment.
USEd piano SalE! The world’s finest brand name pre-owned pianos At thousands off the price of a new model!
Steinway-Yamaha-Schimmel-Kawai-Baldwin & More 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, BĂśsendorfer, Schimmel, Estonia, Nearly New & Vintage Steinway 4640 menaul Blvd. ne, albuquerque
505.338.0028
Tuesday - saturday 11am to 5:30pm www.pianowerkes.com
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PASATIEMPO I August 29 - September 4, 2014
nadelbachphoto.com(c)
Stitch & Trim Tab-Right Hand Page Red Area-Bleed: 10.625” x 13” Blue Area-Trim: 10.375” x 12.5” Yellow Area-Image Area: 9.75” x 11.5” 1. Please set your document size to 10.625 x 13 2. Set the trim and image area sizes within the document size as shown by these 3 different colored boxes.
THE PREMIER SOURCE JEWELRY FASHION RUGS
61 Old Santa Fe Trail | Santa Fe, NM 87501 | 505.983.9241 | maloufontheplaza.com PASATIEMPOMAGAZINE.COM
15
20 $ 10
$
of food & Drink for only
It’s Time for the On Your Feet
FAMOUS Outdoor Sale ONE DAY ONLY!
Saturday, August 30, 10–3
†
50 OFF
Up to om eTaos.c Splurg
You Save 50%!
%
*
On many items from all 3 stores!
On Your Feet • Get it Together • On Your Little Feet To receive this offer, visit SplurgeTaos.com before midnight Wednesday, September 3 and purchase the Splurge certificate, which can be redeemed for the above offer. This advertisement is not a Splurge certificate.
*BRING THIS AD IN FOR AN ADDITIONAL 10% OFF SALE ITEMS ONLY! Weather permitting. Coupon expires 8/31/14. You must present this coupon at time of purchase for your extra 10% sale discount. No exceptions! Sanbusco Market Center • Info line 983-3900
†
m e d i c a l ly s u p e r v i s e d w e i g h t l o s s
Danny Mays, PA Offering the expertise and resources you need to lose weight. Our trained specialists will evaluate you and then carefully follow your nutrition and weight loss plans.
Appointment Line 505-395-3003 1650 Hospital Drive, Suite 800 Santa Fe, NM 87505 www.internalmedicinesf.com Building Health Together 16
PASATIEMPO I August 29 - September 4, 2014
STAR CODES
Heather Roan Robbins
Labor Day weekend is the industrious Virgo’s holiday, when we honor the workers and take one last break before we jump into a busy fall. As this weekend begins, a confusing, spacey sun/Neptune opposition will help us let go of our busy week so we can spend some time alone and renew. This sun/Neptune aspect can bring up unknown factors that challenge our judgment and leave us feeling impressionable and escapist. So let’s be extra careful not to drink and drive — and watch out as well for Neptunian problems around water, poison, confusion, and misdirection. Just for this weekend, let’s not plan ahead, but float, forgive, and revitalize instead. This weekend’s broody moon in suspicious Scorpio taps on Mars (in Scorpio for a few more weeks) and can really stir the depths of our psyche, whispering of melancholia and populating our dreams. Don’t believe conspiracy theories. Facts help pierce Neptunian fog. If we hear something either worrisome or too good to be true, let’s investigate further. We may feel more industrious and decisive on Sunday and Monday and be able to get back to our own household projects. Early next week, thoughtful Mercury enters friendly and relaxed Libra, soothing our nerves and helping us negotiate peace treaties and new friendships. Midweek, we can get clues about the incoming bounty and begin to plan ahead. Friday, Aug. 29: A confusing, sociable morning makes it easy to drift but challenging to complete tasks and get out of town. People are distracted if generally pleasant, though our judgment is questionable. Keep track of time to avoid missed connections, and prioritize patience over efficiency. Saturday, Aug. 30: Our respective solitudes can touch companionably as the moon enters Scorpio — just don’t demand full engagement. Midafternoon’s sleepy spell can move into an abundant evening as the moon squares Jupiter. Emotions overflow, larger than the story at hand, but we may only express a fragment. Sunday, Aug. 31: A bittersweet edge creeps in. We feel time flowing beneath our bridge this morning as the moon conjuncts Saturn: depression or melancholia wafts. Focus on a project with short-term rewards; do something wonderful with this creative discontent.
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
Monday, Sept. 1: A slow interior morning enlivens later as the moon enters Sagittarius and stirs our interests in horizons farther off. Picnic, hike, and share radical honesty. Tuesday, Sept. 2: Our nervous system calms down and curiosity awakens as communicative Mercury enters sociable Libra. Reconnect. We’re ready for a new adventure: though our attention span shortens, our interest range broadens. Meet strangers under the restless Sagittarius moon. Wednesday, Sept. 3: Watch the power dynamics and use determination and body language consciously. Notice insecure undertones but don’t let them run the show. Build trust through integrity and competence. Plans begin to coalesce. Thursday, Sept. 4: Get the syllabus organized and ducks in a row under an industrious Capricorn moon. Lingering depression improves with tangible progress. Don’t be hard on other souls in the name of pragmatic efficiency. ◀
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.roanrobbins.com PASATIEMPOMAGAZINE.COM
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IN OTHER WORDS book reviews Colorless Tsukuru Tazaki and His Years of Pilgrimage by Haruki Murakami, Alfred A. Knopf, 388 pages The title character in internationally acclaimed author Haruki Murakami’s latest novel, Colorless Tsukuru Tazaki and His Years of Pilgrimage, passively consents to the course of his existence. He accepts that, for better or for worse, things are as they were meant to be. His very name has preordained his calling. Tsukuru (which means to build or make) knew from an early age that he wanted to design train stations. Tsukuru’s chosen profession — crafting comfortable way stations along fixed rail routes — is overtly symbolic of his personal journey. After high school he leaves his four closest friends in his hometown of Nagoya to matriculate in Tokyo and immerse himself in the narrow, eccentric specialty. Until then, Tsukuru and his tight-knit set of friends functioned like a single unit. The three boys and two girls shared some traits — suburban upbringings in comfortable households headed by successful professionals, for instance. But all of the five friends differed distinctly from one another. Aka, whose name means red pine, is an innately intelligent boy, bordering on shy about his own smarts. He is diminutive — with an equally short temper — and unusually competitive, leaving his pals to wonder if the traits are somehow intertwined. Ao is the quick-witted, barrel-chested, good-looking jock of the crowd. He’s possessed with an unwavering attitude of optimism. His name means blue sea. Shiro — literally, white root — is the more visually striking of the two girls. Tall and slender with delicate features, Shiro is painfully shy. Her beauty triggers embarrassment when others observe it. She shares her greatest talent, playing the piano, only with people she knows. Kuro, whose name means black field, is no knockout. But she’s charming and tough, with an exceptional sense of humor. In one dubious regard, Tsukuru stands out among the team of friends. His name alone lacks any reference to color. Hence he is “colorless Tsukuru Tazaki,” a nickname befitting his pallid demeanor. Tsukuru is unremarkable and even refers to himself at times as “an empty vessel.” He’s plain in appearance and personality, with no outstanding talents or accomplishments to speak of, save for being the staid peg of his circle’s five-legged stool. The members of the gang of five had never sought one another out. Like most elements of Tsukuru’s life, their union had simply happened. They had met and jelled coincidentally when, as teens, they had volunteered for a youth program through the Catholic church.
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PASATIEMPO I August 29 - September 4, 2014
The friends had whiled away the few years before Tsukuru left for college cultivating their friendship — doing nothing special and quite enjoying it. They would get together on weekends with nothing planned and talk about whatever occupied their minds. Nonetheless, their time together had satisfied them, and their company had completed them, individually and collectively. They had so valued their friendships that they had set aside physical attractions to one another that risked upsetting the utopian balance. The inertia of their coexistence had hinted at no threats to it, so Ao had blindsided Tsukuru during his sophomore year in college with a phone call abruptly, and without explanation, banishing Tsukuru from the circle of friends. He was not to call them. He was not to visit them. He’d been cast out. Tsukuru had asked no questions. Instead, he had retreated into himself for months, quietly going about his life but secretly wishing for death. In the years that followed, he wondered if he — or some version of himself — had in fact perished with the loss of his friends. He had emerged from months of craving death reinvented in some ways, both externally and inwardly. In time Tsukuru had vanquished thoughts of his exile to the margins of his consciousness. There they had settled and taken root, never entirely disappearing. Murakami’s lucid writing style conveys Tsukuru’s subconscious experiences so realistically that you’re stricken at times by the eerie, familiar sense of a dream so vivid that you have to ask yourself whether it was real. The same question sometimes haunts Tsukuru. For 16 years after his mysterious expulsion from his group of friends, life continues to happen to Tsukuru. He meets Sara, a woman who works in the travel industry. Their relationship blossoms, and before long it becomes apparent to her that it can go no further until Tsukuru understands what caused the unhealed wound to his psyche long before. Sara convinces Tsukuru to confront his past. One by one, he seeks out the friends who abandoned him. Tsukuru travels home to Nagoya and halfway around the world to learn details of the shocking betrayal that one friend orchestrated against him and why the others fell in line to expel him. By taking that step, Tsukuru for the first time becomes more than a bystander in his own life. Colorless Tsukuru Tazaki and His Years of Pilgrimage is a testament to why readers in more than 50 languages anxiously await every new offering by Murakami. His longtime fans will find the book in keeping with his past successes. In classic Murakami style, this novel about a highly forgettable man and his unremarkable life is certain to be one of this year’s most memorable. — Patrick Malone
SUBTEXTS Body in motion Ruth Zaporah, the performance artist who created Action Theater, an improv technique, reads from her recently published memoir, Improvisation on the Edge: Notes From On and Off Stage (North Atlantic Books), at 6 p.m. on Tuesday, Sept. 2, at Collected Works Bookstore (202 Galisteo St., 505-988-4226). She will be joined in conversation by Awakened Life and The Open Source Project founder Joan Sutherland, Roshi, who wrote one of the book’s two forewords and whose organizations reimagine the Zen koan tradition as a tool for creativity. Zaporah’s memoir, told in present tense, is episodic and freeflowing, much like the improvisational dance and performance styles that have defined her creative output. The book recounts a diverse set of experiences, including i m p ro v i s a t i o n a l performances during her travels to Sarajevo and Kosovo, integrating and embodying her Zen practice in such disparate locations as Cuba and Estonia, along with the wisdom she’s gathered over a lifetime of working with the finite movements of the body. She imbues her prose with the wonder of discovery, encountering shamans, Buddhist teachers, and students of dance and theater looking for new ways to consider their craft. Her words move like poems — that is, not always grounded in reality — as when she recalls a time she was performing a dance in Boston about the war in the Balkans and the spirits of her three sons appeared to her in the wings. “I know I have no choice but to accept the illusion,” she writes of the experience. “I introduce each one and say fabulous words about them. No sooner is that accomplished than I feel myself flooded with rage. Rage is in the room and I can taste it, the taste of Kosovo.” Zaporah is describing a memory that comes to her during her Boston performance: she is menaced by a boy with a gun in the war-torn region, and she wants only, somehow, to keep her own sons safe. Zaporah then paces onstage, mumbling and sweating in the improvisational moment of discovering yet more aspects of herself. — Jennifer Levin
Laura
Suzanne
Wilson
Caporael
laura wilson, Angelica huston and wes Anderson, the royal tenenbaums , 2001, inkjet print
Suzanne Caporael, 670 , 2014, oil on linen
AuguSt 29 2014 – September 27 2014
AuguSt 29 2014 – September 27 2014
opening reCeption:
opening reCeption:
tonight from 5pm - 7pm
tonight from 29, 5pm - 7pm
P h o t o g R a P h S
1 0 1 1 p A S e o d e p e r A ltA , S A n tA f e 505.954.5800
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R e c e n t
P a i n t i n g S
1 0 1 1 p A S e o d e p e r A ltA , S A n tA f e 505.954.5800
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PASATIEMPO I August 29 - September 4, 2014
IN OTHER WORDS
book reviews
Dear Committee Members by Julie Schumacher, Doubleday, 180 pages Something happens to people when they teach at a college or university for many years that renders many of them incapable of remembering what it’s like to operate in the world without academic freedom — the freedom to say just about anything to anyone without fear of losing your job. It’s a privilege of tenure — that coveted designation that means you have a job for life unless the college you work for goes broke and closes — so let’s call it “the tenure effect.” The tenure effect means that professors often magnify petty grievances among themselves, consider routine office work oppressive, and never agree with or attempt to understand the motivations of administrators. And they always take administrative decisions personally. In Julie Schumacher’s delightfully infuriating epistolary novel, Dear Committee Members, Jay Fitger, a creative-writing professor at a fictional institution called Payne University, is suffering from the tenure effect. The book is a series of letters and emails, almost all of them letters of recommendation, from him to university administrators, colleagues, writing-residency coordinators, and potential employers on behalf of colleagues, students, and friends. Jay hates writing letters of recommendation — known as LORs — and yet he gives himself over so completely to the task of composing them that it seems he spends far more time than is required. He rarely talks at length about anyone’s skills or talents in a flattering manner. He undercuts compliments about his students with condescending descriptions of the way they speak or dress and of the stories they’ve turned in for writing workshops. He also insults the nature of the jobs they are applying for, looking down his nose at careers in marketing and computer science. It seems highly unlikely that anyone who asks for an LOR from Fitger ever gets the job or residency. But Fitger’s real talent is digressing into personal complaints that have nothing to do with the LOR he is writing. Sometimes he’s set off by his distaste for modern technology, but it’s his ire toward what he perceives as favorable treatment of other academic departments that causes him to spill the most ink. The plot of this unusual novel concerns Fitger’s efforts to get his favorite student into a writing residency so the student can finish his novel. This involves contacting several former classmates from his time in graduate school at the euphemistically titled “Seminar” (probably a stand-in for the Iowa Writers’ Workshop). Though Fitger was the first of his cohort to publish a critically acclaimed novel, his literary career has since sputtered, which has made him passive-aggressive. He still believes his old classmates are jealous of him. At first this seems like an invention of his self-involvement, but as the book goes on, what has seemed like narcissistic whining gains credibility. Anyone involved in the real-life academic literary community will tell you: it really is this small and intensely competitive, full of wounded egos and sharpened claws held behind the back. As back-to-school entertainment, Dear Committee Members hits the spot. Reader enjoyment will probably depend on one’s frame of reference for the culture of higher education. Those with tenure will no doubt sympathize wholeheartedly with Fitger, while those with regular at-will jobs will gawk, opened-mouthed, at his gall, which increases by the page. — Jennifer Levin
santa fe’s railyard arts district the destination for contemporary art
L a st F r i day a r t Wa L k
to n i g h t, au g u st 2 9 . 2 0 1 4
5:00-7:00PM
WiLLiaM siegaL gaLLery cornelia thomsen, david ivan clark Willy richardson, Color Fall
tai Modern ZEN: Tanabe Shochiku & Wakamiya Takashi
charLotte jackson Fine art Jeremy thomas, Ditching the Cardigan
LeWaLLen gaLLeries Jesse Blanchard, Amalgams of Color Hiroshi yamano & Pedro surroca, Branches
eVoke conteMPorary louisa Mcelwain, A Walk in the Clouds
daVid richard gaLLery silvia levenson, A Subject to Avoid lilly fenichel, Rewind Replay: 1950-2014
Photo-eye tom chambers, Reverie
jaMes keLLy conteMPorary Matt Magee, Grey Variation 2
railyardartsdistrict p
james kelly
s pa eo
Warehouse 21
camino de la familia
el museo cultural
p
lewallen
manhattan
camino de la familia
market station de ra
site santa Fe Visit site’s new biennial series, SITElines.2014: Unsettled Landscapes and bring an item to barter in Jason Middlebrook’s Your General Store, a site santa fe commission
tai modern
g
ua
da
lu
pe
eVoke
charlotte jackson
william siegal daVid richard photo-eye
zane bennett
read st.
Zane Bennett conteMPorary art Marc dennis, A$$holes on Cell Phones
r a i l ya r d pa r k
ma
n
ha
t ta n
lta
p
santa fe depot
railyard plaza
pe
site santa Fe
rei
farmer’s market
p railyard parking garage
the railyard arts district (rad) is comprised of nine prominent railyard area galleries and site santa fe, a leading contemporary arts venue. rad seeks to add to the excitement of the new railyard area through coordinated events like this monthly art Walk and free fridays at site, made possible by the Brown foundation, inc., of Houston. We invite you to come and experience all we have to offer.
www.santaferailyardartsdistrict.com
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B U R N I NG MA N
Michael Abatemarco I The New Mexican
in a vast stretch of the Black Rock Desert north of Reno, Nevada, Black Rock City rises like a phoenix from the desert floor. A population of 70,000 congregates in this ephemeral town that exists for a single week beginning on the last Monday of August for one event: Burning Man. The name might conjure up images of bacchanalian excess, neopagan rituals, and burning effigies like the one in Robin Hardy’s 1973 film, The Wicker Man, but the event has humble beginnings. It started as a spontaneous act of creative self-expression: the burning of an 8-foot-tall man-shaped figure by a few friends on a San Francisco beach in 1986. The event was started by Larry Harvey and Jerry James. Harvey is still involved at Burning Man as the executive director of Black Rock City LLC, producers of the festival. That initial spark of fire on the beach continues to blaze, and Burning Man’s loyalty to the creative spirit remains intact. The location has changed, and so have the numbers, swelling from less than a hundred in its early years in California to tens of thousands today. All come together 22
PASATIEMPO I August 29 - September 4, 2014
to share in the art-making experience, removed from the constraints of society at large. This year’s Burning Man began Aug. 25 and ends Monday, Sept. 1. Burning Man: Art on Fire, a new book by Jennifer Raiser, is more than an account of what to expect at the festival; it’s a record of some of the extraordinary art, much of it, like Black Rock City itself, impermanent. For many, the unbridled expression offered at a venue free of the impediments of the art market makes for a wonder of creative manifestations. These are realized in monumental, temporary installations such as elaborately designed wooden temples, contraptions that look like parade floats from the mind of Hieronymus Bosch, steampunk castles on wheels, and a long pier that leads to a shipwrecked Spanish galleon, built to scale. The art, Raiser writes, “is too big, too absurd, too breathtaking, too defiant to follow the laws of reason, or gravity, or expectation.” Raiser describes the temporary installations in detail, providing glimpses into the festival’s history and celebrating its eccentric displays. Burning Man: Art on Fire is a stunning collection of photography, accompanied by Raiser’s clear descriptions and interviews that offer insight into what motivates artists and participants to invest so much for little to no
material gain. Participants adhere to a set of 10 core principles, described in the book, that help the festival retain its integrity. Among them are a spirit of “radical inclusion” that permits anyone to attend (there is an admission charge); decommodification, ensuring freedom from commercial interests and the potential for exploitation that accompanies it; and “radical self-expression,” seen as a gift of the individual. There is no limit to the form that “gift” takes as long as it’s respectful of the rights and liberties of the receivers. Raiser offers a compelling reason why artists are attracted to Burning Man: “It defies an economic art market that equates price with quality, and narrowly identifies the artist as an isolated individual. It repudiates the notion that art should be curated, protected, and observed at a distance.” On the contrary, art should be experienced as something visceral that allows interaction. It should be alive rather than treated like a specimen in a jar. Most of what you would find at Burning Man couldn’t be shown at traditional venues such as galleries and museums. In her opening chapter, “Art to Amaze,” Raiser describes works that inspire imagination and awe: continued on Page 24
“Theartis toobig, tooabsurd,toobreathtaking, toodefianttofollowthe lawsofreason,orgravity, orexpectation. —”Jennifer Raiser Left, the Man Base, 2009, functions as an interactive space; below, Dan Das Mann, Karen Cusolito, Black Rock FX, Pyrokinetics, Nate Smith, Mark Perez, Monkeyboy, and crew: Crude Awakening, 2007, salvage metal, steel, wood, electronics, liquid fuel, and propane; opposite, aerial view of Black Rock City; all images copyright Sidney Erthal and Scott London and courtesy Race Point Publishing, 2014
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Duane Flatmo: El Pulpo Mecanico, 2011, scrap aluminum and steel
Burning Man, continued from Page 22 Michael Christian’s haunting Drifts (2013), organic, wispy forms more than twice human size that appear to move across the dusty land of their own volition; Kate Raudenbush’s baroque, architectural marvels — fragile-looking forms in powder-coated steel, glass, and plexiglass mysteriously lit by the deep colors of sunset; and Marco Cochrane’s colossal, 60-foot Bliss Dance (2010), an internally lit, graceful female form. Black Rock City has its own Department of Public Works to handle water and sanitation services, but traffic in Black Rock City is limited to essentials such as emergency vehicles and working staff. A delirious assortment of artistic modes of transport — called Mutant Vehicles — display wild forms and double as public transportation. In her chapter “Mutant Craze,” 24
PASATIEMPO I August 29 - September 4, 2014
Raiser presents an assortment of pedal- and gaspowered rides, some with fabricated wings, others retrofitted with neon lights, and more sporting chimeric and phantasmagoric moving sculpture, spewing flames like metal dragons. Among the more impressive concoctions that have graced the playa are Shannon O’Hare’s three-story Victorian mansion-locomotive Neverwas Haul (2006), Duane Flatmo’s mechanical octopus El Pulpo Mecanico (2011), and Simon Cheffin’s La Contessa (2005), once a bus-powered vehicle shaped like a galleon that required a navigating crew to operate and now a ghost ship after arson and neglect took their toll. Raiser’s third chapter, “Everyone Plays,” deals with art as the result of collaborative endeavors that build on the festival’s core principle of communal effort. “Sometimes individuals will work on a few projects
together, and then decide to form a collective,” writes Raiser. “Some groups are completely informal and spontaneous; others have criteria for membership.”Some of the projects, such as the Flaming Lotus Girls’ Mutopia, a stand of towering vegetal forms that look like something out of War of the Worlds, are so large that they require advance planning, access to fabrication shops, and a lot of volunteers. The Iron Monkeys, another collaborative, began making small functional objects for Burning Man that included a fanciful fire carrier called Diablo that’s still used to light lanterns in Black Rock City and to ignite the “Man,” the namesake effigy that burns on a Saturday night. A major aspect of the artists’ commitment to size are the numerous temples that have sprung up over the years. These include the pristine Temple of Transition (2011), a wood and canvas structure rising an imposing 120 feet; the pagoda-like Temple of Juno (2012); and the pyramidal Temple of Whollyness (2013). At the time it was built, the Temple of Transition was the largest temple structure ever erected on the site. In addition, numerous smaller shrines and chapels are created as spaces for gathering and communing. It’s remarkable that in a week’s time a virtual city with structures that rival the monuments of empires in terms of size vanishes, ideally, without a trace. Leaving no trace is another core precept of Burning Man that carries an obligation to impact the environment as little as possible. Raiser’s final chapter, “Art Ablaze,” stresses that fire is the essential element of Burning Man. “When Larry Harvey raised the first wooden effigy on Baker Beach, he was repeating an ancient and primal ritual,” she writes. Art built to be consumed by fire has a special significance as a reminder of the fleeting nature of life and the immediacy of experience. The burning is a dangerous but ultimately lifeaffirming and cathartic activity similar to the annual burning of Zozobra. Burning Man is directly responsible for the development of “fire art” in which flame is not necessarily a destructive force but a creative one and fire is regarded as an artistic medium — not just there for spectacle but for like-minded folk to commune in the glow of its warmth and marvel at its internal beauty. Raiser’s informative prose is straightforward and descriptive, and the art is fun to look at. The images, shot by photographers Sidney Erthal and Scott London, are beautiful in themselves. Many were shot at night and lit by flame and neon and LEDs in a spectrum of colors. Some were shot at twilight and in late afternoon when long shadows and magical sunset hues bathe the artwork in a preternatural light. Together, the essential history and fine art photography make for an impressive package. While not all art at Burning Man is made to burn, one takes it on faith that many examples presented in the book are gone. Raiser, herself a “Burner” and a member of the Burning Man Project’s board, could write the book again and the results would be entirely different, because the art would all be new. But the unchanging spirit of the gathering, the singular commitment to self-expression, is the light of an eternal flame. ◀ “Burning Man: Art on Fire” by Jennifer Raiser was published by Race Point Publishing in August 2014
S.R. Brennen Galleries
Mihanovic
Meet the world famous artist in person Friday, August 29, 5:00pm - 7:00 pm Saturday, August 30, 5:00pm - 7:00 pm
555 Canyon Road (505) 428-0274 PASATIEMPOMAGAZINE.COM
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LISTEN UP James M.Keller A quartet to reckon with
A
bout 100 pieces figured in the Santa Fe Chamber Music Festival this year, and of the half of those I heard, the performance of one in particular will stay long in my memory. It arrived at the center of the noon recital on Aug. 20, when the Dover Quartet, which I had not heard previously, took to the stage to perform Viktor Ullmann’s String Quartet No. 3. The composition is a good one, but the impression was made more by the performance than by the piece itself. I listened to the opening moments with mounting disbelief. The sonority of the very first chords gleamed gently with the shimmer of silk, a perfect enfoldment for dense, added-note harmonies that fell somewhere in the space where Debussy meets early Schoenberg (think Verklärte Nacht), perhaps with Janácek adding his two cents from the peanut gallery. It was my ideal of the way string quartets should aspire to sound, but few achieve it. The Dover’s default timbre is — for lack of a better word — beautiful. Each of the four instruments insisted on sounding incontestably attractive, a balm for the ears near the end of a summer in which entirely too many violinists seemed bent on turning their E strings into assault weapons. This is not to imply that the Dover’s playing suffered from a lack of tonal variety. In fact,
the group covered a broad sonic range, but it seemed convinced that a quartet might play expressively, even at loud volume or with incisive attack, without being harsh. Just as important, the foursome actually sounded like the unique entity that a quartet ought to be, like a single musical organism rather than the casual sum of its Viktor Ullmann parts. When individual lines emerged from and then receded back into the overall texture, one never sensed a passing moment of glory for the viola or cello or whomever. Instead, it seemed as if whatever happened was an embodiment of the quartet per se, which in its totality was simply stretching its muscles this way or that, never in a way that made it seem like anything but a corporate body.
The Dover Quartet
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PASATIEMPO I August 29 - September 4, 2014
The piece itself is an entry in the literature of “Entartete Musik,” compositions by mostly German, Austrian, and Czech composers who fell afoul of the Nazis, the result being that their music was banned and the composers mostly slaughtered. This repertoire began being resuscitated in the 1990s, and since that time Ullmann’s Third Quartet has become relatively well known; there are currently four recordings of it available on CD, and I wouldn’t be surprised if another, featuring the Dover Quartet, is on the way sooner rather than later. Ullmann was born in 1898 in what was then the Austro-Hungarian Empire and is now the Czech Republic. After studying with Schoenberg in Vienna, he gained respect in Prague as a critic and composer but was increasingly stifled as national socialism enveloped Germany during the 1930s. (His father had converted from Judaism to Catholicism, which to the Nazis meant Ullmann was Jewish and … you know the rest.) Efforts to emigrate following the Nazi invasion of Czech lands came to naught, and by the end of 1939 he and his wife had grown so desperate that they consigned two of their three children to the Kindertransport, which succeeded in spiriting them to England. In September 1942, Ullmann was deported to the Terezín concentration camp north of Prague, the Nazis’ “model arts institution” that was a public-relations sham and a holding station for prisoners who would eventually proceed to Auschwitz. Notwithstanding his state of deprivation in the camp, he kept himself busy composing, organizing concerts, and writing music criticism. No fewer than 16 works date from his time at Terezín, including this tightly knit quartet. In this performance it came across as an escape into beauty rather than a reflection of Ullmann’s circumstances. On Oct. 16, 1944, Ullmann was transferred to Auschwitz. He died in a gas chamber two days later. The fourth movement of Ullmann’s Third Quartet opens with grand gestures reminiscent of late Beethoven, thus neatly prefiguring the performance of Beethoven’s String Quartet in F major (Op. 135) that would occupy the Dovers that evening. Again they delivered an inspired performance, although this time I knew to expect it. They endowed the opening phrase with richly wrought character, injecting at the first full cadence the slightest rhythmic delay accompanied by a perfectly coordinated drop-off of volume. The decreased volume Beethoven writes in the score. The tiny ritardando is “interpretation,” and other foursomes have been known to suggest something along the same lines. The Dover, however, rendered this idea with exceptional finesse, such that it seemed in no way an imposition on the score but rather an inevitable realization of latent demands
Bronfman invested each of those three notes with a great, bronze tone that gave the illusion of swelling in volume, as if the piano were concealing built-in gongs. It was a remarkable effect. For me, this was string quartet Nirvana. And here’s the kicker: in a domain that prizes longevity and assumes that depth comes only with time, the Dover Quartet is practically a toddler. It came together when its members were all nineteen years old, and that was a mere six years ago. There’s no way to know where these players are headed, although they will surely change as time goes by. I hope they will never alter the inherent sonic beauty of their approach, which already assures them a spot among the finest of currently active quartets. We are delighted to see that the foursome will be returning for next summer’s festival. A confederacy of aces The final week of the festival also included appearances by pianist Yefim Bronfman, this year’s artist in residence. He too treated listeners to an imposing level of musicianship. Bronfman’s playing was marked by brawn coexisting with clarity, by a lucid surface underpinned with a foundation of absolute solidity. The highlight of his solo recital, at noon on Aug. 19, was a compelling rendition of Prokofiev’s
Yefim Bronfman
Sonata No. 6, a work that is splendidly suited to his particular artistry. It was on the whole a rather strict interpretation, less inclined toward the work’s potential lyricism than to its machine-age properties. The latter could prove quite thrilling, though, and the toccata-like finale showed the pianist at his very best, his ironclad technique enabling him to toss off its terrors with apparent ease. His playing was not just about fleet fingers. It was also built on voicing and tone. One of the most remarkable passages came in the middle of the sonata’s second movement, a sequence in which, after some creepy-crawly business, the left hand descends to alight on an accented low C, then a few measures later on a similarly accented low D, and then again on a similarly stressed low B-flat. Interpreters often knit these three notes into the fabric of the piece at that point. Bronfman, however, plumbed them for all their possible glory and set them apart from what surrounded them. He invested each of those three notes with a great, bronze tone that gave the illusion of swelling in volume, as if the piano were concealing built-in gongs. It was a remarkable effect. Beethoven’s Archduke Trio is a piece of a very different sort, but on Aug. 21, Bronfman showed that the same basic characteristics could serve in Beethoven as well as in Prokofiev. His confederates in this performance were well matched, achieving an interpretation of rock-solid authority. Eric Kim’s frank and forthright extroversion seemed a cellist’s equivalent of what Bronfman was doing on the piano, while violinist Martin Beaver, late of the recently
Frank Stewart
lurking within the phrase. This is a tiny thing — so small as to seem hardly worthy of comment, you might say. But the practice of chamber music involves obsessive pursuit of almost unquantifiable details of this sort, and when you line them up one after another, they appear not so inconsequential after all. It would be hard to think of any musical idea smaller than what the first violin articulates in measure two: a staccato eighth note, played pianissimo, approached via two ascending grace notes — hardly even a chirp. Still, that little motif keeps resurfacing, and when all four members of the Dover played it in unison while heading down the movement’s homestretch, they played with jaw-dropping unanimity, even while rendering the rising grace notes at least as quickly as — and possibly quicker than — I have ever heard them. The group did allow some gruff grumbling, furious shouting, and comical braying in the second movement, but even these were accomplished without losing complete sight of the underlying elegance of timbre. In the third movement I was struck by how expressively the four players used vibrato; at places they infused each part with a different shading, but everything added up to a distinct and harmonious effect.
Sergei Prokofiev
disbanded Tokyo String Quartet, proved an excellent team player, adding a touch of sweetness to the mix. (He was not one of the summer’s E-string warriors.) At the end of the scherzo movement is a juncture where the cello hands off a melody to the violin in midphrase; the way these two players matched their tones at that moment was borderline miraculous, and the two instruments seemed like only one. One thinks of the Archduke Trio as an Apollonian piece, and this reading supported that ideal with a sense of harmonious order and restrained grandeur. This still allowed for impressive climaxes, and Bronfman invariably approached these pinnacle moments by intensifying both dynamics and timbre. When he built a crescendo, his sounds grew in volume (by definition), but they also grew in fullness of tone. Loudness of tone and fullness of tone are not quite the same thing, and one admired how the pianist made both aspects grow in careful balance with each other. ◀
PASATIEMPOMAGAZINE.COM
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P
Michael Wade Simpson I For The New Mexican
András Schiff
Globe Theatre’s production of King Lear
Les Violons du Roy Fran Kaufman
Marc-André Hamelin Ellen Appel
The Takács Quartet
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PASATIEMPO I August 29 - September 4, 2014
erformance Santa Fe brings world-class music to Santa Fe throughout the year, but that is not the organization’s sole focus: it also supports the musical education of young people. A community production of the opera Hansel and Gretel in January, for example, features professional singers and apprentice performers chosen from local schools. Every third-grader in Santa Fe has an opportunity to attend this production, and public performances are set for Jan. 9 and 11 at Greer Garson Theatre at the Santa Fe University of Art and Design. The 2014-2015 season features pianist András Schiff, who performs Feb. 24 at the Lensic Performing Arts Center. Joseph Illick, artistic director of Performance Santa Fe, said Schiff is “a grand master of the piano and must have the most extensive repertoire of any living pianist. He has an uncanny ability to get to the heart of the pieces he plays.” AttheotherendoftheprofessionalspectrumisSantaFe resident Phoenix Avalon, a violin soloist who plays Saint-Saëns at the season-opening orchestral concert on Sunday, Aug. 31. Avalon is part of the EPIK Artist Program, which trains exceptionally gifted young musicians and supports their career ambitions. Illick has the enviable task of luring artists like Schiff to Santa Fe. “I choose artists that I’m excited about,” he said. “I’m looking for what’s hot. I watch YouTube and listen to recordings.” Illick is also music director of Fort Worth Opera and plays the piano for several Performance Santa Fe artist recitals throughout the year. He rarely has time to scout performers appearing in other cities, but he doesn’t have to. In 1937, when Performance Santa Fe’s predecessor — the Santa Fe Concert Association — was founded, according to Illick, Columbia Artists was the only agency that booked tours for performing artists willing to venture beyond the major cities to venues like Santa Fe. Now he works with a dozen agencies. Illick’s other programming coups this year include Britain’s Globe Theatre, which gives a one-night performance of King Lear on Oct. 30 during a tour of the U.S. in commemoration of William Shakespeare’s 450th birthday. Les Violons du Roy and pianist MarcAndré Hamelin present music by Lully and Haydn on March 22. “This is a group of 15 musicians that functions like a big string quartet,” Illick said. “There is no hierarchy in this ensemble. Every person is a soloist.” Hamelin has an outstanding dual reputation as an early music specialist and a champion of contemporary compositions. “It was Hamelin who initially attracted our attention,” Illick said. The Takács Quartet, appearing at St. Francis Auditorium on April 16, was originally a Hungarian group but now includes two Americans and is based in Colorado. “This quartet performs in all the major venues all over the world,” Illick said. “We’re lucky to have them here for the second time.” The quartet’s last performance sold out, so Illick asked the group to move from the 400-seat St. Francis Auditorium to the 800-seat Lensic. They declined. “They said the St. Francis has the perfect acoustics for their sound,” he said. The Takács Quartet plays Haydn’s Emperor Quartet (Op. 76), No. 3, and Beethoven’s Razumovsky Quartet (Op. 59), No. 1.
HOT AND Director Joe Illick and
Christian Tetzlaff, violinist, and Lars Vogt, pianist, also perform in the St. Francis Auditorium on May 8; they’ll play all three of Brahms’ sonatas for violin and piano, which were composed in the late 1800s. Tetzlaff is known as a performer of contemporary music, but he teamed up with Vogt to explore the only three sonatas Brahms wrote for violin and piano. “Things are more intimate at the St. Francis,” Illick said. “For a performer, the phrasing can be subtle, the music soft. In a big hall, you have to project.” It was the same thing this summer when artists appearing at Santa Fe Opera — including Alek Shrader, Paul Groves and Brenda Rae — gave recitals of art songs. “They get to sing a different way.”
PERFORMANCE SANTA FE SCHEDULE Opening Orchestral Concert
4 p.m. Sunday, Aug. 31, Lensic Performing Arts Center Performance Santa Fe Orchestra; Audrey Luna, soprano; Joseph Illick, conductor
Berlin Philharmonic Wind Quintet
4 p.m. Sunday, Oct. 12, Lensic Performing Arts Center Jon Nakamatsu, pianist
Atrium String Quartet
7:30 p.m. Friday, Oct. 24, St. John’s College, Great Hall
Globe Theatre on Tour presents King Lear
7:30 p.m. Thursday, Oct. 30, Lensic Performing Arts Center
Anonymous 4 performs “On Yoolis Night”
7:30 p.m. Tuesday, Dec. 9, Cathedral Basilica of St. Francis of Assisi
Christmas Eve Concert
5 p.m. Wednesday, Dec. 24, Lensic Performing Arts Center Emily Bear, pianist & composer; Joseph Illick, conductor
New Year’s Eve Concert
5 p.m. Wednesday, Dec. 31, Lensic Performing Arts Center Vadim Gluzman, violinist; Ava Pine, soprano; Joseph Illick, conductor
Community opera Hansel & Gretel
7 p.m. Friday, Jan. 9 & 2 p.m. Sunday, Jan. 11 Greer Garson Theatre, Santa Fe University of Art and Design
Maria Budtova
InSSight Foto Inc.
PERFORMANCE SANTA FE SCHEDULE Hot Sardines perform jazz from the 1920s, ‘30s & ‘40s 7:30 p.m. Wednesday, Jan. 21, Lensic Performing Arts Center András Schiff
7:30 p.m. Tuesday, Feb. 24, Lensic Performing Arts Center
Susan Graham, recital
6:30 p.m. Thursday, March 12, Lensic Performing Arts Center
Les Violons du Roy with Marc-André Hamelin
4 p.m. Sunday, March 22, Lensic Performing Arts Center
Wu Han & David Finckel, with special guests
7:30 p.m. Monday, April 6, Lensic Performing Arts Center
Takács Quartet
7:30 p.m. Thursday, April 16, St. Francis Auditorium
Christian Tetzlaff & Lars Vogt
7:30 p.m. Friday, May 8, St. Francis Auditorium
Academy of St. Martin in the Fields Chamber Ensemble 7:30 p.m. Monday, May 11, Lensic Performing Arts Center Lensic Performing Arts Center, 211 W. San Francisco St. St. Francis Auditorium, 107 W. Palace Ave. The Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place Greer Garson Theatre, 1600 St. Michaels Drive $10 to $100, 505-984-8759 or tickets@performancesantafe.org; 505-988-1234 or ticketsantafe.org.
Susan Graham Alicia Rose
Intimacy is not a word usually associated with the Cathedral Basilica of St. Francis of Assisi, but Anonymous 4, four singers who are on a farewell tour after 30 years together, will present a cappella Christmas music for female voices spanning eight centuries. “The acoustics in the cathedral offers reverb and enlivens their sound,” Illick said. Anonymous 4 performs on Dec. 9. The Academy of St. Martin in the Fields Chamber Ensemble appears at the Lensic on May 11. It is the group’s third appearance here, thanks to Performance Santa Fe. “The last time they were here, they played the Mendelssohn Octet (Octet for Strings in E-flat major, Op. 20), and it was a life-changing experience,”
Emily Bear Dario Acosta
Performance Santa Fe
Atrium String Quartet Nick Suttle
FEARLESS
Illick said. “I asked them to play it again.” The group visited Ortiz Middle School on its last trip to town and, Illick said, the moment they began to play a piece by Shostakovich, the kids were mesmerized. “They connected,” he said. “When asked, afterward, what the piece sounded like, one of the students said, ‘Fearful and neurotic.’ I realized it was exactly the way a middle-school teenager feels all the time.” Lest the season be described as one long classical concert series, Illick said he is committed to bringing more dance to Santa Fe audiences, after the success of August performances by Daniel Ulbricht’s Stars of the American Ballet, which featured moonlighting dancers from the New York City Ballet. Jazz fans will have their day on Jan. 21, when the Hot Sardines perform. The New York-based group specializes in music from the 1920s, ’30s and ’40s. Another highlight of the season is a recital by mezzosoprano Susan Graham, an opera superstar who hails from Roswell and owns a house in Santa Fe. Graham is likely to include pieces from the Great American Songbook by George Gershwin and Cole Porter in addition to classical showpieces. “She’s sung at the Met and all over the world,” Illick said of Graham, who appears at the Lensic on March 12. “But she’s a New Mexico girl.” Christmas and New Year’s Eve concerts are a tradition with the organization, and this year thirteen-year-old pianist and composer Emily Bear plays Gershwin’s Rhapsody in Blue, accompanied by the Performance Santa Fe Orchestra, on Dec. 24. Illick predicts that Bear, who has already written three film scores, will become a major author of film scores. “She seems like a normal thirteen-year-old, but the musical part of her brain functions on a whole different level,” he said. The New Year’s Eve Concert features opera singer Ava Pine and Israeli violinist Vadim Gluzman playing Handel, Beethoven, Lehár, and Bruch. “New Year’s Eve always features joyful music,” Illick said. “Beethoven’s first symphony was a turning point in Western music — groundbreaking. The Bruch concerto shows the whole spectrum of life, with the finale being the most joyful thing you could imagine.” Other performers slated for the 2014-2015 season are the Berlin Philharmonic Wind Quintet with pianist Jon Nakamatsu on Oct. 12, the Atrium String Quartet on Oct. 24, and pianist Wu Han and cellist David Finckel on April 6. “These are all superhuman wind players,” Illick said of the Berlin Philharmonic. “They can do anything, technically. There is no other wind group that really does that; there is no fear.” The Atrium String Quartet presents Tchaikovsky and Shostakovich at the Great Hall at St. John’s College. The Russian group has a “very dark, urgent sound,” Illick said. “They don’t keep strict rhythm. They have their own phrasing; it urges things forward. It’s very passionate.” Han and Finckel, repeat visitors to the Lensic, “are leaders of the Chamber Music Society of Lincoln Center and bring superb musicians with them to play.” Those musicians are violist Paul Neubauer and violinist Daniel Hope. The foursome performs music by Mahler, Schumann, and Brahms. “Having a piano brings in a different tonal quality,” Illick said. “Some composers write piano quartets where the piano is in ballet with the strings. Other use the strings as a kind of backup to the piano.” ◀
Academy of St. Martin in the Fields Chamber Ensemble
Christian Tetzlaff
PASATIEMPOMAGAZINE.COM
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— From Midnight in Mexico: A Reporter’s Journey Through a Country’s Descent into Hel l© 2013
Alfredo Corchado, Mexico bureau chief for the Dallas Morning News, is a noted expert on immigration, drug violence, and U.S.-Mexico foreign policy. He has reported on many topics, from the disappearance and murders of women in Ciudad Juárez, to the exodus of Mexico’s middle class to the United States, to the exposure of government corruption and the reach of Mexican drug traffickers into U.S. communities. TICKETS ON SALE NOW
ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:
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PASATIEMPO I August 29 - September 4, 2014
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Cajun Music from South Louisiana
September 13 | 7 pm | $15–$35 “Steve Riley and the Mamou Playboys make sweet Cajun music . . . steeped in the French heritage of southwestern Louisiana and driven by accordion and fiddle. It’s sweetly melodic, danceable music with origins in French-Canadian history that dates back to the 1760s—think of it as their country music.” —NPR
Tickets: 505-988-1234 www.TicketsSantaFe.org
S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E
th e lensic is a non profit, member-supported organ ization
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PASA TEMPOS
album reviews
presents
O’Keeffe! by Lucinda McDermott
Produced by Flower and Bone Productions
A one-woman play about the art, loves, and life of Georgia O’Keeffe, the iconic 20th Century artist Starring Carolyn Wickwire, Directed by Ouida White
online: (Advance purchase highly recommended) http://okeeffe-santafe.brownpapertickets.com
Warehouse 21 is located at 1614 Paseo de Peralta , Santa Fe To learn more about this play and to see scenes from the play go to: www.flowerandbone.com Produced by special arrangement with Playscripts, Inc. (www.playscripts.com)
“Dazzling…Impeccable… Ms. Wickwire is intriguing, fascinating, complicated, amusing, wry and heartbreaking…It’s almost as if she’s channeling O’Keeffe.” (Dallas Examiner)
August 29-31
Gamelan From Central Java (ARC Music) Indonesia gave rise to one of the world’s greatest traditions of art music, its repertoire encompassing a multitude of styles and approaches — not surprising when you recall that the vast Indonesian archipelago is the fourth-mostpopulous nation on the globe, right behind the United States. The music of Bali is more famous internationally, but that of Central Java is especially beguiling, tending toward a more laid-back character compared with the more extroverted sounds encountered in Bali. The crowning glory of Central Javanese music is that composed for and played on the region’s splendid court gamelans, orchestras made up mostly of struck percussion instruments, their forces sometimes enlarged with singers or by an individual flute or rebab (a bowed string instrument). Built up through intersecting layers of rhythm and melody, Central Javanese music can prove at once exhilarating and spellbinding. ARC Music offers a sensitively curated anthology of a dozen works — some complete, others in excerpt (as Javanese performances can go on for hours and hours) — that show off the variety of Central Javanese music. Highlights include “Anglirmendung,” featuring gorgeous singing from Bu Umi Hartono and a hypnotically repeated melodic motif from an ancient instrument called a kemanak; the strange “Goa Tabuhan” played on a “stone gamelan” consisting of stalactites and stalagmites in a sonorous cave; and “Lebaran,” a fascinating modern composition by Javanese composer Joko Purwanto. — James M. Keller MUSEUM OF LOVE Museum of Love (DFA Records) Drummer Pat Mahoney recently found himself with free time to pursue new projects. He was a founding member of the well-loved dance-rock act LCD Soundsystem, which called it quits in 2011. Mahoney subsequently joined forces with longtime friend Dennis McNany to form Museum of Love, which carries on the spirit of LCD Soundsystem. A healthy curiosity about the history of rhythm-based rock is on display here, as is a relaxed vibe that allows songs to scrap the verse-chorusverse structure and stretch out for as long as they need to. Mahoney takes up vocal duties, with a tender voice that he doesn’t seem to use for singing so much as for pouring over the music like Scotch does over ice cubes. This debut album is full and rewarding, particularly in the middle stretch, where “FATHERS” builds upon a bed of percolating synths, while “The Who’s Who of Who Cares” dissolves into a wandering parade of horns. “Learned Helplessness in Rats (Disco Drummer)” never sounds the same during any two listens. Some spins may have you focusing on the powerful synthetic string section; others may showcase the programmed disco beats; and subsequent ones may tune your ears into the chirping choir. The pieces fall in line and then melt away without any sense of predictability. LCD Soundsystem proudly aped the bands that inspired it; Museum of Love plays three-card monte with its influences and emerges sounding wholly original. — Robert Ker
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PASATIEMPO I August 29 - September 4, 2014
Beckett on Film A Four-Part Series
Beckett on Film is a collection of films presenting all 19 of Samuel Beckett’s plays including Endgame, Waiting for Godot, Catastrophe and Rough for Theatre. Each film is unique, featuring some of the world’s most talented directors and actors including David Mamet, Harold Pinter, Michael Gambon and Kristin Scott-Thomas. SEPTEMBER 7 Act Without Words 1 Endgame SEPTEMBER 14 Rough for Theatre 1 Footfalls That Time Catastrophe Rough for Theatre 2 SEPTEMBER 21 Breath Waiting for Godot SEPTEMBER 28 Act Without Words 2 A Piece of Monologue Play Rockaby
Every Sunday in September at 11am At The Screen FREE ADMISSION (FIRST-COME, FIRST-SERVED)
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Santa Fe University of Art & Design 505.473.6494 1600 St. Michael’s Drive Santa Fe, NM 87505
www.lannan.org PASATIEMPOMAGAZINE.COM
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¡Fiesta de los Niños! A Children’s Celebration Saturday & Sunday, August 30-31 10 am - 4 pm
This weekend, bring the kids out to New Mexico’s living history museum, where they can: • Shoot a bow and arrow and make a miniature adobe house • Take a ride on a mule-drawn wagon and meet mini horses • See amazing birds, amphibians and reptiles from “Zoo to You” • Make (and eat!) tortillas on the comal • Hammer out a tin ornament, and weave on a small loom • Dress up like a Spanish caballero or señorita • Participate in a puppet show & parade and magic show • Hear New Mexico stories from “Indiana Bones” • And much more! ¡Ven a jugar con nosotros! Adults: $8, Seniors & Teens: $6. Children 12 & Under Always FREE! Call or visit our website for a schedule of activities
505-471-2261 • WWW. GOLONDRINAS.ORG
JUST SOUTH OF SANTA FE • EXIT 276 OFF I-25 FOLLOW SIGNS FOR “LAS GOLONDRINAS”
Support provided by the Santa Fe Arts Commission, New Mexico Humanities Council and New Mexico Arts
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PASATIEMPO I August 29 - September 4, 2014
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RANDOM ACTS Shower the people with cascarones
In Irma Mayorga’s play Cascarones, a teenager in San Antonio, Texas, tries to understand her community though dreamlike interactions with important historical figures who influence her present, including explorer John Wesley Powell and conquistador Francisco Vázquez de Coronado. Cascarones, presented by DNAWORKS, was developed at the Eugene O’Neill Theater Center’s National Playwrights Conference in 2003 and given a staged reading at Teatro Paraguas earlier in 2014. Now it has its world premiere at Teatro Paraguas (3205 Calle Marie) at 7 p.m. on Thursday, Sept. 4, with performances Thursday through Sunday until Sept. 14. Showtime is 5 p.m. Sunday and 7 p.m. Thursday through Saturday. Tickets are $15 general, with discounts available. The gala performance on Saturday, Sept. 6, which features a post-play reception, is $100. Call 866-394-6033. — Jennifer Levin
Mad about mariachis
THIS WEEK
Mariachi Reyna
de Los Angeles Get caught up in spirit of Fiesta de Santa Fe amid spinning dancers, stamping feet, trumpets, violins, and guitarróns at the Mariachi Extravaganza de Santa Fe. The impressive lineup of internationally known, award-winning musicians and rising stars features Mariachi Reyna de Los Angeles, America’s first all-female mariachi ensemble, and a whole lot more. Hear the exuberant music at the Santa Fe Community Convention Center (201 W. Marcy St.) on Sunday, Aug. 31, at 7 p.m. Midweek, the Santa Fe Fiesta Council presents two matinee performances of Concierto de Mariachi on Wednesday, Sept. 3, beginning with a 10 a.m. performance at the Lensic Performing Arts Center (211 W. San Francisco St.) and followed by a 2 p.m. show. It’s a day of traditional mariachi music featuring performances from musical groups, dancers, and alumni of the Santa Fe Fiesta Council’s Youth Mariachi Workshop. Refreshments are served after the concerts. Tickets for Mariachi Extravaganza de Santa Fe are $35, available at the door. Tickets for Concierto de Mariachi are $7 (10 a.m. show) and $10 (2 p.m. show). Tickets can be purchased by calling 505-988-1234 or visiting www.ticketssantafe.org. — Michael Abatemarco
Arts therapy
Aspen Santa Fe Ballet returns to the Lensic Performing Arts Center at 8 p.m. on Saturday, Aug. 30, with Encore! The theme of loss runs through two of the dances on the program. Jiˇri Kylián created Return to the Strange Land as a tribute to his mentor, Stuttgart Ballet director John Cranko, after his sudden and tragic death at age 45 in 1973. The Heart(s)pace, a new ballet by Nicolo Fonte, was inspired by the recent loss of the choreographer’s father. The evening also includes Square None by award-winning choreographer Norbert de la Cruz III. Tickets, $25 to $72, are available by calling 505-988-1234 or visiting www.ticketssantafe.org. — Michael Wade Simpson
PASATIEMPOMAGAZINE.COM
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James M. Keller ❈ The New Mexican
Singing the gloomS away ❈❈❈❈❈
A trove of Fiesta tunes and lyrics
T
he sounds of Santa Fe Fiesta that may leap first to mind are the poppop-pop of fireworks and the crackle and whoosh of flames as groaning Old Man Gloom releases the accumulated woes of Santa Feans into the sky. But another essential part of the Fiesta soundscape is the “Santa Fé Fiesta Song,” formally endorsed as the “official Fiesta Song,” whose strains were introduced in 1947 and have very likely been heard at the celebration every year since. Through the years, events that captured the public’s imagination have had a fair chance of being memorialized in popular song. In generations past, those songs were often made available as sheet music. The golden age of popular sheet music began around the time of the Civil War, but it waned with the rise of radio in the 1930s, and by the end of the 1950s the printing of sheet music had pretty much receded to a footnote in the popular-music business. A decade ago, a fellow sheet-music aficionado emailed me from her home in North Dakota to say she had a piece that maybe ought to find a place in my collection. The piece had to do with Santa Fe, she said, but its cover image was strange indeed and she had no idea what it was meant to signify. She popped it in the mail, and when I opened the envelope the mystery was solved in a glance. Sure enough, there he was: Zozobra himself, rising in conflagration above a parade of conquistadores and clerics advancing toward a cross on a hill. This week, that original 1947 sheet-music cover is reproduced to serve double duty as the cover of Pasatiempo. Sharp-eyed readers may espy in its lower right-hand corner the printed signature “SHUS,” revealing that the image was drawn by Will Shuster, a member of Los Cinco Pintores, the artistic circle that flourished in Santa Fe from 1921 to 1926. It was Shuster who invented Zozobra, mounting the effigy puppet he had designed at private Fiesta parties at his home on Camino del Monte Sol in 1924 and 1925. The following year, Zozobra went public, and a tradition was born for the populace of Santa Fe. Shuster recounted the circumstances in an article published in New Mexico magazine in 1950: E. Dana Johnson, who was then editor of The New Mexican, and I got together to hatch out a show for the Fiesta. It was not the Fiesta 36
PASATIEMPO I August 29 - September 4, 2014
of the Marquis de la Penuela, but actually amounted to a revolutionary protest Fiesta, staged by the artists and writers of the community and called El Pasatiempo .... It was a protest against the regular Fiesta, which was becoming dull and commercialized. … The first Zozobra was a rather simple affair. The power company set up a pole about fifteen feet high on the lot in back of the old city hall in Santa Fe. … Gus Baumann ... volunteered to make the head. Somehow or other Gus and I didn’t get together on the scale of the figure, for when the head turned up, it had been wonderfully fashioned by Gus out of cardboard cartons but was entirely too small for the figure. It sat on top of the pole like a pinhead. It was, I admit, a well intended but pretty sorry-looking Zozobra.
inaugural balls at the hotel held for the late Gov. Arthur Seligman through the first inaugural of Gov. David F. Cargo. “Santa Fé Fiesta Song” is an invigorating tune that drips with mariachi flavor. Its melody is underscored by two sets of lyrics — one in English, the other in Spanish. The English lyrics were written by Avalee Turner, a New Mexican who was born in 1914 in Oklahoma and who, when the song was penned, was a member of the Fiesta Council: continued on Page 38
That deficiency was corrected in succeeding years and Zozobra’s proportions went in the other direction, as portrayed by the huge-headed figure that appeared on the 1947 sheet-music cover and that is familiar to Fiesta attendees today. The composer of the “Santa Fé Fiesta Song” was Billy Palou, who was acclaimed from the 1930s through the 1960s as the leader of a musical group at La Fonda, then part of the Fred Harvey hotel group. The general outline of his career in town is recounted in the front-page obituary The New Mexican ran on May 18, 1970: A special Santa Fe era passed this morning with the death at 5:30 of William, better known as Billy Palou, 63. … Billy joined Fred Harvey Inc. in April of 1931 and until he retired last fall had played from Monday through Saturday nights at La Fonda as violinist and leader of the Billy Palou Trio. During World War II, he was a member of an Armed Forces Band for a year. Seldom forgetting a name or a face, Billy and his singing violin played for wedding receptions large and small through the years and for many an anniversary party at La Fonda. Birthday parties were enlivened by his renditions of “Happy Birthday,” whether the guest of honor was 2 or 92. His group alternated with larger bands during the years of the gala March of Dimes balls held at La Fonda and also with a variety of bands engaged for the
Music pages from “Santa Fé Fiesta Song”; top: Musicians playing in lobby of La Fonda, Santa Fe, New Mexico, 1925–1945; photo T. Harmon Parkhurst; courtesy Palace of the Governors (MNM/DCA), Negative No. 010703
PASATIEMPOMAGAZINE.COM
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Zozo Song, continued from Page 36
In old Santa Fe we have La Fiesta ‘Tis the time for singing, dance and play On this day we do not take la siesta While Zozobra burns the gloom away Steel guitars are softly strumming music Señorita, come along with me Luminarias all are shining brightly At the baile, fancy costumes you will see Si señor, como no, let’s go out and have some fun And we’ll see Santa Fe in Conquistadores’ way. The Spanish lyrics were crafted by Johnny Valdes, a mainstay of the city’s musical scene for years and a longtime member of the Fiesta Council. In 1943, at the age of thirty, Valdes was selected to portray Don Diego de Vargas in the Fiesta parade. In the published music, the texts are printed in all-capital letters and do not give the expected accent marks, which are supplied here: Santa Fé, tus fiestas de septiembre Se celebran en la capital Con Zozobra quemando las penas Ya las fiestas van a comenzar Tus mujeres llenas de alegría Pregonando van su nuevo amor A luz de grandes luminarias Van cantando con placer esta canción Sí señor, cómo no, vámonos al vacilón A bailar y gozar de esta linda población. It is to Valdes that we owe the story of how the “Santa Fé Fiesta Song” came into being. He stated in an interview with The New Mexican in 1993 that he and Palou wrote the song in the course of a month in 1947 at a table at La Fonda. “Once Billy thought it was really the real thing we wanted,” he said, “we had it printed.” The piece was premiered at the 1947 Fiesta fashion show. Kay Bird, who wrote the article, went on to explain: “Two thousand copies of the sheet music were printed. … The sheet music lay ignobly in the basement of the old City Hall, now the city’s main library. Valdes found the boxes of the sheet music a decade or so after its publication. Most of it was water-logged, but he salvaged some.” Music was predictably part of Fiesta celebrations. For many years sheets of lyrics titled “Songs for the Fiesta” were handed out to attendees. These mostly contained old-time favorites with no specific connection to Santa Fe, such as “La Paloma” or “Adelita.” But at the top of those annual song sheets stood the words for “Mariachi de Santa Fe,” by a certain Guillermo Palou — and let us remember that Guillermo is the Spanish equivalent of William, as in Billy. A copy of “Mariachi de Santa Fe” resides in the Fray Angélico Chávez History Library of the Palace of the Governors. The printed music carries the subtitle “The Song of the Santa Fe Fiesta,” and it offers this information: “Guillermo Palou, First violin of a widely appreciated Mexican Orchestra in 38
PASATIEMPO I August 29 - September 4, 2014
Left: Billy Palou’s orchestra at La Fonda Below, playbook cover, “Thirty Minutes at the Fiesta”
Santa Fe wrote this song specially for and dedicated it to Santa Fe’s famous Fiesta, the oldest community celebration in the United States. Its gay lilt reflects the unique atmosphere of Santa Fe at Fiesta Time, influenced by the simple and spontaneous musical sense of the Mexican Mariachi, those wandering minstrel players from the Chapala region of Mexico.” Its lyrics begin: “Santa Fe tus calles alegres en días de Fiesta llamando me están” (“Santa Fe, your merry streets at Fiesta time are calling me”). This sheet music also has an interesting connection to the art world. It includes the printed attribution “Cover designed and Printed by Clarks Studio, Santa Fe, N.M.,” and the cover image contains the signature chop of Willard Clark — a boxy letter c surrounding on three sides a smaller letter w. Clark (1910-1992) arrived in Santa Fe in 1928 and from then until the outbreak of World War II depicted Santa Fe scenes through a huge output of woodcuts and woodblock prints, of which this one is entirely characteristic. We don’t know when he printed this music, but the fact that Billy Palou is identified as “Guillermo” suggests that the piece may have been written early in his career, before he became widely known as Billy. Other Fiesta songs also appeared over the years, and some achieved official approval — at least in passing. Captured on a 45 rpm record, for example, is “Santa Fe Girls,” described on its label as “the official Santa Fe Fiesta song of 1964 ... written and produced by John Spagnola [and] recorded at KVSF studios, Santa Fe, New Mexico, 1963.” Guitarist Louie Shelton is the performer. In 1940, a series of “Thirty Minutes” plays by co-authors Arthur Johnson and Mary Van Dyke released an installment titled “Thirty Minutes at the Fiesta: A Visit to the Oldest Community Celebration in the United States.” Most of the songs interspersed among its declamations provide cultural flavor of a general sort (“Pueblo Rain Song,” “La cucaracha”), but right at the piece’s outset we are treated to an event-specific “Introduction and Chorus” titled “Come to the Fiesta.” In the end, there remains one, and only one, enduring and official Fiesta song. Again this week, Billy Palou’s music for “Santa Fé Fiesta Song” — and the bilingual lyrics of Avalee Turner and Johnny Valdes — will ring forth, still going strong after 67 years. ◀
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listen in ▼ To hear Mariachi Tenampa play the “Santa Fé Fiesta Song,” go to www.santafe. com/blogs/read/si-senor-comono-lyrics-to-the-santa-fe-fiesta-song To hear “the magic guitars of Louie Shelton play the provocative ‘Santa Fe Girls’” at KVSF Studios in 1963, go to www.youtube.com/watch?v=_ QYJYl2MSqM
▼
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‘Twas the night before Zozo and all through the park, Not a gloomie was stirring, Fort Marcy was dark. Mr. Z was laid out on a flatbed to rest Till the moments to come when he’d groan out his best. The children were sleeping, their minds full of gloom And the 50-foot monster who’d soon meet his doom. It takes many hands and it takes many hours To get Old Man Gloom to give up all his powers. A new year had come, with the team quite inspired To research the past and how it transpired. They went to the archives in search of the truth To learn very clearly how Z looked in youth.
So come to the field, or view from your porches. Come see the Fire Spirit, the bright blazing torches. The music swells up and then out goes the light, Adios to Zozobra on this, his big night. Just watch as he falls, once erect as a tree. First he’s wired, then fired, and gone he will be. His duty is done till we meet him again Now we’ll party all week — let Fiestas begin! — Judith Moir Zozobra is a copyright and trademark of the Kiwanis Club of Santa Fe and is used with permission.
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The NighT Before ZoZo (with apologies to Clement Moore) details ▼ 90th Annual Burning of Zozobra Fort Marcy Park ▼ Dusk on Friday, Aug. 29; gate opens at 3 p.m. ▼ $10 general admission, no charge for children under 10; purchase at www.burnzozobra.com or, until 4 p.m. ` Friday, at the Lensic Performing Arts Center, Santa Fe branches of Guadalupe Credit Union & Santa Fe branches of State Employees Credit Union
After nine gloomy eras, now he’s ninety years old And the next 10 years’ changes are sure to be bold. With authentic designs, each and every one Z, Every year will be different, you’ll have to come see. That clever Will Shuster left sketches and drawings For carving and sanding and stitching and sawing. Some scripting and details so cool to discover For a town that is known as a Mr. Z lover. Design him and build him and stuff him with badness! Take him and shape him and fill him with sadness! Kiwanis, they do it, treating Santa Fe yearly To Shuster’s old grouch, whom this town loves so dearly. He has to be huge, and his ears be fantastic. He has to burn wildly, not melt like he’s plastic. It all has to happen with fireworks bright. It takes weeks to make him, then set him alight. His eyes, they spit fire, those dazzling platters, As long as he’s scary, that’s mainly what matters. His red lips are hinged, so they’re ready to groan, Exhaling more gloom as he lets out each moan. VHe’s been feeding on sheep, there’s not much he won’t try. With his posse of gloomies, he’s a frightful old guy. His outfit is white, and let’s hope it stays clean. If his shirt front gets dirty, he’s sure to be mean. Regard his huge head, with his hair the right hue. It proves he’s a loco; he’s wicked, it’s true. He’s a thief and a prankster, he’s really malicious. If your iPad is missing, you’d best be suspicious. He’ll eat your menudo and key your lowrider. Your grandma, look out, he will sit down beside her. He’s born to be bad, it’s the mischief he’s feeling. He loves all the drama, the jokes and the stealing. He sneaked out in stages, had his Zozofest first, But he still has some time left to bring on his worst. Parade him and praise him, but please let’s take care. You never know what he might do on a dare. He’s awfully large, and he’s hardly discreet, Shooting ashes and smoke from his head to his feet. The burning can’t start till the evening’s pitch black, By then, he’ll be howling and try to attack. Zozobra, Santa Fe Fiesta, Santa Fe, New Mexico, John Candelario; courtesy Palace of the Governors (0-MNM/DCA), Negative No. 189155
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Michael Abatemarco I The New Mexican
Mind your manners Marc Dennis takes on cell slobs 40
PASATIEMPO I August 29 - September 4, 2014
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oyeurism is seldom explored in depth as an aspect of looking at art, but it’s a crucial part nonetheless — both for the artist working from life and for the viewers, one step removed from the original action though they are. New York-based artist Marc Dennis is known for his hyperrealist portraits of spectators at art shows standing before near-exact replicas of famous works of art, sometimes playfully posed before a painting in such a way as to suggest a physical interaction between viewer and canvas. A new body of work by the artist, a series of comic-styled drawings, also touches on the voyeuristic tendencies of society. Dennis’ drawings are in part made from observations of the people around him when he, like many of us, suddenly finds himself to be an unintended eavesdropper on one-sided cellphone conversations. Dennis’ series, on view in the exhibit A$$holes on Cell Phones at Zane Bennett Contemporary Art, is a wry look at the often absurd contexts in which cellphone exchanges occur, created in a medium that’s common to popular culture and that inspired seminal postwar artists, most notably Roy Lichtenstein. The exhibit’s catalog, which features an essay by art critic Peter Frank titled “Marc Dennis: Comicommentaries,” is available at the gallery. Pasatiempo spoke with Dennis about the genesis of this body of work, only to have the conversation interrupted — not rudely, but fortuitously. Pasatiempo: The single-frame comic-book style of the drawings seems a departure from your hyperrealistic paintings. Has comic art been an ongoing preoccupation of yours? Marc Dennis: I grew up in a family of five boys. We were definitely into comic books. But, for some reason, I was the only one blessed with the skill to
draw. The way I learned to draw was through comic books. I would copy everything — from Sgt. Rock to Captain America to Archie comics. I did this probably right up to high school, when I went in a different direction and discovered Robert Crumb. All my life I’ve had a fascination and incredible respect for comic-book art. There are particular artists I hold up as high as I would Titian, Caravaggio, and Picasso. Pasa: Who are some of your favorites? Dennis: I was into Joe Kubert, Steve Ditko, and Jack Kirby. These are all guys who did war comics. I read mostly Sgt. Rock and Conan the Barbarian growing up. John Buscema was the artist for Conan, and he was one of my heroes. I liked artists like Frank Frazetta. He was my junior high Caravaggio. In college, Caravaggio was my hero — and still is, for every reason in the book: composition, sexuality, hyperrealism. This guy knew how to paint. I never heard of Lichtenstein until I was in college. When I read about Lichtenstein, I thought, “This guy is copying all my boyhood idols.” Pasa: Was there a specific incident or series of incidents that led to you creating this series? Dennis: In 2008 I was in New York City. I went to the East Village. My friends told me about this cool little Belgian café that offered a good breakfast, and I love a breakfast next to a park. I’m chilling out. It was a beautiful morning, and some [jerk] — first of all, the ring on his phone was obnoxious. You know what I’m talking about. We’ve all been there. I don’t care if they pick crickets or the theme song to The Good, the Bad, and the Ugly. Just put it on low if you’re sitting in a restaurant and, my God, get up if you answer. It’s etiquette, right? So he answers the phone and he goes, “Hey, man. What’s happening. You coming over?” This is where it started. Evidently
the person on the other end of this phone call had different plans and wasn’t coming over and meeting this guy at the restaurant, so the guy got irate and started speaking angrily and sounded like a real jerk. I remember him saying, almost to the word — he sounded like a comic-book character — “Whatcha mean you ain’t coming over, damn it?” I looked around and everybody’s looking at him. Everybody’s looking at me thinking I had to do something about it because I’m the guy behind him. Whoever he was talking to started saying something and he interrupted. Now he curses. I’m waiting for my eggs. I didn’t need this. I turned around and gave him one of those faces that says, “Shut up, hang up, or step away from the restaurant.” He kept talking for a few minutes and A$$holes on Cell Phones was born. I like to make art that has a certain irony, a certain sense of humor. He’s actually in one of the drawings, but it’s not that conversation and it’s not a Belgian café. I don’t know if I’m guilty of being an [idiot] on a cellphone at some point — Pasa: I know I have been, unfortunately. Dennis: I love that you said that. I remember being in a Brooklyn cinema watching Spiderman. It was a rowdy neighborhood, so I was an idiot for going there to begin with, but this guy in the back row starts getting into this conversation, loudly. I finally just stood up and spun around and said, “Yo, man, you’re in a theater. Shut the [expletive] up.” The guy yells at me. I didn’t say a word. I did my deal and now I’m going to get shot so this is not a good thing. It occurred to me I had to do something about this because, at that point, in 2009, I had my first child, a little girl, and I thought, “No more can I speak out like this. I’m going to get shot, and I’m a dad.” I always thought making art could be, in some
social-activism way, maybe, like a weapon. It could be funny. It could touch everyone’s nerves. I always wanted to do an entire series. I had to listen carefully to certain people and find tidbits of conversations that would be interesting, intriguing, and that would span certain sectors of our society, tap into some different ethnicities, different systems of thought. I didn’t want to be biased, but I wanted to be real. Pasa: So these are actual overheard conversations? Dennis: Yes. All of them are overheard conversations. Granted, they’re not true conversations. They’re just blurts. There are a lot of people who have proper etiquette when they get on their phones in public places, but people who blurt — you can pick up their sentences. My God, it happens everywhere I go. Pasa: It does happen everywhere, from fast-food restaurants to theaters. I heard someone answer their phone during an opera performance once. In some ways, cellphones are an equalizer. It has a strange power to make us insensitive and thoughtless about our surroundings, regardless of social class. Dennis: You know, my father was born in Havana, Cuba, and my mother was born in Boston. My dad’s like Ricky Ricardo, a very tan Ricky Ricardo, and my mother’s like Lucy, and we’re Jewish, so I would say to my friends, “I’m a Jewbano.” I wasn’t trying to be politically or socially correct in any way. A lot of the conversations, I’m hoping, will tap into how we’re united and how we’re divided. I don’t shy away from that. But when a guy in a nice suit says, “Shut the [expletive] up” on his phone in the middle of a Jeff Koons exhibition at the Whitney Museum, I think all our judgments are kind of wrong about people. I’m telling you this because it’s the meat off the bones of
Marc Dennis: left to right, A$$hole on Cellphone #2 (Long time), 2014, ink on paper A$$hole on Cellphone #5 (Aura), 2014, ink on paper A$$hole on Cellphone #8 (This dress), 2014, ink on paper A$$hole on Cellphone #10 (Whassup), 2014, ink on paper A$$hole on Cellphone #17 (Wall Street), 2014, ink on paper Images courtesy Zane Bennett Contemporary Art
continued on Page 42 PASATIEMPOMAGAZINE.COM
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Marc Dennis, continued from Page 41
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PASATIEMPO I August 29 - September 4, 2014
my intentions with respect to these drawings. I see the humor in all of it. It’s the cellphones that make us turn into [jerks]. Pasa: How about the figures in the drawings? Are they all based on actual people like the guy in the Belgian café? Dennis: No. They’re from recollections, but also made up. A lot of the ideas are derived from early comic-book injury — I mean imagery. That’s funny. That was an incredible Freudian slip. I try to keep the clothing the way I remember it, like that one of the goth chick who has this funny sock-sleeve on, and she’s eating a Whopper. She was talking about auras and going on about incense and chakras. Here she is, a goth chick eating fast food and talking about chakras. That’s beautiful. That’s so Tarantino. I’m actually standing outside my studio now because a delivery guy is dropping something off. He’s on his cellphone. Pasa: It’s fascinating how a cellphone can make us lose touch with our physical environment because we’re too distracted by whatever is happening on the other end. I recall being on my phone in the middle of a supermarket, so absorbed in the conversation that I forgot where I was and what I was there for and caught myself pacing back and forth. It must have looked ridiculous. Dennis: No one can deny it. People almost go into a trancelike state — he’s waving to me from the window. There’s something to be said about the fact that you can have this device and talk. It’s opened up doors, but at the same time we’ve become almost like zombies. It’s a blessing, but it’s also a curse. Give me one second. I’ve got to talk to this guy with the truck. (Oh. It is? The guy didn’t tell me that. I had no idea. What? I had no idea this was coming.) Michael, I don’t know what the hell they’re bringing me. It’s like on a boat. Now the guy needs my help. I’m actually carrying this thing while I’m talking to you. Can you give me a call back in like five minutes? (After a brief pause, Pasatiempo called Dennis back.) Dennis: It occurred to me that I was just being an [idiot] on a cellphone. That was the best thing that’s ever happened in an interview in my life. People aren’t even going to believe you. They’ll probably be on their cellphones while reading the article. If I don’t make it to this opening and you are there, check out how many people are either using their phones to take pictures of the [jerks] on cellphones or answering their phones in front of one of my drawings. That’s what I really want to see. ◀
▼ Opening reception 5 p.m. Friday, Aug. 29; exhibit through Sept. 20 ▼ Zane Bennett Contemporary Art, 435 S. Guadalupe St., 505-982-8111
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A$$hole on Cellphone #19 (Nah), 2014, ink on paper
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MODERN NATIVE ART NARRATIVES
W
hen noted art historian Kenneth Clark (Civilisation) wrote that “painting and literature depend largely on unpredictable individuals,” he of course wasn’t talking about Native American artists: his influential book and series from the 1960s dealt almost exclusively with the art and architecture of the Western European Christian worlds and their non-indigenous North American aesthetic heirs. Clark’s observation, however, readily applies to past and present Native populations, whose art continues to be neatly categorized by others into such forms as weavings, pottery, and basketry — objects of ancient cultures that are suggestive of culturally and geographically isolated environments. Surely, though, no other American peoples have experienced the upheaval and diaspora, the essential unpredictability, of our Native populations. And with these challenges have come a hardy adaptability, though perhaps art viewers unaware of that can sometimes turn a mistakenly nostalgic eye toward some of our nation’s most uniquely unpredictable — and therefore innovative — creative cultures. Modern Illusions in Native American Art, the blinkand-you’ll-miss-it exhibit at Winterowd Fine Art through August, includes 11 Native artists with roots in the United States and Canada. As the gallery’s website explains, the participants, whose work ranges from paintings to sculpture to installations to pieces on paper, “were asked to mine the illusions of their culture, including icons, myths, dualities, mirages, and stories.” Curated by Zuni painter, sculptor, and muralist Silvester Hustito, the show is vigorous and varied — a miniature Indian Market, minus the Plaza crowds. Winterowd, now in its 10th year on Canyon Road, shows contemporary mainstream American painting and sculpture but has also exhibited local Native artists like Gregory Lomayesva and Frank Buffalo Hyde since its inception. Gallery owner Karla Winterowd emphasized that Indian Market “is a great time of year to draw attention to Native artists,” as well as a special chance “to offer visitors a unique window into a world we are fascinated by.” When asked how 44
PASATIEMPO I August 29 - September 4, 2014
Iris McLister I For The New Mexican
the sometimes pointedly political pieces in this show interact with those of non-Native artists represented at the gallery, Winterowd shrugged off any suggestion of visual or conceptual conflict, noting that “one of the exciting aspects of doing a group show like this is that it doesn’t have to relate to the work we show Jeff Kahm’s color-heavy geometric acrylic-on-paper pieces borrow from Native textiles as much as they do from Color Field painters like Kenneth Noland and Gene Davis.
Jeff Kahm: Converse IV, 2014, acrylic on paper
the rest of the year, which allows us to get outside the boundaries a little bit.” “My whole family made art,” show curator Hustito told Pasatiempo. “My uncle Sullivan was known for his jewelry, which depicted the Peanuts character Snoopy. He actually wrote Charles M. Schulz in the ’90s to ask him for permission.” Hustito pointed out that the show’s title relates not only to outmoded preconceptions that Native art is all “paintings of headdresses and pottery,” but also speaks to the specific experience of a Native American upbringing. “The idea of illusion isn’t new to us because we’re told from a young age that we live in a mystical world where everything is alive, even the rocks. Growing up with this understanding instills a tremendous awareness and sense of wonder.” A professor of printmaking at the Institute for American Indian Arts in Santa Fe, Jamison Chas Banks is a dual citizen of the Seneca-Cayuga Nation and
Cherokee Nation of Oklahoma tribes. His work veers from conceptual to political, and his piece in the exhibit falls a bit in both categories. It’s a neatly folded fuzzy gray blanket, bordered in red and screen-printed with the Pontiac automobile logo. It was during a trip to Pittsburgh that Banks became interested in Fort Pitt, infamous for allegations of deliberate biological warfare against Native American populations at the hands of white soldiers. The work is multilayered: Pontiac, the name of an Ottawa Indian chief, of course refers also to the car manufacturer, which shut its doors in 2010. When questioned about his practice, Banks admits he’s “not really a gallery artist. I want this piece to be thought of as a relic, like something you’d find in a museum.” For Banks, the first step in addressing the future of Native arts is to talk about the past. “Of course we need healing,” he said, “but first we need to be able to honestly talk about what happened.” Chicago-based artist Chris Pappan told Pasatiempo, “I think it’s really interesting to portray people who were alive during the time ledger art was beginning, sort of as a holistic approach. Our ancestors faced challenges and sacrifices for us to be here today, so we need to remember them and live our lives in a way that means their choices weren’t in vain.” Paintings and drawings made on ledger paper first appeared among Plains Indian tribes in the late 19th century. Strongly narrative and starkly, almost cartoonishly, figurative, they fill the pages of leather-bound record books. The book format afforded nomadic Indian tribes unprecedented portability, trading their traditional large-scale depictions of battles, hunts, and everyday life on animal hides for smaller-scale, delicately rendered compositions. Ranging from tender scenes of domesticity to graphic depictions of warfare, ledger drawings and paintings straddled historical and modern styles from their first appearance: it’s no wonder they continue to inspire artists today. Pappan (Kaw, Osage, and Cheyenne River Sioux) uses antique ledger paper as the foundation for meticulously drawn figures that combine traditional symbolism with abstracted pictorial elements. In Red Owl’s Sacrifice, old ledger paper (the upper right portion reads “State of Montana” and gives the year 1912) serves as the backdrop for a Native chief, whose expressive face is split into three separate images. Feathers sprouting from the top of his head appear in triplicate, and his tightly plaited braids fan out across his chest. The left portion of the paper features four black handprints, arranged one on top of another, and the right side bears numerical tabula-
tions, interrupted by stripes of white, navy, red, and yellow. “I employ distorted imagery of Native peoples because people have distorted views of us,” explained Pappan, “and I also repeat imagery to explore the concept of people or ideas coming together to create something new, ethnically or ideologically.” Jeff Kahm’s color-heavy geometric acrylic-on-paper pieces borrow from Native textiles as much as they do from Color Field painters like Kenneth Noland and Gene Davis. Layered triangles of hot pink, lime, and royal blue feel exhilaratingly modern, but cleaner and bolder than their 1950s predecessors. Originally from Canada, Kahm (Plains Cree) grew up on the Little Pine Reservation in Saskatchewan and currently teaches studio arts at the Institute of American Indian Arts. From a series of modestly sized acrylic-on-paper pieces, Converse III is all zigzags and contrast, like a snippet of a psychedelic rug. Kahm’s interest in art history is “a crucial component to my research of nonobjective art — which includes recognizing parallels and similarities between indigenous abstraction and the modern art aesthetic.” For Kahm, his seemingly novel contortions of blazing colors and strict angles have ancient precursors: “[I’m incorporating] symbolic motifs that have been used by indigenous artists for years.” Painter Marla Allison is from Laguna Pueblo, located about 45 miles west of Albuquerque. Taken from her Animal Within series, the work in this show combines feminine and animal elements. In The Mountain Lion, a nude woman rendered in blues and browns bends at the waist to step out of a giant jungle cat. To be clear, she isn’t removing a cloak or a fur, but rather an entire animal — claws, paws, piercing green eyes, and all. Allison remarked, “Where I’m from, it’s normal to be humble and mild-mannered. I had to dig deep for the courage
“I employ distorted imagery of Native peoples because people have distorted views of us, and I also repeat imagery to explore the concept of people or ideas coming together to create something new, ethnically or ideologically.” — Chris Pappan
Taken from Marla Allison’s Animal Within series, the work in this show combines feminine and animal elements. Chris Pappan: Red Owl’s Sacrifice, 2014, mixed media on ledger paper
Marla Allison: The Mountain Lion, 2014, acrylic on canvas
to paint this series. I would think that any woman from a traditional Pueblo upbringing would have to, because it’s a lot to show an audience of unknown eyes.” Her goal as an artist? “To share with art fans that Laguna people have so much to show the world.” Portland-based artist Wendy Red Star (Apsáalooke) works in a variety of mediums, often casting herself in starring compositional roles. Of the genre-defying work included in this exhibition, the artist said, “I was researching the term ‘squaw’ and happened upon a book series called White Squaw, which was made in the 1980s.” Red Star ended up buying all of the series’ 24 pulp novels, which revolve around sexualized, heavily stereotyped Native women. The cheesy cover art for the books is predictably terrible: dusty gunfights, lusty rolls in the dirt, and a suspiciously Anglo-looking “squaw” in a feathered headband. Red Star kept everything on the cover of the book except for the face of the woman, which she swapped out for her own image. One of six titles on view, Hot-Handed Heathen, pictures a red-lipped Red Star with her right index finger resting on the tip of her tongue, her eyes saucily locked on ours. “On the original covers, the main character’s expression is pretty much the same,”
Red Star told Pasatiempo. “I chose to be more animated and play to the titles and subtexts.” Her use of the show’s theme is straightforward: “I changed something that’s degrading toward Native women and Native culture into something ridiculous … so that there is no power in the words or imagery.” A handprint, a smudge, a stripe, a cross: symbols of the ancient past, certainly, but also elements that continue to inform and catalyze Native American art. When viewing the art in Modern Illusions, it’s easy to look for recognizable motifs — but far more challenging and ultimately rewarding to coax out new patterns and ways of seeing. Kenneth Clark once insisted that “there are some things in life so serious that only a poet can tell the truth about them.” Let’s listen mindfully to North America’s Native artists, whose poetry rings with marvelously innovative verse, spoken in a cadence both ancient and unpredictable. ◀
details ▼ Modern Illusions in Native American Art ▼ Exhibit through August ▼ Winterowd Fine Art, 701 Canyon Road, 505-992-8878
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This Old House
ANNUAL FIESTA LECTURE “A Palace in Need of Repair: 1660–1720” Wednesday, September 3, 6 pm History Museum Auditorium
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PASATIEMPO I August 29 - September 4, 2014
Archaeologist Cordelia “Dedie” Thomas Snow delivers the annual Santa Fe Fiesta Lecture. What did the Palace of the Governors look like before and after the Pueblo Revolt? How did daily life in Santa Fe play out? $5 at the door; free to members of the Palace Guard.
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ART OF SPACE Paul Weideman
Forget what you thought you knew about the Palace
At the annual Santa Fe Fiesta Lecture, archaeologist Cordelia “Dedie” Thomas Snow discusses a topic that’s dear to her: the Palace of the Governors. But because the old structure is also dear to everyone else in Santa Fe, she’s a little worried that some of her revelations will jostle some cherished notions. “I may get run out of town,” she told Pasatiempo. Especially jarring to some is her evidence that the Old Palace was once a two-story building, not the long, low Santa Fe-style profile it seems to typify. First, some history. Construction of the building — which was first known as the Casa Real (Government House) — is believed to have coincided with the founding of Santa Fe in 1610, or possibly occurred a year or two earlier. For more than two centuries, it was occupied by a succession of 59 Spanish governors and their families, along with administrative offices. While the Mexican flag flew on the Palace from that nation’s 1821 independence until the U.S. conquest in 1846, 14 more governors resided there. The government moved into a new Capitol building, designed by E.S. Jenison of Chicago, in 1886, but when it burned down six years later, Gov. L. Bradford Prince was obliged to move back to the Old Palace. In the first decade of the 20th century, the current governor and his family moved into a new Capitol designed by Isaac Rapp. In a 1953 remodel, its stately portico and dome were removed; that structure became the Bataan Memorial Building when the new Capitol, nicknamed the Roundhouse, was completed in 1966. (Architect Willard Kruger had the design reins on both the remodel and the round Capitol.) 48
PASATIEMPO I August 29 - September 4, 2014
The first Palace of the Governors was substantially changed between the 1680 Pueblo Revolt and the 1692 reconquest; it reportedly had four levels and at least two kivas in the courtyard during the occupation by Tano Indians. After 1696 the Indian pueblo was taken down and the Casa Real rebuilt, according to a National Historic Landmark nomination written by Santa Fe architectural historian Corinne P. Sze. Before and after the revolt, a common complaint discovered in early descriptions of the Palace was that it was “in need of repair.” Sze reports that in 1716 it was “near collapse” and that when the U.S. Army of the West occupied Santa Fe in 1846, much of it was in a “state of decay.” It is something of a miracle that the adobe Palace lasted to become the oldest continuously occupied public building in the United States. Next May, workers will reveal wall surfaces not seen for some time. Jon Hunner, interim Palace/New Mexico History Museum director, said cement stucco will be removed from the exterior walls all around the Palace courtyard and in some areas on the outside of the building. Cement was long used as stucco for its permanence — Hunner said this cement surface may date back to Jesse Nusbaum’s 1910-to-1913 restoration work — but it is now known to be inferior because it traps moisture that tends to degrade the adobe bricks underneath. The old adobe walls will be finished with lime plaster. The Palace also has a long history of remodels. One of the most drastic was the 1866 subtraction of more than 100 feet on the west end to make way for Lincoln Avenue. The most recent was Nusbaum’s project undertaken by the Museum of New Mexico. Tierra Dulce: Reminiscences From the Jesse Nusbaum Papers (1980)
has a passage about the removal of “2,100 wagonloads of trash and manure left over from the long stabling of livestock at the building’s rear,” as well as information on repairs to interior walls, ceiling beams, and fireplaces. Nusbaum also removed a classical cornice and balustrade that was added in 1878 and gave the building an airy aspect. A story in the first issue of the magazine El Palacio in November 1913 proclaimed, “The ancient portal facing the Plaza has been restored to its original rugged beauty,” complete with “immense wooden pillars from the Pecos Mountains.” To prepare for the New Mexico History Museum’s annual lecture on Wednesday, Sept. 3, Snow worked with the state’s Office of Archaeological Studies’ Scott Jaquith to recall — both in word and image — descriptions found in historical documents. “I’m trying to not just re-create the Palace but life in Santa Fe as well,” she said. “For example, we have names of some of the town criers who would march around the Plaza spreading news.” Snow’s relationship with Santa Fe began in 1964, when she and anthropologist Florence Hawley Ellis participated in an archaeological field school and she and her future husband, archaeologist David Snow, worked with curator E. Boyd at a 17th-century colonial site on the Santa Fe River west of the village of Agua Fría. Following their marriage, the Snows moved to Santa Fe in 1969. Snow has been with the Archaeological Records Management Section of the State Historic Preservation Division since 1996. In January 1974, she began excavating beneath the floors at the west end of the Palace. “I was in Room 7, which was the old Ben Hur Room [the room in which Gov. Lew Wallace completed his
Artists’ renderings
Top, a drawing by James E. Ivey for the National Park Service depicts how the Palace of the Governors may have looked for most of the 17th century; bottom, Scott G. Jaquith of the Office of Archaeological Studies created this 2014 rendering of how the Palace may have looked in the early 1700s.
noticed that a window on a balcony on the second story was open. He went to the guard house, begged a candle stub, climbed to the balcony via a ground-floor window and got into the room, walked down some stairs to a storeroom and collected some goods. The next night, deceived by the Devil, he went back to
the storeroom but this time he was caught.” There is also a 1716 document, translated by Ralph Emerson Twitchell, that mentions a second-floor chapel. Today’s visitors to the Palace of the Governors can get a glimpse of the building’s earliest foundations via floor hatches featured in the ongoing exhibit Santa Fe Found: Fragments of Time. But Snow acknowledges that the information uncovered about the founding of Santa Fe is wanting. “I think there are still records in the archives in Mexico and Spain. For example, when [Gov. Pedro de] Peralta laid out Santa Fe, he assigned house and garden plots to the settlers by lottery. You have to have a plan to keep track of that. Where is it? And Antonio de Otermín [the governor in 1680] talks about a map. Where is that map? “José Antonio Esquibel went through Inquisition records looking for references to the Palace and came up with an amazing assortment of things. In 1661 the Palace of the Governors had at least 16 rooms, and there was a colonnaded arcade around the interior patio that had been built by Juan Chamiso. It all paints a different kind of picture. It goes back to the fact that, beginning with Oñate and continuing with Peralta and the founding of Santa Fe, the Spanish who came to New Mexico brought their culture with them, and they were familiar with two-story architecture. They would re-create, to the extent that they could, that with which they were familiar.” ◀
details ▼ Annual Santa Fe Fiesta Lecture: Cordelia Thomas Snow, “A Palace in Need of Repair: 1660-1720” ▼ 6 p.m. Wednesday, Sept. 3 ▼ New Mexico History Museum auditorium, 113 Lincoln Ave. ▼ $5 at the door; 505-476-5200
This image, Negative No. 011212, and image opposite page, Negative No. 074473, courtesy Palace of the Governors Photo Archives (NMHM/DCA)
novel of that name]. We cleared out Jesse Nusbaum’s detritus and one of our crew members actually fell into a storage pit dating to the Pueblo Revolt. I’ve used the analogy ever since of Alice in Wonderland falling down the rabbit hole. I had no idea that we would ever uncover anything like storage pits, and we eventually also found adobe-brick floors. We had seen adobe-brick floors at Pecos, but I never expected to see them in Santa Fe. These are adobe bricks laid in patterns. “Adobe-brick floors represent not only a huge investment in time and labor (especially on the part of Indian laborers who made and laid the bricks), but more importantly, adobe-brick floors are a symbol of continuity with the way of life the Spanish had left behind in Mexico and Spain. They were tangible reminders that while simple unfired adobe bricks, the floors resembled those of home.” Also perhaps dating to prerevolt times are the foundations Snow discovered, both for one-story and two-story construction. “That blew me away, because who ever dreamed we had a two-story Palace of the Governors?” The excavations, which also took place in Room 5, the west hallway, and the Prince dining room (Puyé Room), lasted almost two years. “As a result of that work and the research I’ve done ever since, I started noticing inconsistencies with what we’d been taught. I had two-story foundations!” She explained that the foundation for a single-story Spanish room from the period was generally made of cobbles (river stones) and was about 50 centimeters wide. What she found at the Palace was more than twice that wide, as required to support the thicker ground-floor wall in a two-story building. Snow points to other references to a second story, including a document describing how Isidro Sanchez robbed the Palace in 1720. “He had been walking through the Plaza and
Palace pictured in Illustrated New Mexico (5th ed., 1885), by William Gillet Ritch; opposite, Palace of Governors, Santa Fé, N.M., Sept. 15, 1866, watercolor by Anthony Kellner, 5th Infantry
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MOVING IMAGES film reviews
Second verse, same as the first Michael Abatemarco I The New Mexican The Trip to Italy, comedy, not rated, The Screen, 3 chiles Reprising their roles as fictionalized versions of themselves, Rob Brydon and Steve Coogan return for another round of the largely improvised banter that made 2010’s The Trip a comedic wonder. This time around, the setup is nearly identical: Coogan and Brydon are sent by The Observer to write an article on the offerings at world-class restaurants, but the setting has changed from northern England to Italy, which means memorable views in and around Liguria, Rome, Pompeii, and the Amalfi Coast. While a revisiting of these characters and their ongoing game of one-upmanship — which largely consists of who can do better impressions of A-list actors — is hilarious, it’s hardly necessary. The Italian-version “plot” varies slightly from the original by way of serving up even more of the funny and a bit less of the somber moments that punctuated The Trip’s snappy repartee. The two rent a car and drive through glorious Mediterranean settings, riffing all the while on the vocal characteristics of actors and doing a fresh load of impressions of Al Pacino, Anthony Hopkins, and a young-versus-old Michael Caine. When Brydon’s iPod, loaded with Italian opera, fails to work, he pops in a CD of Alanis Morissette instead. At first annoyed by the lack of a more appropriate soundtrack for their trip, Coogan is soon singing along: “I’ve got one hand in my pocket and the other one is giving a high-five.” One of the delights of The Trip to Italy is the sumptuous meals — sure to be the envy of gastronomes everywhere, in large part due to the memorable locations where they’re served. The two dine at the
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PASATIEMPO I August 29 - September 4, 2014
Two for the road: Rob Brydon and Steve Coogan
panoramic restaurant Cenobio dei Dogi, for instance, which overlooks the pristine sea by Camogli, a fishing village on the Italian Riviera, and the two dine at the stunning Villa Cimbrone, a luxury hotel in Ravello, a small town on the Amalfi Coast. The fare includes homemade pastas and seafood dishes, and director Michael Winterbottom takes the camera into the kitchens to observe as the meals are prepared. Both Trips began as series for British television that were subsequently edited as films for release abroad. There’s little in the way of a story, but the first Trip and its sequel do touch on the characters’ private lives. Brydon, the (mostly) settled, loving husband of the first film, was the perfect foil to Coogan’s philandering and egomania. In The Trip to Italy, Winterbottom reverses the scenario. Telephone calls to home from Brydon reveal a troubled marriage, and he’s tempted to seek affection with an English deckhand he meets on a short outing at sea, while Coogan plays against type and goes out of his way to avoid women altogether. Brydon’s character took a back seat to the betterknown (in these films as well as in life) Coogan for the initial Trip go-round, but he now appears more confident and in control. The character is coming into his own, being offered film roles in Hollywood productions, which, one suspects, rankles Coogan thoroughly. Brydon is no less able and willing to answer Coogan’s thinly veiled insults with amusing zingers of his own than he was the first time — all of them delivered in the same good-natured spirit as before. The comic timing isn’t always perfect, but that, too, is one of the film’s many charms. Like competitive siblings, Coogan and Brydon get on each other’s nerves and know all the respective buttons
to push. One senses the two have a long and involved history off the set — one rich with the petty gripes and deep affection siblings share. Brydon, particularly adept at impersonating the halting voice and mannerisms of Hugh Grant (even resembling him slightly), does the better impressions. This is not lost on fans of the first film, but it’s something to which Coogan seldom concedes. The film isn’t breaking any new ground. Its long scenes that take us through several courses of Italian cooking are a comic version of My Dinner With André. But The Trip to Italy achieves an overall pace akin to Richard Linklater’s Before series as it moves from locale to locale. The improvised dialogue is, by nature, entirely random, but it’s also candid. When Coogan’s character is joined by his teenage son, played by Timothy Leach, their reunion has an air of authenticity and allows for a more tender side of Coogan, whose character is emotionally distant in the first film, to emerge. Brydon has a second objective in taking this trip. A lover of Byron, Shelley, and other expatriate British Romantic poets, he tours sites associated with them, noting that all that separates his name from Byron’s is the letter d. He occasionally slips into “poet voice” while reciting famous passages, only to get interrupted by Coogan, who seems barely able to tolerate such moments. Because so much of the dialogue was improvised, any outtakes from these films must be rare indeed. If that comes as bad news to you, and if you’re not expecting anything new but just want another heaping helping of Coogan and Brydon, The Trip to Italy will be a welcome, if slightly superfluous, secondo. ◀
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Down to Earth: George Takei on a quest for planetary equality
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To Be Takei, bio-doc, not rated, Jean Cocteau Cinema, 3 chiles F. Scott Fitzgerald once claimed “there are no second acts in American lives.” George Takei, the 77-year-old former star of the Star Trek franchise, must never have read those words — or he just doesn’t agree with them. Known as Sulu to fans of the popular television series (and the movies that followed), Takei may now be more widely recognized for his strong social media presence and equal-rights activism. Much like its perpetually grinning subject, this informative, affectionate bio-doc from director Jennifer M. Kroot is utterly likable. It’s also completely conventional. She assembles the requisite talking heads, media clips, and archival photos into a very loose narrative. Sometimes it feels unpolished and cheesy, and it doesn’t build to any revelation or climax. Her mission statement clearly isn’t “to boldly go where no man has gone before,” but that doesn’t mean her film isn’t enjoyable. Kroot looks inside Takei’s relationship with his husband and business partner, Brad Takei (né Altman). We learn about Takei’s career before and after Star Trek, when he was encouraged to take on cringe-worthy, stereotypical Asian roles. It touches on the antagonistic relationship between Takei and former co-star William Shatner and offers snippets of interviews with cast members Walter Koenig, Nichelle Nichols, and Leonard Nimoy. The film’s not just for Trekkies, though. It also reveals lesser-known details about Takei’s life that have a surprising emotional heft. After the attack on Pearl Harbor and President Franklin D. Roosevelt’s signing of Executive Order 9066, Takei’s family lost their home, business, and possessions, as did many people of Japanese ancestry, including American citizens. Takei talks about the confusing “loyalty questionnaires” given to internees and Kroot provides shots of some of the hateful graffiti Japanese Americans faced when they returned to their hometowns. If you don’t get a little choked up when Takei sings “Don’t Fence Me In,” a popular tune of the time, and talks about that song’s added significance for him, you’re a cooler cucumber than I am. After the war, Takei faced another kind of imprisonment: homophobia. After publicly coming out as a gay man in 2005, Takei became a visible advocate for gay rights and marriage equality. He has channeled his pain and regret into a musical play called Allegiance, which has its sights set on Broadway, and a pro-equality meme he has created might be in your Facebook newsfeed right now. When life gives Takei lemons, he just chuckles in his famous baritone and reminds us that “It’s OK to be Takei.” ◀
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MOVING IMAGES film reviews
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Isn’t it bromantic: Earl Lynn Nelson and Paul Eenhoorn
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Land Ho!, comedy, rated R, Center for Contemporary Arts, 2.5 chiles
JEWELRY ~ VINTAGE ~ ESTATE ~ MEXICAN OLD INDIAN PAWN ~ ANTIQUES ~ ART
With plenty of laid-back charm and the easy pace of a couple of old guys with nothing in particular to do and nowhere special to go, this geriatric buddy comedy falls somewhere between a slick home movie and an unpretentious indie road movie. The road begins when elderly Colin (Paul Eenhoorn) shows up at the woodland cottage of his former brother-in-law Mitch (Earl Lynn Nelson), who talks him into taking a first-class, all-expenses-paid trip to Iceland. Why Iceland? Why not? The food is good and the scenery is gorgeous. Mitch is a surgeon, a pot-smoking, good-timing Southern extrovert with plenty of money and advice to dispense and an ear that doesn’t register the word no. Colin, a one-time world-class French horn player and now a retired banker, is a thoughtful, quiet Aussie. The two men were married to sisters in their distant youth. Mitch is long divorced, and Colin is widowed (and newly split from a second wife). There’s a nice camaraderie to this odd couple. Mitch’s crude bonhomie seems to be a tonic for the reserved Colin: just what he needs to lure him out of his post-breakup doldrums. And so, before you can say Jakob Rögnvaldsson, they’ve gone off to Reykjavík. It’s an episodic, anecdotal movie, driven by character rather than story. The two old-timers are there to kick up their heels and get their groove back and have a look around Iceland’s scenic treasures. Cinematographer Andrew Reed provides an eyeful, especially once the fellas hit the road in a rented SUV and head off along Iceland’s Ring Road to see the sights. Scenic features such as spurting geysers provide predictable grist for Mitch’s mill of raunchy quips. When they run out of things to say, directors Aaron Katz and Martha Stephens resort not once but twice to the old movie filler of having the two cavort among the scenery to a musical interlude. If there’s an arc to the story, it’s camaraderie, friction, clash, withdrawal, reunion. But it’s really just about the guys. Eenhoorn as Colin is the more polished actor, but it’s the gleefully nonprofessional Nelson who gobbles up most of the oxygen on the screen. A few other characters intrude on the odyssey of these two elders, most notably Mitch’s young cousin Janet (Elizabeth McKee) and her friend Ellen (Karrie Crouse), who turn up in Reykjavík to inject a little atmosphere of youth into the proceedings and to tell a ghost story that reverberates later. There’s also a brief encounter with a nice lady from Canada in a hot spring. Otherwise, it’s pleasant bantering and a little bickering and plenty of scenery — and a welcome exposure to the notion that older people are as relevant as youth, but with a different perspective. ◀
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PASATIEMPO I August 29 - September 4, 2014
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Judy Chicago, The Return of the Butterfly, from A Retrospective in a Box, 2012. Lithograph. Collection of the New Mexico Museum of Art, museum purchase, 2013.
Experience Authentic Santa Fe at The Bishop’s Lodge Ranch Resort & Spa! 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.
Large-scaleprojectsandsmall-scalepersonalworks in an impressive array of media by artist, author and educator Judy Chicago. This exhibition focuses on works produced in the last three decades while the artist has been living and working in New Mexico.
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saturday, augus t 3 0
Noon –4 p.m. Cat Adoption Event. Meet cats and kittens in need of loving homes. Sponsored by Santa Fe Animal Shelter & Humane Society.
1–3:30 p.m. Collage Workshop: “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.
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.
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— compiled by Robert Ker
treasures. It’s a welcome reminder that older people are as relevant as youth, but with a different perspective. Rated R. 95 minutes. Center for Contemporary Arts, Santa Fe. (Jonathan Richards) See review, Page 56. RADIO FREE ALBEMUTH This movie, based on a semiautobiographical novel by Philip K. Dick, centers on a man named Nicholas Brady (Jonathan Scarfe) who has visions, moves to Los Angeles, and becomes a successful record executive. He befriends sci-fi writer Phil (Shea Whigham) and a woman named Silvia (Alanis Morissette), and together they find themselves involved in mysteries and conspiracies. Rated R. 111 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed)
We’ll always have Paris: As Above, So Below, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week THE ABOMINABLE DR. PHIBES This creepy Grand Guignol shocker stars Vincent Price as the title character, a man seemingly returned from the dead to inflict biblical-plague revenge on the nine surgeons who failed to save his wife’s life on the operating table. Price plays it straight in a somewhat empathetic manner, and the picture maintains a wry sense of humor. It also beautifully captures 1920s London — as well as a sense of the terror associated with knowing that Vincent Price is on the loose. Price’s daughter Victoria appears at the 1:30 p.m. screening on Sunday, Aug. 31, to read from her biography of her father. PG-13. 94 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Nott) AS ABOVE, SO BELOW Those who are old enough to remember 1990’s Flatliners may find this story, in which a group of young people are haunted by their pasts, pretty familiar. Rather than flirting with death, these crazy kids (who have done some really bad things) are exploring the catacombs beneath Paris when they come across something supernatural. 58
PASATIEMPO I August 29 - September 4, 2014
Rated R. 93 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) CANTINFLAS This movie tells the story of Mario Moreno, who is more commonly known as Cantinflas — the beloved film comedian known as “the Charlie Chaplin of Mexico.” Óscar Jaenada plays Cantinflas in this biopic, which traces his rise to fame and likely includes the moment that Americans best know him for: his celebrated performance in 1956’s Around the World in 80 Days. Rated PG. 106 minutes. In Spanish with subtitles. Regal Stadium 14, Santa Fe. (Not reviewed) LAND HO! With plenty of laid-back charm and the easy pace of a couple of old guys with nothing particular to do and nowhere special to go, this geriatric buddy comedy falls somewhere between a slick home movie and an unpretentious indie road movie. Elderly Colin (Paul Eenhoorn) shows up at the woodland cottage of his former brother-in-law Mitch (Earl Lynn Nelson), who talks him into taking a first-class, all-expenses-paid trip to Iceland. Why Iceland? Why not? The food is good, and the scenery is gorgeous. This is an episodic, anecdotal movie driven by character rather than story. The two geezers are there to kick up their heels, get their groove back, and check out Iceland’s scenic
TO BE TAKEI George Takei, the 77-year-old former star of the Star Trek franchise, must not agree with F. Scott Fitzgerald’s assertion that “there are no second acts in American lives.” The star could have chosen a quiet retirement, but today he’s widely recognized for his strong social media presence and gay-rights activism. Much like its subject, this informative, affectionate bio-doc from director Jennifer M. Kroot is utterly likable. It’s also completely conventional. Her mission statement clearly isn’t “to boldly go where no man has gone before,” but that doesn’t mean her film isn’t enjoyable. Not rated. 94 minutes. Jean Cocteau Cinema, Santa Fe. (Laurel Gladden) See review, Page 54. THE TRIP TO ITALY Director Michael Winterbottom’s indulgent follow-up to 2010’s The Trip is nearly identical in plot but set in Italy, providing ample opportunity take in stunning vistas and, as before, sumptuous meals — laughing all the way. On their second outing as food reviewers, Steve Coogan and Rob Brydon, playing fictional versions of themselves, reverse roles. This time Coogan is the more settled of the two and Brydon succumbs to the amorous settings of romantic Italy while retracing the steps of the likes of Shelley and Byron. The improvised tête-à-têtes and (mostly) spot on impersonations that made the first film a delight haven’t changed, and let’s face it, that’s what we want to see. Not rated. 108 minutes. The Screen, Santa Fe. (Michael Abatemarco) See review, Page 52.
now in theaters 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)
tending to his flock, among whom is his assassinto-be. Writer-director John Michael McDonagh (The Guard) salts his tragicomic pyramid of weighted metaphor and indelible characters with a soundtrack of keenly appropriate vintage music. Gleeson is magnificent, and the supporting cast is scarcely less so. Forgiveness is the value Father James places above all others on his progress toward his Calvary on Sunday. This is a concept with many facets, a ground strewn with mines, and it makes a terrific movie. Rated R. 100 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards)
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)
CHEF Jon Favreau, who wrote and directed this film, stars as Carl Casper, an L.A. chef with a successful restaurant and a failed marriage. Carl gets into a war of words with a critic (Oliver Platt); loses his job; and with the help of his ex-wife (Sofia Vergara), her ex (Robert Downey Jr.), and an amiable line cook ( John Leguizamo) heads to Miami with his son (Emjay Anthony), hoping to start over. Chef is part food porn, part tale of self-discovery, part father-son story, and part road-trip movie — with nary a conflict or villain in sight. It will remind you to appreciate the simple things in life — particularly a good Cubano sandwich. Rated R. 114 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden)
BEGIN AGAIN John Carney, director of 2006’s Once, returns with another music-themed romantic comedy. Mark Ruffalo plays a former record-label executive who comes across a beautiful young singer (Keira Knightley) and suggests they make sweet music — and, inevitably, magic — together. Singers and rappers such as Adam Levine, Mos Def, and CeeLo Green help fill out the cast. Rated R. 104 minutes. Regal DeVargas, Santa Fe. (Not reviewed) BOYHOOD Richard Linklater’s extraordinary achievement has been to take one boy, a six-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) CALVARY On a Saturday in a small church in the west of Ireland, Father James (Brendan Gleeson) listens in the confessional as a parishioner describes his repeated sexual abuse as a child by a now-deceased priest. The man then promises to kill Father James the following Sunday, to execute a good priest as retribution for the sins of the bad one. The good priest spends the week
DRUNKTOWN’S FINEST The first feature by Sydney Freeland is a moving coming-of-age tale that follows three Navajo youths struggling to escape 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)
spicy
medium
bland
heartburn
mild
Read Pasa Pics online at www.santafenewmexican.com/pasatiempo
THE EXPENDABLES 3 Take a deep breath before reciting the cast for this latest all-star game of action-movie heroes, as 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 usual, are the explosions. Rated PG-13. 126 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (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, 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) 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. Jeff Bridges plays the wisdom-bestowing title character, and Meryl Streep plays the chief elder, who opposes Jonas’ awakening. Rated PG-13. 97 minutes. 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 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 mythological figure Hercules. continued on Page 60
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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. 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) 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). But then Mia and her family are in a car accident, and she 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 young-adult book, If I Stay is making this a bleak summer for teenage girls at the multiplex. Rated PG-13. 106 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (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) 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
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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 his philosophy imagines. Rated PG-13. 97 minutes. Regal DeVargas, Santa Fe. (Jonathan Richards) 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) 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 Devereaux’s most talented protégé (Luke Bracey) on him, a globe-trotting game of cat and mouse ensues. Rated R. 108 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) 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. Rated R. 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) 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. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) 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)
other screenings Duel Brewing 1228 Parkway Drive, 505-474-5301 8 p.m. Sunday, Aug. 31: Sun Don’t Shine; screens with Invernada, a short film by local filmmaker Gonzalo Lyon Pollier. No charge. Jean Cocteau Cinema, 505-466-5528 About Alex. ◀
WHAT’S SHOWING Call theaters or check websites to confirm screening times. CCA CINEMATHEQUE AND SCREENING ROOM
1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Boyhood (R) Fri. to Thurs. 11:30 a.m., 2 p.m., 5 p.m., 7:30 p.m. A Five Star Life (NR) Fri. to Thurs. 3 p.m. Land Ho! (R) Fri. to Thurs. 12 p.m., 5:30 p.m., 8:15 p.m. JEAN COCTEAU CINEMA
418 Montezuma Avenue, 505-466-5528 The Abominable Dr. Phibes (NR) Fri. and Sat. 11 p.m. Sun. 1:30 p.m. About Alex (R) Thurs. 8:10 p.m. Drunktown’s Finest (NR) Fri. 4:30 p.m. Sat. 8:30 p.m. Wed. 4:30 p.m. Julesworks Follies (NR) Sun. 7 p.m. Radio Free Albemuth (R) Fri. 8:30 p.m. Sat. 2 p.m., 6:20 p.m. Tue. and Wed. 8:30 p.m. Thurs. 4 p.m. To BeTakei (NR) Fri. 6:30 p.m. Sat. and Sun. 4:30 p.m. Tue. and Wed. 6:30 p.m. Thurs. 6:20 p.m. Tom Knoblauch Jamboree (NR) Mon. 7 p.m. REGAL DEVARGAS
562 N. Guadalupe St., 505-988-2775, www.fandango.com Begin Again (R) Fri. and Sat. 1:40 p.m., 4:10 p.m., 7 p.m., 9:40 p.m. Sun. to Thurs. 1:40 p.m., 4:10 p.m., 7 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 Thurs. 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 Thurs. 1:35 p.m., 4:25 p.m., 7:05 p.m. The Hundred-Foot Journey (PG) Fri. and Sat. 1:15 p.m., 4:15 p.m., 7:15 p.m., 10 p.m. Sun. to Thurs. 1:15 p.m., 4:15 p.m., 7:15 p.m. Magic in the Moonlight (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. A Most Wanted Man (R) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:45 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m. REGAL STADIUM 14
3474 Zafarano Drive, 505-424-6296, swww.fandango.com As Above, So Below (R) Fri. to Sun. 12:05 p.m., 2:25 p.m., 4:50 p.m., 7:20 p.m., 9:50 p.m. Cantinflas (PG) Fri. to Sun. 12:25 p.m., 2:55 p.m., 5:20 p.m., 7:50 p.m., 10:20 p.m. The Expendables 3 (PG-13) Fri. to Sun. 12:40 p.m., 4:10 p.m., 7:15 p.m., 10:10 p.m. Frank Miller’s Sin City:A Dame to Kill For 3D (R) Fri. to Sun. 5:10 p.m., 10:20 p.m. Frank Miller’s Sin City:A Dame to Kill For (R) Fri. to Sun. 12 p.m., 2:35 p.m., 7:45 p.m. The Giver (PG-13) Fri. to Sun. 12:30 p.m., 2:55 p.m., 5:25 p.m., 7:50 p.m., 10:15 p.m. Guardians of the Galaxy 3D (PG-13) Fri. to Sun. 1:30 p.m., 4:40 p.m., 7:35 p.m., 10:20 p.m. Guardians of the Galaxy (PG-13) Fri. to Sun. 7:30 p.m., 10:15 p.m. Hercules (PG-13) Fri. to Sun. 3 p.m., 10 p.m. If I Stay (PG-13) Fri. to Sun. 12:15 p.m., 2:40 p.m., 5:15 p.m., 7:45 p.m., 10:20 p.m. Into the Storm (PG-13) Fri. to Sun. 1:45 p.m., 4:35 p.m., 7:10 p.m., 9:30 p.m.
Let’s Be Cops (R) Fri. to Sun. 1:25 p.m., 4:15 p.m.,
7:15 p.m., 9:50 p.m.
Lucy (R) Fri. to Sun. 12:40 p.m., 5:25 p.m., 7:40 p.m. The November Man (R) Fri. to Sun. 12:50 p.m.,
4:05 p.m., 7:30 p.m., 10:15 p.m.
the november man 2:10** 4:45 7:05 the Giver 2:25** 4:50 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 7:30 if i stay 2:05** 4:45 7:10 into the storm 2:30** 5:00 7:35 ninja turtles 2d 2:00** 4:30 7:00 when the Game stands tall 1:50** 4:25 6:55 as above, so below 2:15** 4:55 7:20 **saturday & sunday only *friday & saturday only times for friday, august 29 - thursday, september 4
9:50* 9:55* 10:00* 9:50* 9:45* 9:45* 9:40* 9:30* 9:35* 9:55*
Teenage Mutant Ninja Turtles 3D (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. Teenage Mutant Ninja Turtles (PG-13) Fri. to Sun. 12 p.m., 2:30 p.m., 5 p.m. When the Game Stands Tall (PG) Fri. to Sun. 1:20 p.m., 4:45 p.m., 7:25 p.m., 10:10 p.m. THE SCREEN
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Alive Inside:A Story of Music and Memory (NR)
Sat. and Sun. 10:15 a.m. The Trip to Italy (NR) Fri. 5 p.m., 7:30 p.m. Sat. to Mon. 12 p.m., 2:30 p.m., 5 p.m., 7:30 p.m. Tue. to Thurs. 2:30 p.m., 5 p.m., 7:30 p.m. MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com As Above, So Below (R) Fri. 4:55 p.m., 7:20 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:55 p.m., 7:20 p.m., 9:55 p.m. Sun. 2:15 p.m., 4:55 p.m., 7:20 p.m. Mon. to Thurs. 4:55 p.m., 7:20 p.m. 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. Frank Miller’s Sin City:A Dame to Kill For (R) Fri. and Sat. 7:30 p.m., 9:45 p.m. Sun. to Thurs. 7:30 p.m. The Giver (PG-13) Fri. 4:50 p.m. Sat. and Sun. 2:25 p.m., 4:50 p.m. Mon. to Thurs. 4:50 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. Let’s Be Cops (R) Fri. 4:40 p.m., 7:25 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:40 p.m., 7:25 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:40 p.m., 7:25 p.m. Mon. to Thurs. 4:40 p.m., 7:25 p.m. The November Man (R) Fri. 4:45 p.m., 7:05 p.m., 9:50 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:05 p.m., 9:50 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:05 p.m. Mon. to Thurs. 4:45 p.m., 7:05 p.m. Teenage Mutant Ninja Turtles (PG-13) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. When the Game Stands Tall (PG) Fri. 4:25 p.m., 6:55 p.m., 9:35 p.m. Sat. 1:50 p.m., 4:25 p.m., 6:55 p.m., 9:35 p.m. Sun. 1:50 p.m., 4:25 p.m., 6:55 p.m. Mon. to Thurs. 4:25 p.m., 6:55 p.m.
Eileen Colin Marcia Hamish Simon Emma Jacki Atkins Firth Gay Harden Linklater McBurney Stone Weaver
★★★★
“
(HIGHEST RATING!)
A MASTER STROKE OF ENCHANTMENT.”
-Rex Reed, NEW YORK OBSERVER
Magic In The Moonlight Written and Directed by
Woody Allen
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PASATIEMPOMAGAZINE.COM
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RESTAURANT REVIEW Alex Heard I For The New Mexican
Flashes of brilliance Anasazi Restaurant & Bar 113 Washington Ave. 505-988-3236 www.anasazirestaurant.com Breakfast 7–10:30 a.m., lunch 11:30 a.m.–2:30 p.m., dinner 5:30–10 p.m. daily; brunch 11 a.m.–2:30 p.m. Sundays Full bar Patio dining in season Vegetarian options Handicapped accessible Noise level: moderate Credit cards, no checks
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The Short Order The menu at Anasazi Restaurant & Bar is creative, ambitious, and expensive. Whether you feel like you’re getting your money’s worth may depend on when you go, because there are hints that the engines run stronger at night. The Anasazi serves breakfast, lunch, dinner, and Sunday brunch, offering ample variety for carnivores and vegetarians, along with fixed-price options and a patio menu that make it easy to afford sampling the food. The interior is cozy, tasteful, and conducive to conversation, and the bar is a local favorite, especially on fall and winter nights. Recommended: tiradito salad, duck enchilada mole, ash goat cheese panzottis, tiramisu with cafécon-leche sorbet and chocolate sauce.
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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Prepare for some sticker shock at the Anasazi Restaurant & Bar, especially if you go for dinner. The priciest entree, the New Mexico rack of lamb, costs $45, which is in sync with what you would pay at top restaurants in major American cities. The entry fee is big-time, but do you get big-time food? Two recent visits led to a split decision. Lunch on a Thursday was just so-so, brightened by a couple of very good desserts. Dinner the next night was a different story, a memorable experience marked by inventive and delicious food. Obviously, restaurants tend to display more zip during Friday prime time than on a Thursday afternoon, but consistency matters. On this front, the menu planning and cooking style of Anasazi’s talented, well-traveled executive chef, Juan Bochenski, may be a factor. Like most ambitious cooks these days, Bochenski favors artistic presentations, which can be pleasing and fun. But with the lunch food, the displays sometimes get in the way of a dish’s basic texture and taste. Whether you try the Anasazi at night, midday, or in the morning, it’s a nice setting for a meal. A roomy patio looks out on Washington Street, and the restaurant has a cozy bar and a long, wide main dining room graced with familiar Santa Fe touches: dark wood furniture, Southwestern-themed upholstery, warm wall lamps, and salt-cedar window shutters. The Anasazi calls its dress code “elegant,” but locals and tourists shrug that off and dress however they want. The mood is relaxed; waiters are friendly and helpful with questions about food and wine. At lunch, we ordered two salads, starting with a South of the Border Caesar that fell short. In an old-school Caesar, stiff romaine lettuce leaves are coarsely chopped and coated with a rich dressing — typically made with pasted anchovies, egg yolk, and Dijon mustard — and then flecked with shaved cheese. The Anasazi’s version consisted of four whole, dry leaves sprinkled with herbs, Manchego cheese, and a too-light lemon-anchovy dressing. The only Southwestern touch was a dribble of some kind of chile-based sauce on the plate, and the overall effect was bland. The chipotle-grilled shrimp in the second salad were tasty and tender, but there were only three of them, holding lonely vigil on the edges of a large pile of green leaf lettuce garnished with jicama, carrot shavings, pumpkin seeds, blackberries, and roasted peppers. The lettuce was damp, diluting the citrus dressing so much that it didn’t have enough oomph to help the greens. The lunch entrees were a step up. The chicken enchiladas, made with fresh corn tortillas, were served on a generous layer of guajillo-chile sauce, with savory rice and black beans on the side. The tortillas were slightly rubbery and dry, but the chicken filling was generous, cheesy, and well herbed. Don’t expect the usual New Mexico slathering of green chile on top: here, it’s used only as an ingredient in the filling, and sparingly at that. The other entree was an openfaced trout sandwich with bacon and avocado that worked just fine, thanks to fresh-tasting trout that had been panfried in blue corn meal. As for the sweet stuff: yum. Both the tiramisu and the flan were good in their own right, but they
PASATIEMPO I August 29 - September 4, 2014
came with ice cream and sorbet, flavored with dulce de leche and coffee, respectively, that were both excellent. At dinner, any memories of shrimp skimp were swept aside by the crab and salmon-tiradito salad. Bochenski is from South America, and tiradito is basically Peruvian ceviche, featuring raw fish that gets cured a bit with citrus juice. This salad was proportioned just right — plenty of fish — and the side touches (“compressed” watermelon pieces, avocado mousse, crab, thinly sliced baby beets) all came together in an attractive and flavorful blend. The duck enchilada mole was very good, too — chocolatey but not too sweet, with what tasted like a subtle undercurrent of raisins. The duck inside had a good smoky flavor; we just wished there had been more of it. For the entrees, we tried an order that was well outside our comfort zone, a creation called ash goat cheese panzottis (a sort of ravioli — the name is a variation on the Italian word for “potbellied”). Ash? Yes. The pasta dough was made with some kind of vegetable matter (the menu doesn’t clarify) that had been burned to black and then pulverized and mixed with flour. Thus, the panzottis were as black as beetle shells, and they had a biting, carbon-y taste that was startling at first. The goat-cheese filling instantly countered that, however, making for a distinctive combination. Less cutting-edge but also good: a seafood risotto that was rich and red with bits of lobster, shrimp, mussel, and squid, all of it flavored with saffron and tomato. These dishes, along with another successful dessert — pineapple cake and sorbet — proved that when the Anasazi’s game is on, it can be a very beguiling place. ◀
Lunch for two at the Anasazi Restaurant & Bar: Caesar salad.......................................................... $ 12.00 Shrimp salad......................................................... $ 13.00 Open-face trout sandwich .................................... $ 15.00 Chicken enchiladas .............................................. $ 16.00 Flan ...................................................................... $ 12.00 Tiramisu ............................................................... $ 12.00 Iced tea (2) ........................................................... $ 5.00 TOTAL.................................................................. $ 85.00 (before tax and tip) Dinner for two, another visit: Duck enchilada mole............................................ $ 14.00 Tiradito salad........................................................ $ 15.00 Ash panzottis........................................................ $ 25.00 Seafood risotto...................................................... $ 32.00 Pineapple cake and sorbet.................................... $ 13.00 Glass, Hess chardonnay........................................ $ 10.00 Glass, Riff pinot grigio ......................................... $ 12.00 TOTAL ................................................................$121.00 (before tax and tip)
Fiesta de Santa Fe
2014
• A Fiesta Love Affair Story • Fiesta Clothing: a 75 Year Retrospective
A special pull-out section in Sunday’s paper
• Parades Story • Calendar & Bandstand Schedule
Sunday, August 31 only inside
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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 29-September 4
CALENDAR COMPILED BY PAMELA BEACH
FRIDAY 8/29
In the Mood: Artists and Musicians in Collaboration
Gallery & Museum Openings
Vivo Contemporary, 725 Canyon Rd., 505-982-1320 Meet-and-greet with live music by singer/ songwriter Karen Marrolli; 5-7 p.m. , no charge.
David Richard Gallery
544 S. Guadalupe St., 505-983-9555 A Subject to Avoid, glass sculpture by Silvia Levenson, reception 5-7 p.m., through Oct. 11.
Theater/Dance
David Rothermel Contemporary
Antonio Granjero and EntreFlamenco
142 Lincoln Ave., 575-642-4981 Juxtaprose Series, paintings by the gallerist, reception 5-8 p.m., through Sept. 10.
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, final weekend.
Evoke Contemporary
550 S. Guadalupe St., 505-995-9902 A Walk in the Clouds, paintings by Louisa McElwain, reception 5-7 p.m., through Sept. 20.
O‘Keeffe!
Warehouse 21 Carolyn Wickwire continues her one-woman performance in a Flower and Bone Productions presentation of the play by Lucinda McDermott, 8 p.m. $20 in advance at brownpapertickets.com, final weekend.
Gallery 822
822 Canyon Rd., 505-989-1700 Heads & Tails III, horse-themed work by painter Sandy Keller and horsehair basket weaver Jane Chavez, reception 5-8 p.m.
Books/Talks
Heidi Loewen Porcelain Gallery
315 Johnson St., 505-988-2225 The Glow From Within, gold-leaf sculpture by the gallerist, reception 5-7 p.m., through September.
A.J. DeWall
Op. Cit. Books, 500 Montezuma Ave., Sanbusco Center, 505-428-0321 The novelist reads from Forever Man, noon.
James Kelly Contemporary
1611 Paseo de Peralta, 505-989-1601 Paintings and sculpture by Matt Magee, reception 5-7 p.m., through Oct. 25.
Events Annual burning of Will Shuster‘s Zozobra
LewAllen Galleries at the Railyard
1613 Paseo de Peralta, 505-988-3250 Amalgams of Color, mixed-media paintings by Jesse Blanchard, reception 5-7 p.m., through Sept. 21.
Marigold Arts
424 Canyon Rd., 505-982-4142 The Spirit of New Mexico, turned-wood vessels and sculpture by Jim McLain, reception 5-7 p.m., through Oct. 1.
Meyer East Gallery
225 Canyon Rd., 505-983-1657 Paintings by Wendy Chidester, reception 5-7 p.m., through Sept. 11.
Peters Projects
1011 Paseo de Peralta, 505-954-5800 Paintings by Suzanne Caporael; photographs by Laura Wilson, reception 5-7 p.m., through Sept. 27.
Santa Fe Baking Company
504 W. Cordova Rd., 505-954-1601 Bailarines Cubanos, photographs by Carl Moore, reception 5-7 p.m.
S.R. Brennen Gallery
555 Canyon Rd., 505-428-0274 Paintings by Zvonimir Mihanović, receptions 5-7 p.m. today and Saturday.
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Nüart Gallery shows paintings by Carol Mothner, 670 Canyon Rd.
TAI Modern
Zane Bennett Contemporary
1601-B Paseo de Peralta, 505-984-1387 Zen, bamboo sculpture by Tanabe Shochiku and Wakamiya Takashi, reception 5-7 p.m., through Sept. 27.
435 S. Guadalupe St., 505-982-8111 A$$holes on Cell Phones, comic-strip-style drawings by Marc Dennis, reception 5-7 p.m., through Sept. 20. (See story, Page 40)
Tansey Contemporary
Classical Music
652 Canyon Rd., 505-995-8513 Women in Cultural Context, group show including Teri Greeves, Patrick McGrath Muñiz, and Irina Zaytceva, reception 5-7 p.m., through Sept. 23.
Wheelhouse Art
418 Montezuma Ave., 505-919-9553 Here and Now, Now and Then, work by mixed-media artist Margaret Denney, reception 5-7 p.m., through Sept. 23.
William Siegal Gallery
540 S. Guadalupe St., 505-820-3300 Color Fall, paintings by David Ivan Clark, Willy Richardson, and Cornelia Thomsen, reception 5-7 p.m., through Sept. 23.
PASATIEMPO I August 29-September 4, 2014
TGIF organ recital
First Presbyterian Church of Santa Fe, 208 Grant Ave., 505-982-8544, Ext. 16. Jan Worden-Lackey performs music of Bach, 5:30-6 p.m., donations welcome.
In Concert Classical Meets Flamenco
Music Room at Garrett‘s Desert Inn Guitarist David Wescott Yard and guitarist/ vocalist Mito de Soto, 7 p.m., $10 in advance, $15 at the door, 505-204-5443 or 505-466-2894.
Fort Marcy Recreation Complex, 490 Bishops Lodge Rd. Gates open at 3 p.m., 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.
Santa Fe Yoga Festival
Bishop’s Lodge Ranch Resort & Spa Live music, classes, and dharma talks are some of the events running daily through Sunday, tickets begin at $10, visit santafeyogafestival.org for details.
Nightlife
(See Page 65 for addresses)
Bishop’s Lodge Ranch Resort & Spa
Jazz guitarist Pat Malone, 6-9 p.m., no cover.
Café Café
Trio Los Primos, 6 p.m., no cover.
Cowgirl BBQ
Classic-country artist Bill Hearne, 5-7:30 p.m.; Wendy Colonna Band, roots/soul, 8:30 p.m., no cover.
¡Chispa! at El Mesón
Three Faces of Jazz, featuring guest saxophonist Bruce Holmes, 7:30-10:30 p.m., no cover.
8/29
Antonio Granjero and EntreFlamenco: final weekend
Duel Brewing
Joe West, Les Malzman opens, 7:30-10:30 p.m., no cover.
El Farol
Sean Healen Band, rock, 9 p.m.-close, call for cover.
La Fiesta Lounge at La Fonda
Savor, Cuban rhythms, 8 p.m.-close, no cover.
Mine Shaft Tavern
Paw Coal & Eric Sawyer, on the deck 3-7 p.m.; Carrie Nation and the Speakeasy, acoustic brass and grass, 8 p.m., call for cover.
Palace Restaurant and Saloon
Hip-hop and reggae band Boomroots Collective, 10 p.m., call for cover.
La Posada de Santa Fe Resort and Spa
Nacha Mendez Quartet, 6:30-9:30 p.m., no cover.
Pranzo Italian Grill
Geist Cabaret, pianist David Geist, 6-9 p.m., call for cover.
Second Street Brewery
Brass jazz band Lil‘ Tones, 6-9 p.m., no cover.
Second Street Brewery at the Railyard
Müshi Trio, groove-jazz, with Robert Muller on keyboards, Dave Wayne on drums, and Ross Hamlin on bass, 7-10 p.m., no cover.
Shadeh
DJ Flo Fader, Guns ‘n‘ Roses tribute, 9 p.m.-4 a.m., no cover.
Swiss Bakery Pastries and Bistro
Troubadour Gerry Carthy, on the patio, 7-10 p.m.
Vanessie
Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.
SATURDAY 8/30 Gallery & Museum Openings Pippin Contemporary
200 Canyon Rd., 505-795-7476 Beckonings and Reckonings, abstract paintings by Stephanie Shank, reception 4-6 p.m.
In Concert Havdallah Café at Iconik Coffee Roasters
1600 Lena St., 505-428-0996 Broadway tunes, blues, and folk music performed by singer/guitarist Cindy Freedman, 8-10 p.m., $25.
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, final weekend.
Aspen Santa Fe Ballet: Mixed Repertory
The Lensic Encore performance of Square None by Norbert De la Cruz III; Return to the Strange Land by Jiří Kylián; and The Heart(s)pace by Nicolo Fonte, 8 p.m., $25-$72, 505-988-1234, ticketssantafe.org.
Warehouse 21 Carolyn Wickwire continues her one-woman performance in a Flower and Bone Productions presentation of the play by Lucinda McDermott, 8 p.m. $20 in advance at brownpapertickets.com, final weekend.
Santa Fe Fiesta Melodrama
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 (10 p.m. late show, $10), Thursdays-Sundays through Sept. 7.
Books/Talks Sally Blakemore
Dreaming Arts Studio 1432 Don Gaspar Ave., 505-699-4249 The pop-up book artist reads from Human Beings: Ordinary Meetings with Extraordinary People, 6 p.m., refreshments served, no charge, bring folding chairs.
Events Fiesta de los Niños: A Children‘s Celebration
El Rancho de las Golondrinas, 334 Los Pinos Rd. 505-471-2261 Games, crafts demonstrations, and entertainment, 10 a.m.-4 p.m. today and Sunday, $8, discounts available, ages 12 and under no charge.
Fiesta Fine Arts & Crafts and Fiesta Craft Shows
The Plaza Includes weavers, jewelers, potters, santeros, and glass artists, 9 a.m.-5 p.m. today through Monday.
Homage to Your Pet or Favorite Animal
New Mexico Museum of Art, 107 W. Palace Ave. Art-collage workshop inspired by the exhibit Local Color: Judy Chicago 1984-2014, call 505-476-5068 to register, 1-3:30 p.m., by museum admission, ages 16 and under no charge; concurrent cat adoption sponsored by the Santa Fe Animal Shelter noon-4 p.m.
Santa Fe Yoga Festival
Bishop’s Lodge Ranch Resort & Spa Live music, classes, and dharma talks are some of the events running daily through Sunday, tickets begin at $10, visit santafeyogafestival.org for details.
Nightlife
(See addresses at right)
Café Café
Jazz/blues guitarist Ramon Bermudez, 6:30 p.m., no cover.
¡Chispa! at El Mesón
Ryan Finn Quartet, jazz, 7:30-10:30 p.m., no cover.
Cowgirl BBQ
New-Orleans-style funk and soul band Pollo Frito, 2-5 p.m.; rock cover band Chango, 8:30 p.m.-close; no cover.
Duel Brewing
Half Broke Horses, honky-tonk Americana, 7:30-10:30 p.m., no cover.
La Fiesta Lounge at La Fonda
Savor, Cuban rhythms, 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.
Low ‘n‘ Slow Lowrider Bar at Hotel Chimayó de Santa Fe
Mine Shaft Tavern
Country-wave band Drastic Andrew, on the deck 3-7 p.m.; bluesman Todd Tijerina, 8 p.m.; call for cover.
Second Street Brewery
New-Orleans-style funk and soul band Pollo Frito, 6-9 p.m., no cover.
Second Street Brewery at the Railyard
Bluegrass band The Acadian Drifters, 7 p.m.-close, no cover.
Check with venues
Sweetwater Harvest Kitchen
John Serkin on Hawaiian slack-key guitar, 6 p.m., no cover.
Tiny‘s
Showcase karaoke, with Nanci and Cyndy, 8:30 p.m.-close, no cover.
Vanessie
Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.
for updates and sp
ec
ial events 317 Aztec Lodge Lounge at Th 317 Aztec St., 505-8 20-0150 e Lodge at Santa Fe 750 N. St. Agoyo Lounge Francis Dr., 505-992-5800 at the Inn on the Ala meda Low ‘n‘ Slow Lowride 303 E. Alameda St., 505-984-2121 r Bar at Hotel Chimayó de Anasazi Restauran Santa Fe t & Bar 12 5 Wa shington Ave., 505-9 113 Washington Av 88-4900 e., 505-988-3030 The Matador Betterday Coffee 11 6 W. San Francisco St. 905 W. Alameda St., 505-555-1234 Mine Shaft Tavern Bishop‘s Lodge Ranc h Resort & Spa 2846 NM 14, Madrid, 1297 Bishops Lodge 505-473-0743 Rd., 505-983-6377 Museum Hill Café Burro Alley Café 710 Camino Lejo, Mi 207 W. San Francisc lner Plaza, o St., 505-982-0601 505-984 -8900 Café Café Music Room at Garre 500 Sandoval St., 50 tt‘s Desert Inn 5-466-1391 311 Old Santa Fe Tra ¡Chispa! at El Mesó il, 505-982-1851 n Omira Bar & Grill 213 Washington Av e., 505-983-6756 1005 St. Francis Dr., Cowgirl BBQ 505-780-5483 Palace Restaurant 319 S. Guadalupe St. & Saloon , 505-982-2565 142 W. Palace Ave., 50 The Den at Coyote 5-428-0690 Café Pranzo Italian Grill 132 W. Water St., 50 5-983-1615 540 Montezuma Av e., 505-984-2645 Duel Brewing Sa nta Fe Community 1228 Parkway Dr., 50 5-474-5301 Convention Center El Cañon at the Hilto n 201 W. Marcy St., 50 5-955-6705 100 Sandoval St., 50 5-988-2811 Santa Fe Sol Stage Eldorado Hotel & Sp & Grill a 37 Fire Place, solofsan 309 W. San Francisc tafe.com o St., 505-988-4455 Second Street Brewery El Farol 1814 Second St., 50 5-982-3030 808 Canyon Rd., 505-9 83-9912 Second Street Brew El Paseo Bar & Grill ery at the Railyard 1607 Paseo de Peral 208 Galisteo St., 505-9 ta, 505-989-3278 92-2848 Shadeh Evangelo‘s Bu ffalo Thunder Resort 200 W. San Francisc & Casino o St., 505-982-9014 Pojoaqu e Pueblo, U.S. 84/28 High Mayhem Emerg 5, ing Arts 505-455-5555 2811 Siler Lane, 505-4 38-2047 Sweetwater Harve st Kitchen Hotel Santa Fe 1512-B Pacheco St., 1501 Paseo de Peral 505-795-7383 ta, 505-982-1200 Swiss Bakery Pastr ies and Bistro Iconik Coffee Roas ters 401 S. Guadalupe St. 1600 Lena St., 505-4 , 505-988-5500 28-0996 Taberna La Boca Jean Cocteau Cinem a 125 Lincoln Ave., 50 418 Montezuma Av 5-988-7102 e., 505-466-5528 Tiny‘s Junction 1005 St. Francis Drive 530 S. Guadalupe St. , Suite 117, , 505-988-7222 505-983-9817 La Boca The Underground at Evangelo‘s 72 W. Marcy St., 505-9 82-3433 200 W. San Francisc o St. La Casa Sena Canti na Upper Crust Pizza 25 E. Palace Ave., 50 5-988-9232 329 Old Santa Fe Tra il, 505-982-0000 La Fiesta Lounge at La Vanessie 100 E. San Francisco Fonda St., 505-982-5511 434 W. San Francisc o St., 505-982-9966 La Posada de Santa Fe Veterans of Foreign 330 E. Palace Ave., 50 Resort and Spa Wars 5-986-0000 370 Montezuma Av e., 505-984-2691 Lensic Performing Arts Center Warehouse 21 211 W. San Francisc o St., 505-988-1234 1614 Paseo de Pe ralta, 505-989-4423 Zia Dinner 326 S. Guadalupe St. , 505-988-7008
C L U B S, R O O M S, V E N U ES
O‘Keeffe!
Troubadour Gerry Carthy, 7:30 p.m.-close, no cover.
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Events Fiesta Fine Arts & Crafts and Fiesta Craft Shows
The Plaza Includes weavers, jewelers, potters, santeros, and glass artists, 9 a.m.-5 p.m.
Swing dance
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 65 for addresses)
Cowgirl BBQ
Karaoke with Michele Leidig, 9 p.m., no cover.
El Farol
Mondays with Hilary Smith and Company, 8 p.m., call for cover.
La Fiesta Lounge at La Fonda
Bill Hearne Trio, pure country, 7:30-11 p.m., no cover.
Upper Crust Pizza
Troubadour Gerry Carthy, 6-9 p.m., no cover.
Vanessie
Pianist Doug Montgomery, 6:30 p.m., call for cover.
TUESDAY 9/2 Books/Talks Ruth Zaporah
Wheelhouse Art shows work by mixed-media artist Margaret Denney, 418 Montezuma Ave.
SUNDAY 8/31 Classical Music Performance Santa Fe Orchestra
The Lensic Opening performance; music of Strauss, Saint-Saëns, and Jack Waldenmaier; performers include soprano Audrey Luna, mezzo-soprano Karin Mushegain, and young violinist Phoenix Avalon, family preview 1 p.m., $25, $10 (accompanied by a child); concert 4 p.m., $27-$100, 505-988-1234, ticketssantafe.org. (See story, Page 28)
In Concert 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., no charge.
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., $35, 505-988-1234, ticketssantafe.org.
Rosie Ledet & the Zydeco Playboys
Santa Fe Railyard Plaza Zydeco accordionist/singer; part of the free outdoor summer concert series, 6:30 p.m.
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, season finale.
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The Julesworks Follies
Jean Cocteau Cinema A mash-up of comedy skits, music, dance, and theater, 7 p.m., $7 includes a raffle, 505-466-5528, jeancocteaucinema.com.
O‘Keeffe!
Warehouse 21 Carolyn Wickwire concludes her one-woman performance in a Flower and Bone Productions presentation of the play by Lucinda McDermott, 2 p.m. $20 in advance at brownpapertickets.com.
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.
Books/Talks Victoria Price
Jean Cocteau Cinema The author reads from Vincent Price: A Daughter‘s Biography, 1:30 p.m., a screening of The Abominable Dr. Phibes follows, $10; $5 with purchase of paperback; no charge with purchase of hardcover; 505-466-5528, jeancocteaucinema.com.
Events Fiesta de los Niños: A Children‘s Celebration El Rancho de las Golondrinas, 334 Los Pinos Rd. 505-471-2261 Games, crafts demonstrations, and entertainment, 10 a.m.-4 p.m., $8, discounts available, ages 12 and under no charge.
Santa Fe Yoga Festival
Bishops Lodge Ranch Resort & Spa Live music, classes, and dharma talks, tickets begin at $10, visit santafeyogafestival.org for details.
PASATIEMPO I August 29-September 4, 2014
Nightlife
(See Page 65 for addresses)
Cowgirl BBQ
Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The performer reads from Improvisation on the Edge: Notes from on and off Stage, 6 p.m. (See Subtexts, Page 18)
Boris & the Salt Licks, John Prine tribute, noon-3 p.m.; Robby Overfield, soul, 8 p.m.; no cover.
Duel Brewing
Celtic-folk band Stringtown Ambassadors, 5-7 p.m., no cover.
8/30
El Farol
Chanteuse Nacha Mendez, 7:30 p.m., call for cover.
Fiesta de los Niños at El Rancho de las Golondrinas Saturday and Sunday, Aug. 30-31
Evangelo‘s
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
Americana guitarist Gene Corbin, 3-7 p.m., no cover.
Second Street Brewery at the Railyard
Hot Honey, Appalachian country, 1-4 p.m., no cover.
Vanessie
Pianist Doug Montgomery, 6:30 p.m., call for cover.
MONDAY 9/1- LABOR DAY In Concert Tom Knoblauch Jamboree
Jean Cocteau Cinema Local juke-joint, biker-bar rock band Broomdust Caravan performs in memory of the local artist/ activist, 7 p.m., $7, jeancocteaucinema.com.
Books/Talks Southwest Seminars lecture
Hotel Santa Fe, 1501 Paseo de Peralta, 505-466-2775 The Grass Dance, with Randy Brokeshoulder, Hopi/Navajo/Shawnee carver and traditional dancer, 6 p.m., $12 at the door, series schedule available online at southwestseminars.org.
Nightlife
(See Page 65 for addresses)
¡Chispa! at El Mesón
Argentine Tango Milonga, 7:30-11 p.m., call for cover.
Cowgirl BBQ
Progressive-blues artist Toney Rocks, 8 p.m., no cover.
Duel Brewing
Indie-folk band The Show Ponies, 7:30-10:30 p.m., no cover.
El Farol
Canyon Road Blues Jam, 8:30 p.m., call for cover.
La Fiesta Lounge at La Fonda
Bill Hearne Trio, pure country, 7:30-11 p.m., no cover.
Mine Shaft Tavern
Bluesman Kenny Skywolf, on the deck 2-5 p.m., no cover.
Nightlife
(See Page 65 for addresses)
Duel Brewing
San Diego-based rock band The Routine, 7:30-10:30 p.m., no cover.
El Farol
Midweek rock with the John Kurzweg Band, 8 p.m., no cover.
La Fiesta Lounge at La Fonda
Vanessie
Liz Prince
Warehouse 21 The author reads from and signs copies of Tomboy: A Graphic Memoir and displays her illustrations in Flying Cow Gallery, 7 p.m., $3.
Michael J. Gelb
Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The author discusses Creativity on Demand: How to Ignite and Sustain the Fire of Genius, 6 p.m.
A Palace in Need of Repair: 1660-1720
New Mexico History Museum auditorium, 113 Lincoln Ave., 505-476-5200 Archaeologist Cordelia Snow delivers a Santa Fe Fiesta lecture about the Palace of the Governors, 6 p.m., $5 at the door. (See Art of Space, Page 48)
Tony Hsieh
James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. The Zappos founder and philanthropist in conversation with Geoffrey West of Santa Fe Institute on the science behind managing urban growth, 6 p.m., $20, students $5, 505-988-1234, ticketssantafe.org.
516 Arts
THURSDAY 9/4
Vanessie
ANGEL FIRE
Theater/Dance Cascarones opening night
Teatro Paraguas, 3205 Calle Marie DNAWORKS and Teatro Paraguas presents a play by Irma Mayorga, 7 p.m., $15, discounts available, 505-424-1601, Thursdays-Sundays, through Sept. 14.
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.
WEDNESDAY 9/3
Books/Talks
Second Street Brewery
Bill Hearne Trio, pure country, 6-9 p.m., no cover.
Chatter Sunday
The Kosmos, 1715 Fifth St. N.W. David Felberg and Pamela Pyle: violin and piano, 10:30 a.m. Sunday, Aug. 31, $15 at the door only, discounts available, chatterabq.org.
Pianist Bob Finnie, 6:30-9:30 p.m., call for cover.
Santa Fe Woman‘s Club, 1616 Old Pecos Trail The Council on International Relations presents speaker Cheryl Rofer, 5:30 p.m., $20, 505-982-4931, sfcir.org.
The Lensic The Santa Fe Fiesta Council presents the annual showcase of local talent, 10 a.m. ($10) and 2 p.m. ($7), 505-988-1234, ticketssantafe.org.
The Matador
UNM Interdisciplinary Film & Digital Media, Mesa del Sol, 5700-B University West Blvd. Saturday, Aug. 30: 2-4 p.m., Art and Interdisciplinary Research, a series of short presentations and a round-table conversation among art practitioners and theorists from UNM, Universidad Autónoma de Ciudad Juárez, and the University of Arizona; 4-6 p.m. (closing event), Emerge: Film & Digital Media Creative Works, a UNM student exhibit; held in conjunction with 516 Arts group show Digital Latin America, 505-242-1445, no charge.
516 Central Ave. S.W., 505-242-1445 Digital Latin America, international group show, through Saturday, Aug. 30.
Books/Talks
In Concert
Pranzo Italian Grill
Digital Latin America public programs
Shadeh
Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.
Mariachi Matinee
Limelight karaoke, 10 p.m., no cover.
DJ Inky Inc. spins soul/punk/ska, 8:30 p.m., no cover.
Vanessie
Tiny‘s
Palace Restaurant and Saloon
La Posada de Santa Fe Resort and Spa
Electric jam, 8:30-11:30 p.m., no cover.
Singer/songwriters open mic, 7-11 p.m., no cover.
Pat Malone Jazz Trio, 6:30-8:30 p.m., no cover.
Piano and vocals: David Geist and Julie Trujillo, 6-9 p.m., call for cover.
Tiny‘s
The Zappos founder in conversation with Santa Fe Institute professor Geoffrey West on what science tells us about cities and urban growth as it applies to Santa Fe at 6 p.m. Wednesday, Sept. 3. The talk is held at the James A. Little Theater on the New Mexico School for the Deaf campus at 1060 Cerrillos Rd. Admission is $20 in advance at the Lensic box office, 505-988-1234, ticketssantafe.org, students $5.
La Posada de Santa Fe Resort and Spa
C.S. Rockshow, with Don Curry, Pete Springer, and Ron Crowder, classic rock, 7:30 p.m.-close, no cover. Pat Malone Jazz Trio, 6-9 p.m., call for cover.
TONY HSIEH: URBAN RENEWAL
La Fiesta Lounge at La Fonda
C.S. Rockshow, with Don Curry, Pete Springer, and Ron Crowder, classic rock, 7:30 p.m.-close, no cover.
Disarming Syria‘s Chemical Weapons
DJ Oona, retro rewind, 6-9 p.m., no cover. Pianist Bob Finnie, 6:30-9:30 p.m., call for cover.
Zia Diner
String-jazz ensemble Trio Bijou, 6:30-8:30 p.m., no cover.
ALBUQUERQUE
Siembra: Latino Theatre Festival
National Hispanic Cultural Center, 1701 Fourth St. S.W., 505-604-6896 A season of drama and comedy running September through May; featuring Nasario García‘s When the Stars Trembled in Río Puerco, Silvia González‘s The Boxcar, Rudolfo Anaya‘s Bless Me, Ultima, and Patricia Crespín‘s The Sad Room.
SCA Contemporary Art
524 Haines Ave. N.E., 505-228-3749 At First Sight, mixed media by UNM‘s masters of fine arts graduate students, reception 5-8 p.m. Friday, Aug. 29, through Sept. 12.
Labor Day Gravity Games & Brewfest
Angel Fire Resort, 800-633-7463 Competitive mountain-biking events, live music, and cold brews; Friday-Sunday, Aug. 29-31, event schedule available online at angelfireresort.com.
Music From Angel Fire
The 31st festival season continues at 7 p.m. on Friday, Aug. 29, with Musical Conversations: Concertos Plus One II, with a discussion by Ida Kavafian followed by a performance of Bach concertos for harpsichord, oboe, and violins; performers include Stephen Taylor, Robert Wolinsky, and Benny Kim, United Church of Angel Fire, 40 W. Ridge Rd., $35 and $40; the concert at 2 p.m. on Sunday, Aug. 31, features young pianists Melvin Chen and Andrew Hsu; music of Mendelssohn, Mozart, and Toru Takemitsu, Angel Fire Community Center, 15-CS Ranch Rd., $30 and $35; 888-377-3300, musicfromangelfire.org.
Hemingway: A Rogue Hero
St. John‘s United Methodist Church, 1200 Old Pecos Trail A discussion with author David Morrell, 1 p.m., $10, 505-982-9274, renesan.org.
Outdoors Santa Fe Canyon Preserve hike
Upper Canyon and Cerro Gordo roads (meet at the preserve sign in the parking lot) Led by Robert Martin from 1 to 2:30 p.m., call 505-946-2029 to reserve a space, visit nature.org/newmexico for more information about Nature Conservancy events.
Nightlife
(See Page 65 for addresses)
Cowgirl BBQ
Country-wave band Drastic Andrew, 8 p.m., no cover.
Duel Brewing
Honky-tonk Americana band Half Broke Horses, 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.
This Is Me, by Gabriela Duréan, in the 516 Arts exhibit Digital Latin America, 516 Central Ave. S.W. , Albuquerque.
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TRUCHAS
Hand Artes Gallery
County Rd. 75, #137, 505-689-2443 Truchas Modernism, paintings by Jeane George Weigel, through Sept. 26.
PEOPLE WHO NEED PEOPLE Artists Fiestas de Cerrillos
Artists, craftspeople, and nonprofits may sign up to participate in the market held Sept. 20; contact Sandy Young for details, 505-438-2885, sandy@dirtdauberstoneware.com.
Pastels Exhibit
Prospectus and details for the Nov. 1-30 show held at Albuquerque Expo New Mexico are available online at pastelsnm.org.
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 Fight Illiteracy
Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at lvsf.org or call 505-428-1353.
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
203 Fine Art in Taos shows paintings by Beatrice Mandelman, 203 Ledoux St.
CLEVELAND
Cleveland Millfest
Cleveland Roller Mill Museum, two miles north of Mora, off NM 518, 575-387-2645 Live music by more than 60 musicians, food booths, and arts & crafts; 10 a.m.-5 p.m. Saturday and Sunday, Aug. 30-31, $3 museum admission, entertainment no charge.
LAS VEGAS
Kennedy Alumni Hall
New Mexico Highlands University, 905 University Ave. Invitational New Mexico Painters Exhibit, paintings and prints, through Oct. 15.
LOS ALAMOS
Gordons‘ Summer Concerts
The free music series continues with accordionist/ singer Rosie Ledet & the Zydeco Playboys, 7 p.m. Friday, Aug. 29, Pajarito Mountain Ski area, schedule available online at gordonssummerconcerts.com.
MADRID
Johnsons of Madrid Galleries
2843 NM 14, 505-471-1054 Motion, group show, through Sunday, Aug. 31.
Tapestry Gallery
4-D Firehouse Lane, 505-471-0194 Feng Shui (plus additions), tapestries by Donna Loraine Contractor, through Oct. 16.
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TAOS
Seventh Annual Taos Artist Organization Studio Tour
Preview exhibit and artists reception 5-7 p.m. Friday, Aug. 29, Taos Town Hall, 400 Camino de la Placita; the tour of more than 30 artists‘ studios runs Saturday-Monday, Aug. 30-Sept. 1, including jewelers, ceramicists, painters, and photographers; maps are available at the Taos Visitors Center, online at taostudiotour.org, and at individual studios.
Music From Angel Fire closing concert
Taos Community Auditorium, Taos Center for the Arts, 145 Paseo del Pueblo Norte Music of Bach, Dancla, and Shostakovich; featuring violinists Paul Neubauer, Kerry McDermott, Clara Neubauer, and Oliver Neubauer, 7 p.m. Saturday, Aug. 30, tickets start at $30 and $35, musicfromangelfire.org, 888-377-3300.
Michael Hearne‘s 12th Annual Big Barndance Music Festival
Taos Ski 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.
203 Fine Art
203 Ledoux St., 575-751-1262 Significant Paintings From the 1950s and 1960s, work by Beatrice Mandelman (1912-1998), through Sept. 14.
PASATIEMPO I August 29-September 4, 2014
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.
St. Elizabeth Shelter
PASA KIDS
Garden Sprouts
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. 29, $5 suggested donation.
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.
Fiesta de los Niños
El Rancho de las Golondrinas, 334 Los Pinos Rd. 505-471-2261 Games, crafts demonstrations, and entertainment, 10 a.m.-4 p.m. Saturday and Sunday, Aug. 30-31, $8, discounts available, ages 12 and under no charge.
Homage to Your Pet or Favorite Animal
New Mexico Museum of Art, 107 W. Palace Ave. Art-collage workshop inspired by the exhibit Local Color: Judy Chicago 1984-2014, call 505-476-5068 to register, 1-3:30 p.m. Saturday, Aug. 30, by museum admission, ages 16 and under no charge; concurrent cat adoption sponsored by the Santa Fe Animal Shelter noon-4 p.m.
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, $35, ticketssantafe.org 505-988-1234.
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. ◀
Help with meal preparation at residential facilities and emergency shelters; other duties also available; contact Rosario, 505-982-6611, Ext. 108, volunteer@steshelter.org.
Santa Fe Botanical Garden
Help out by working in the admissions tent at the Museum Hill Garden; free training; 505-471-9103, info@santafebotanicalgarden.org.
Filmmakers/Performers/Playwrights Coro de Cámara
The chamber chorus seeks 24 singers; six each: soprano, alto, tenor, and bass; 9 a.m.-1 p.m. Saturday, Aug. 30, First United Methodist Church, 715 Diamond Dr., Los Alamos; 505-695-6037 or corodecamara_nm@aim.com.
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.
SEVENTH ANNUAL TAOS ARTIST ORGANIZATION STUDIO TOUR Take advantage of Labor Day weekend to trot up to Taos for a preview exhibit and reception held 5-7 p.m. on Friday, Aug. 29. Stay the night and pick up a map of the studio tour, including more than 30 artists showing jewelry, ceramics, paintings, and photographs Saturday-Monday, Aug. 30-Sept. 1. Maps are available at the Taos Visitors Center, at individual studios, and online at taostudiotour.org. Shown, Peggy Griffey‘s glasswork.
¡Globalquerque!
National Hispanic Cultural Center, 1701 Second St. S.W. The 10th annual celebration of world music and culture boasts an international lineup headed by Afro-Cuban All-Stars, Beto Jamaica Rey Vallento (Colombia), 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
MUSIC
Gran Baile
Sweeney Ballroom, Santa Fe Community Convention Center, 107 W. Marcy St. A Fiestas tradition; featuring Al Hurricane, 6 p.m. Saturday, Sept. 6, mariachi performance, 7 p.m. Grand March, $20, ticketssantafe.org, 505-988-1234.
Justin Furstenfeld: An Open Book Tour
Jean Cocteau Cinema Singer/songwriter, 7 p.m. Wednesday, Sept. 10, $25, jeancocteaucinema.com.
Violent Femmes
Santa Fe Community Convention Center Veteran alternative-rock band, 7:30 p.m. Thursday, Sept. 11, $42, 505-988-1234, ticketssantafe.org.
Jerry López and Friends
The Lensic Local singer/guitarist, 7 p.m. Friday, Sept. 12, $25-$35, 505-988-1234, ticketssantafe.org, benefit concert in support of the National Latino Behavioral Health Association.
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.
Lyle Lovett and His Large Band
The Downs of Santa Fe, 27475 W. Frontage Rd. Texas singer/songwriter, 7 p.m. Saturday, Sept. 13, $12-$76, 505-988-1234, ticketssantafe.org.
Steve Riley & Mamou Playboys
The Lensic Cajun band, 7 p.m. Saturday, Sept. 13, $15-$35, 505-988-1234, ticketssantafe.org.
Big Al Anderson
Gig Performance Space, 1808 Second St. Guitarist/songwriter, 7:30 p.m. Saturday, Sept. 13, $20 at the door, gigsantafe.com.
Santa Fe 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.
10th Annual ShortGrass Music Festival
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.
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 that opens Sept. 20; programs include music of Britten, Barber, and Osvaldo Golijov; visit serenataofsantafe.org for details.
Buckwheat Zydeco
THEATER/DANCE
Aziz Ansari
The Lensic Stand-up comic, 7 p.m. Monday, Sept. 8, $35, 505-988-1234, ticketssantafe.org.
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.
Lucha, Libre, Exotica
Vanessie The jazz vocalist performs in Gonna Lay My Heart on the Line, 7 p.m. Friday, Sept. 26, a singalong of the Great American Songbook follows, $20, 505-438-8186.
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 and music and help crown the Tag-team cross-dressing Mexican wrestlers 2014 Green Chile Cheeseburger Smackdown king Cassandro, Estrellita, and Diva Salvaje versus or queen, 6 p.m. Friday, Sept. 12, $20 in advance Niebla Roja, Magnus, and Magno, 8 p.m. Saturday, Sept. 13, $20, front-row seating $35, advance tickets and at the door, 505-988-1234, ticketssantafe.org. available online at thecassandroproject.com. Santa Fe Botanical Garden Harvest Dinners Intimate gatherings at private residences; Popejoy Presents: La Vida Llena Broadway 6 p.m. Saturday, Sept. 13, $100 in advance in New Mexico at santafebotanicalgarden.org. Popejoy Hall Center for the Arts,
El Museo Cultural de Santa Fe, 555 Camino de la Familia
1 University of New Mexico Blvd. The Book of Mormon (Sept. 15-20) anchors the 2014-2015 season, which includes How the Grinch Stole Christmas! The Musical, Chicago, Camelot, and Million Dollar Quartet, season-ticket packages available online at popejoypresents.com.
The Effects of Gamma Rays on Man-in-the-Moon Marigolds
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 Playhouse, 142 E. De Vargas St., 505-988-4262 Paul Zindel’s drama, 7:30 p.m. Fridays and Saturdays, 2 p.m. Sundays, Sept. 25-Oct. 19, santafeplayhouse.org.
Santa Fe Renaissance Fair
HAPPENINGS
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.
Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta Outside Mullingar Stanley "Buckwheat" Dural Jr. performs in support of KSFR Radio, 7:30 p.m. Wednesday, Sept. 24, $25 in The Lensic advance at brownpapertickets.com, $30 at the door. Fusion Theatre Company presents a play by John Patrick Shanley, 7:30 p.m. Saturday, Sept. 27, Foxygen $20-$40, 505-988-1234, ticketssantafe.org. Skylight Songwriting duo of Sam France and Jonathan Rado, with Dub Thompson, 7:30 p.m. Thursday, Sept. 25, Tribute luncheon honoring $18, 505-988-1234, ticketssantafe.org.
Anne Phillips
Museum of Women in the Arts, 11:30 a.m. Friday, Sept. 5, $100, registration information available online at newmexicowomeninthearts.org.
Nancy Zeckendorf
La Posada de Santa Fe Resort & Spa Benefit for Women to Watch at the National
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
Madrid Blues Fest
Oscar Huber Memorial Ballpark, NM 14 The lineup includes Todd Tijerina Band, Albuquerque Blues Connection, Memphis, and P’Tails, gates open at 1 p.m. Sunday, Sept. 28, concert runs 2-6 p.m., $20 in advance at nmjazz.org, discounts available.
Los Alamos Concert Association
Duane Smith Auditorium, Los Alamos High School, 1300 Diamond Dr. The 69th season at a glance: Anderson & Roe Piano Duo, Sept. 28; Salzburg Marionette Theater, with pianist Orion Weiss, Nov. 1; and Red Priest, Jan. 9, visit losalamosconcert.org for details.
St. Lawrence String Quartet
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Music of Haydn, Beethoven, and Osvaldo Golijov, 3 p.m. Sunday, Oct. 5, advance tickets available at the Lensic box office, 505-988-1234, ticketssantafe.org and Santa Fe Pro Musica box office, 505-988-4640, Ext. 1000.
Berlin Philharmonic Wind Quintet
The Lensic Music of Mozart, Hindemith, and Thuilles, 4 p.m. Sunday, Oct. 12, $13.50-$100, 505-988-1234, ticketssantafe.org.
Steve Riley & the Mamou Playboys perform at the Lensic on Sept. 13.
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TAI Modern shows paintings by Monique van Genderen, 1601-B Paseo de Peralta.
AT THE GALLERIES
Addison Rowe Gallery
229 E. Marcy St., 505-982-1533 Raymond Jonson: Into Abstraction, retrospective of works by the late painter (1940s-1970s).
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, through Wednesday, Sept. 3.
Bellas Artes
653 Canyon Rd., 505-983-2745 Black White Silver, group show, through Saturday, Aug. 30.
Winterowd Fine Art
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, through Sunday, Aug. 31. (See story, Page 44)
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); through Nov. 2 • Subliminal Memory, paintings by David Rudolph, through Sept. 7. Open Thursdays-Sundays; ccasantafe.org.
SITE Santa Fe
1606 Paseo de Peralta, 505-989-1199 SITElines 2014: Unsettled Landscapes, biennial exhibit of contemporary international works, through Jan. 11. Open Thursdays-Sundays; sitesantafe.org.
Georgia O‘Keeffe Museum
217 Johnson St., 505-946-1000 Georgia O‘Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept. 17; okeeffemuseum.org; Open daily.
Museum of Contemporary Native Arts
108 Cathedral Place, 505-983-1777 Rattlebone, paintings and prints by Ric Gendron; The Desert Never Left "The City," work by painter Mario Martinez; Saligaaw (it is loud-voiced),
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mixed media by Da-ka-xeen Mehner; Breach: Log 14, video installation by Courtney M. Leonard; exhibits run through December • Looping screenings of the documentary Bert & Wei Wei: TIME 2014 by Daniel Hyde and Blackhorse Lowe through Oct. 16; iaia.edu/museum; closed Tuesdays.
Museum of Indian Arts & Culture
710 Camino Lejo, Museum Hill, 505-476-1250 Footprints: The Inspiration and Influence of Allan Houser, five monumental works by the late Chiricahua Apache sculptor displayed outdoors; accompanied by works of other sculptors including Houser‘s sons Bob Haozous and Philip Mangas Haozous, plus Doug Hyde, Estella Loretto, and Robert Shorty; through May 2015 • Turquoise, Water, Sky: The Stone and Its Meaning, highlights from the museum‘s collection of jewelry, long term • Native American Portraits: Points of Inquiry, vintage and contemporary photographs, through January 2015 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, artifacts from the museum collection; open daily; indianartsandculture.org.
Museum of International Folk Art
706 Camino Lejo, Museum Hill, 505-476-1200 Between Two Worlds: Folk Artists Reflect on the Immigrant Experience, exhibit on immigration • Wooden Menagerie: Made in New Mexico, early 20th-century carvings, through Feb. 15, 2015 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art. Open daily; internationalfolkart.org.
Museum of Spanish Colonial Art
750 Camino Lejo, Museum Hill, 505-982-2226 Secrets of the Symbols: The Hidden Language of Spanish Colonial Art • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation; spanishcolonial.org; open daily through Monday, Sept. 1, closed Mondays after Labor Day.
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,
PASATIEMPO I August 29-September 4, 2014
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.
archaeological, ethnological, archival, photographic, and skeletal items. Closed Sundays and Mondays; maxwellmuseum.unm.edu.
New Mexico Museum of Art
Bond House Museum and Misión Museum y Convento
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; through Dec. 7 • Local Color: Judy Chicago in New Mexico 1984-2014, focusing on public and personal projects, through Oct. 12 • Focus on Photography, rotating exhibits • Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes used to make color and platinum-palladium prints from the collection, through March 2015 • New Mexico Art Tells New Mexico History, including works by E. Irving Couse, T.C. Cannon, and Agnes Martin, through 2015 • Spotlight on Gustave Baumann, works from the museum‘s collection, through 2015; nmartmuseum.org; open daily through Oct. 7.
Pablita Velarde Museum of Indian Women in the Arts
213 Cathedral Place, 505-988-8900 Harvesting Traditions, work by ceramicist Kathleen Wall, through Jan. 4, 2015. Closed Mondays; pvmiwa.org.
Poeh Cultural Center and Museum
78 Cities of Gold Rd., 505-455-3334 The P‘osuwäegeh Ówingeh Story: Scarcity & Abundance, contemporary pottery, sculpture, and jewelry, through Nov. 14 • The Kee …, 2-D and 3-D video installation by Ehren Kee Natay, through Nov. 14 • Nah Poeh Meng, 1,600-square-foot installation highlighting the works of Pueblo artists 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
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.
Española 706 Bond St., 505-747-8535 Historic and cultural objects exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Call for hours; plazadeespanola.com.
La Hacienda de los Martinez
708 Hacienda Way, 575-758-1000 One of the few Northern New Mexico-style, Spanish colonial “great houses” remaining in the American Southwest. Built in 1804 by Severino Martinez; taoshistoricmuseums.org; open daily.
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, and 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.
Louisa McElwain: Winter Moonrise 2012, oil on canvas Evoke Contemporary, 550 S. Guadalupe St., 505-995-9902 Louisa McElwain’s (1953-2013) impressionistic, painterly landscapes of the Southwest have a tactile quality and a simplicity of detail. Her images capture a sense of the vastness of space in the Southwest’s mountainous terrain and canyon lands. A Walk in the Clouds, an exhibit of her work, opens with a 5 p.m. reception on Friday, Aug. 29.
Ian van Coller: Joseph 2002, ambrotype, pigment print, and mixed media New Mexico Museum of Art, 107 W. Palace Ave., 505-476-5072 The museum’s yearlong Focus on Photography series continues with a solo exhibition by Delilah Montoya. Titled Syncretism, it explores the merging of contradictory beliefs and elements into something new. The show is concurrent with Cameraless, a group show of photograms made on light-sensitive paper and without use of a camera. Both exhibits are on view through Dec. 7. The Photo Lab, a revolving show of works made with alternative and historical photographic processes, is also on exhibit, through April 19, 2015.
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 Chidester: No. 78 Mimeograph 2014, oil on canvas Meyer East Gallery, 225 Canyon Rd., 505-983-1657 Wendy Chidester’s still lifes capture the beauty of antique, inanimate objects such as luggage, cameras, and tricycles. Chidester is interested in the sturdy gadgets and tools of a bygone world that bear the marks of long use. An exhibition of new works by the artist opens Friday, Aug. 29, with a 5 p.m. reception.
Tanabe Shochiku and Wakamiya Takashi: Aun 2014, madake, lacquer and rattan TAI Modern, 1601 Paseo de Peralta, 505-984-1387 TAI Modern’s exhibition ZEN: Tanabe Shochiku and Wakamiya Takashi shows a selection of collaborative works in lacquer and bamboo by two Japanese artists. Takashi collects sap from urushi trees to make his lacquer from scratch. Shochiku is a fourth generation bamboo artist. Both artists find inspiration in Zen Buddhism. Their sculptural works are a rare combination of two traditional techniques. The reception is Friday, Aug. 29, at 5 p.m.
Silvia Levenson: Here and Now 2 2014, lenticular print David Richard Gallery, 544 S. Guadalupe St., 505-983-9555 In the exhibit A Subject to Avoid, Silvia Levenson uses symbols of matrimony to explore themes of domestic violence against women. She works in the mediums of lenticular photography, capturing uncomfortable moments between spouses, and cast glass, merging innocuous imagery such as wedding cakes and weaponry that imply an undermining of the safety and security of home. The show opens with a 5 p.m. reception on Friday, Aug. 29. PASATIEMPOMAGAZINE.COM
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PASATIEMPO I August 29 - September 4, 2014
5 I-2
7501 Cerrillos rd.
471-8642