The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
August 8, 2014
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Wheelwright Museum OF THE AMERICAN INDIAN
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Here Comes the Storyteller! Joe Hayes Returns to the Wheelwright Museum! Santa Fe’s premier storyteller is back with stirring tales of the great Southwest. A favorite event for all ages! Free Admission
July 19 through August 10, 2014 innovative native cuisine Open for lunch and dinner daily. 1501 Paseo de Peralta, Santa Fe 505-955-7805 dine@hotelsantafe.com
lunch / dinner / brunch open every day! where the santa feans eat…
featuring new ‘casual favorites’ on our dinner menu from – $9.50
Happy Hour: 4 – 6 p.m. Mon. thru Fri. FULL BAR • FREE WI-FI • HDTV 505 • 984 • 1788 please visit our website for full menus & ‘instant’ gift certificates www.santacafe.com 231 washington ave • santa fe 2
PASATIEMPO I August 8 - 14, 2014
Saturday and Sunday Evenings at 7:00 p.m.
Bring a chair or blanket for festival seating on the museum grounds. 704 Camino Lejo • Museum Hill | 505-982-4636 | www.wheelwright.org
Funded by the FRIENDS of the Wheelwright
$5 MILLION BACK TO YOU
BOTWIN EYE GROUP
&
e y e s
o p t i c s S A N T A
F E
505.954.4442
FeDeRICO
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
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JUN KANEKO OPENS TONIGHT!
AUGUST 8, 2014 - SEPTEMBER 14, 2014
OPENING RECEPTION WITH THE ARTIST: TONIGHT FROM 5:00 PM - 7:00 PM 1011 PA S E O D E P E R A LTA , S A N TA F E
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PRESENTED BY GERALD PETERS GALLERY
I N Q U I R I E S : E VA N F E L D M A N , D I R E C T O R ( 5 0 5 ) 9 5 4 - 5 7 3 8 O R E F E L D M A N @ G P G A L L E R Y. C O M V I E W A D D I T I O N A L W O R K S AT W W W. G P G A L L E R Y. C O M U N T I T L E D , H E A D S , 2 0 1 2 , U N I Q U E B R O N Z E W I T H E N A M E L PA I N T & S TA I N L E S S S T E E L , L E F T : 74 X 2 1 X 1 8 I N C H E S , R I G H T : 74 X 2 0 X 1 8 I N C H E S . © 2 0 1 4 J U N K A N E K O , C O U R T E S Y G E R A L D P E T E R S G A L L E R Y
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PASATIEMPO I August 8 - 14, 2014
THE OPPORTUNITY IS GOLDEN SO IS THE STANDARD from
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Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room
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ON THE PLAZA
Open Daily from 11:30 am to Midnight Covered Balcony Happy Hours H.H. Food Specials $5 House Margaritas $5 Glass Wine $3 Select Beers 4-6 pm and 10pm-Midnight
Southwestern Style • One-of-a-kind Pieces Reasonable prices every day of the year
Our Warehouse Showroom features over 8000 sq. ft. of handcrafted furniture. Please come in, you’ll be pleasantly surprised.
SANTA FE COUNTRY FURNITURE 505-490-6550 • ThunderbirdSantaFe.com • Facebook.com/ThunderbirdBarGrill 50 Lincoln Ave, on the Santa Fe Plaza
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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museum of indian arts and culture presents
2014 SUMMER PROGRAMS
Photo by Ken Howard
“Hozho Nahastlii” “Protector” Sterling silver, fine silver, Bisbee turquoise, leather. Photo by Phillip Karshis
One of the best entertainment values of the summer. Don’t miss the stars of tomorrow!
Turquoise buying seminar
sunday, august 10th 2:00–3:00 pm
Turquoise Perspectives and MeaningS Ken Howard photo
Long considered one of the best young artist programs in the world, the Opera’s singing and technical apprentices take the spotlight for two performances of fully-staged scenes from popular operas. Each evening offers a different program.
8:00 pm August 10, 17
1:00–3:00 pm We’re surrounded by turquoise, especially in Santa Fe. Before you buy, learn what you should be looking for. Seminar given by Jim Kissock of Kings Trading Company, Santa Fe.
Apprentice Scenes
Adults: $15, Youth: $5 (ages 6-22)
saturday, August 9th
Fritz Casuse (Navajo) is an award-winning artist known for sculptural, contemporary jewelry. He shares his skills by teaching at the Poeh Arts Program while continuing to create jewelry, paintings, sculpture and more. He will speak about Navajo traditions for using turquoise.
All are free with paid admission, 16 and under always free. New Mexico residents with ID always free on Sundays.
Arrive early with a tailgate supper to enjoy the sunset and mountain views! 6
PASATIEMPO I August 8 - 14, 2014
www.SantaFeOpera.org 505-986-5900 I 800-280-4654
Museum of Indian Arts and Culture
on Museum Hill 710 Camino Lejo (off Old Santa Fe Trail) 505-476-1269 indianartsandculture.org
Special Event: August 9th
l.a. Eyeworks Trunk Show
Inspiring and timeless treasures from the first house of optical design in Los Angeles.
125 Lincoln Ave. Suite 114 988.4444 OJOOPTIQUE.COM • FACEBOOK TWITTER
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Most of the eyewear in the world is produced by a few companies. We would like to show you something different.
R L AES G T C I H S ATNEC ER ! FNU LOL -WT E RFMO CRL A S F SAE L S LB E G CI N L A AU S GS. E2 5S. SFCC put me on a path to career advancement. There wasn’t one class that wasn’t useful. The college was there to welcome me and help me pick my path. Everyone, from staff to professors to deans — all helped me succeed. Marcos Zubia Manager, 1st National Bank SFCC Class of 2008 A.A. in Business Administration/Banking Marcos is just one success story out of thousands. Since 1983, Santa Fe Community College has empowered students and strengthened community.
We’re designing a new SFCC website! Help shape it and how it will serve your needs. Scan the QR code or visit www.surveymonkey.com/s/SFCC2014 to complete a short survey.
LEARN MORE. www.sfcc.edu 505-428-1000
Empower Students, Strengthen Community.
PASATIEMPOMAGAZINE.COM
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Rose B. Simpson Finding Center
August 9 - 31 Opening: Saturday, August 9, 5-7
c h i a r o s c u r o 702 1/2
8
&
708 CANYON RD
PASATIEMPO I August 8 - 14, 2014
AT
GYPSY ALLEY, SANTA FE, NM
505-992-0711
w w w .chi a rosc urosa n ta fe . c om
SeaSon opening orcheStral concert
audrey luna, Metropolitan Opera Star Program includes: Ravel/Mussorgsky - Pictures at an Exhibition Saint-SaÍns - Introduction and Rondo Capriccioso Strauss - Ariadne auf Naxos and the world premiere of Jack Waldenmaier’s An Infinity of Summers Location: Lensic Performing Arts Center
Sunday, august 31, 2014 | 4:00 pm
$27-$100
Family preview concert | 1:00 pm
$10/person with child $25/adult without child
ticketsSantaFe.org performanceSantaFe.org
| |
505.988.1234 505.984.8759
PASATIEMPOMAGAZINE.COM
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The New Earth Institute of Southwestern College
HirosHi Yamano
presents the 33rd Annual
TRANSFORMATION AND HEALING CONFERENCE
Consciousness and Compulsivity
EARN CECs
Wednesday - Sunday August 20-24 in Santa Fe at SWC Campus and Center for Spiritual Living
Saturday, August 23 • 9:00am - 5:00pm • 6 CECs $145 Spirituality, Sexuality and Addiction: The Dynamics of Shame
This day will explore the innate effects of sexual shame and shame as the source of all addictions as well as the source of spirituality. Dr. John Bradshaw is an acclaimed author and leading figure in the fields of addiction/recovery, family systems, relationships, and spiritual and emotional growth. His newest book is entitled Post Romantic Stress Disorder.
Sunday, August 24 • 1:00pm - 4:00pm • 3 CECs $60 Breaking Free Of Addictive Relationships From East to West “Scene of Japan” (FS #163), 2014, blown/sculpted glass, silver leaf engraving and copper plating, 18¾"h x 16¼" w x 11¾" d
Lee Cartwright, M.A., developed Shifting Consciousness through Dimensions (SCtD), a neurological system for transforming trauma and personal limitations. He is the author of 3 books on SCtD.
plus 18 experiential Workshops August 20-22
Branches
august 8-september 21.2014 artists’ reception: Friday, august 8, 5:00-7:00 pM
To register, call 505.471.5756 or visit swc.edu/transformation-and-healing-conference/
pedro surroca
PRE-FILM ACTIVITIES BEGIN AT 7:30 PM FILM AT DUSK
PRESENTS A FREE SCREENING OF ROBERT REDFORD’S
T HE
M ILAGRO Gridlock 2, 2014, oil on linen, 47" x 75"
LewAllenGalleries Railyard Arts District 1613 Paseo de Peralta (505) 988.3250 www.lewallengalleries.com info@lewallengalleries.com 10
PASATIEMPO I August 8 - 14, 2014
B EANFIELD W AR
SPECIAL GUEST FORMER
LT. GOVERNOR, HISTORIAN, MUSICIAN AND MILAGRO BEANFIELD WAR CAST MEMBER,
R OBERTO M ONDRAGON
HEATH CONCERTS FREE RAILYARD PARK SUMMER MOVIE SERIES SPECIAL THANKS TO THE SANTA FE RAILYARD COMMUNITY CORPORATION
F RIDAY , A UGUST 15
AT THE
TH
S ANTA F E R AILYARD P ERFORMANCE G REEN WWW . NMCF . ORG
‘
RESIDE
ASPEN SANTA FE BALLET presents
PRESENTING SPONSOR
Juan Siddi
SANTA FE
HOME
LAST PERFORMANCE OF THE SUMMER!
PHOTO: ROSALIE O’CONNOR
August 9 | 8:00pm
SEE EXTRAORDINARY DANCE AT Tickets: 505-988-1234 or online at www.juansiddiflamencosantafe.com SPONSOR
PREFERRED HOTEL PARTNER
BUSINESS PARTNERS
GOVERNMENT / FOUNDATIONS
MEDIA SPONSORS Melville Hankins
Family Foundation
SEASON PRESENTING SPONSOR
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.
PASATIEMPOMAGAZINE.COM
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THE SANTA FE NEW MEXICAN
August 8 - 14, 2014
www.pasatiempomagazine.com
ON THE COVER 40 Herself surprised Monique van Genderen’s nonobjective abstractions are explorations of color, surface treatment, and form. The LA-based artist’s first solo show at TAI Modern is the result of her recent focus on vertically oriented oils on linen as well as her new series of ceramics that appear, at first glance, to be painted canvases. The illusory nature of van Genderen’s works plays with our expectations of what the practice of painting really amounts to. Her show opens at the gallery on Friday, Aug. 8, with a 5 p.m. reception. On the cover is a detail of her Untitled Painting #1, an oil and pigment on canvas.
MOVING IMAGES
BOOKS AND IDEAS 20 24 26
56 Boyhood 58 Finding Fela 60 Living Is Easy With Eyes Closed 62 Mood Indigo 64 Pasa Pics
In Other Words The Girls From Corona del Mar Head of the class SAR’s Michael F. Brown Girlfriends Camp songs and lore
MUSIC AND PERFORMANCE 28 Listen Up Poetic inspiration 30 Pasa Reviews Jazzy-fresh 32 Pas de deux Stars of American Ballet 34 Pasa Tempos Album reviews 37 Onstage Opera apprentices strut their stuff
CALENDAR 71
AND
ART AND ARCHAEOLOGY
17 19 68
38 Art in Review Lannan Gallery’s Desert Serenade 44 Takes on reality Steven A. Jackson’s photography 48 Viajes Maximilian and Carlota: Royal pawns 52 Playing with fire Photos by Romy Eijckmans
PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com
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Associate Art Director — Lori Johnson 505-986-3046, ljohnson@sfnewmexican.com
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Calendar Editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com
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Copy Editor — Susan Heard 505-986-3014, sheard@sfnewmexican.com
Detail, Lamy Station, Lamy, NM, by Steven A. Jackson
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STAFF WRITERS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 505-986-3039, billk@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com
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CONTRIBUTORS Taura Costidis, Ashley Gallegos-Sanchez, Laurel Gladden, Peg Goldstein, Robert Ker, Jennifer Levin, Iris McLister, James McGrath Morris, Robert Nott, Adele Oliveira, Jonathan Richards, Heather Roan Robbins, Casey Sanchez, Michael Wade Simpson, Steve Terrell, Khristaan D. Villela
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PRODUCTION Dan Gomez Pre-Press Manager
The Santa Fe New Mexican
© 2014 The Santa Fe New Mexican
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Robin Martin Owner
www.pasatiempomagazine.com
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Mixed Media Star Codes Restaurant Review: Masa Sushi
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
the owings gallery grand figures | Masterpieces of the American West Robert Henri (1865-1929) Florencia, d.1924, oil on canvas, 24 x 17 inches
120 East Marcy Street Monday through Saturday, 10 to 5 Santa Fe, New Mexico 87501 505.982.6244 phone | 505.983.4215 fax info@owingsgallery.com | www.owingsgallery.com
Opening Reception: Tonight, August 8th from 5 to 7pm at The Owings Gallery, 120 East Marcy Street Please also visit our location at 100 East Palace Avenue PASATIEMPOMAGAZINE.COM
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F R I E DMA N W I L S O N FRAMES
AUGUST 7 & 9 at 8 p.m.
CATHEDRAL BASILICA, SANTA FE
AUGUST 10 at 4 p.m.
Santa Fe
DesertChorale WITH
IMMANUEL PRESBYTERIAN, ALBUQUERQUE
MOZART
REQUIEM WITH
SUSAN GRAHAM
TICKETS AVAILABLE at DESERTCHORALE.ORG or (505) 988-2282 The Mozart Requiem is sponsored, in part, by the Aceves-London Foundation and the Mammel Foundation. The 2014 Summer Festival is made possible in part by the National Endowment for the Arts; New Mexico Arts, a division of the Department of Cultural Affairs; and the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax.
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PASATIEMPO I August 8 - 14, 2014
You’re Only Young Twice
Don Pasquale D O N I Z E T T I
A young couple clearly made for each other, silly Uncle Don Pasquale thinks he’s more deserving. With beautiful music, this clever production is filled with romance, laughter and endless FUN! “...embellished with worldly wit and melodic genius.” —The Santa Fe Reporter
Brenda Rae, in her role debut as Norina (7/29 - 8/13), received accolades for her Violetta in 2013's La traviata and in this season's The Impresario and Le Rossignol
“musically a showstopper” —Opera News
“sang gorgeously...soared beautifully” —The New York Times
Shelley Jackson, also as Norina (6/28, 7/9, 8/19 & 8/22)
“exploded into the spotlight of The Santa Fe Opera... bringing a sparkling freshness.” —Albuquerque Journal
“Both [Shelley] Jackson’s Norina and [Zachary] Nelson’s Malatesta were world-class performances, worthy of any operatic stage.” —OperaWarhorses.com
“The vocal laurels for the evening went to tenor Alek Shrader, as Ernesto.” —Santa Fe New Mexican
“The star of this opera is, undeniably, Andrew Shore’s Don Pasquale. His characterization is perfect” —Los Alamos Monitor
BRENDA RAE PERFORMANCES
SEASON
20 14 THROUGH AUGUST 23
8:00 PM
AUGUST 9, 13, 19, 22
Chris Corrie photo
Arrive early with a tailgate supper to enjoy the sunset and mountain views!
CARMEN Double Bill
Bizet
DON PASQUALE
THE IMPRESARIO American Premiere
Mozart
Donizetti
FIDELIO
LE ROSSIGNOL
DR. SUN YAT-SEN
Huang Ruo
Beethoven Stravinsky
www.SantaFeOpera.org 505-986-5900
PASATIEMPOMAGAZINE.COM
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SONY and High Resolution Audio, Want to Hear More?
Saturday, August 16 @ 10AM Just as HDTV revolutionized our television viewing with its huge leap in picture quality, High-Res Audio is doing the same for the music we listen to. Come listen and learn about High Resolution Audio (HRA) and how Sony is leading the way in gear and music. OPEN TUESDAY—SATURDAY 9 AM—5 PM 215 N GUADALUPE 505.983.9988
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· SANTA FE, NM 87501
CONSTELLATIONSANTAFE.COM
Santa Fe Southern Railway
sfsr.com
Dinner Trains Scenic Trains
Trains include: Call now! 1-855-730-2 040
Sunsets & Stargazing or Trains include: Buffet Brunch Train - Buffet Style Brunch
Diamond Class -
Lounge Seating Priority Meal Service Modern Luxury Cars Booth Seating Exhibition Cooking Meet with the Chef Unlimited Tea/Coffee
or Gourmet Dinner - Gluten Free Options - Vegetarian Options - Dairy Free Options - Desert Scenery - Southwestern Vistas
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Table Seating Groups Welcome Vintage Cars Senior, Military and Children Discounts PASATIEMPO I August 8 - 14, 2014
KUNM 89.9FM | STREAMING LIVE 24/7 AT KUNM.ORG
Museum Hill Café Friday Nights Only Happy “ 2 “ Hours 4 – 6
TONIGHT
Dinner with the Artists Enjoy dinner while interacting with
Kiki Martinez
Famous for her equine paintings And
Joseph Cosby
Photographer and his archival pigment on canvas originals
Turquoise Class -
giggle. wiggle. groove. An eclectic mix of informative and entertaining programs await you on KUNM – your passport to the worlds of news, music, community and culture. Publicly supported. Publicly responsive. KUNM is an essential part of New Mexico’s day.
Both artists will be working on new works, and many of their currant works will be on display
Book Now
25% Off
use code: NM714
Friday Night Dinner 5 – 8 Reservations recommended 505-984-8900
Santa Fe
MIXED MEDIA
~Screen Doors~ Custom Hand-Built Wooden Screen Doors (505)466-0870
info@santafescreendoors.com
www.santafescreendoors.com
William Penhallow Henderson: Untitled (Indians at Pueblo), 1917, pastel on paper; left, Raymond Jonson: Light, 1917, oil on canvas
505.982.2240
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Holes in the wall: Alcove Shows 1917-1927 In March 2012 the New Mexico Museum of Art began an ambitious new series of alcove shows. Each show in the yearlong series featured work by five regional artists — all given their own niche for a small, solo exhibition. The exhibits changed every five weeks, and there were nine alcove shows altogether, presenting pieces by 45 individuals. There is a historic precedent for these exhibits that dates back to the open-door policy in effect at the museum’s beginning in 1917. The organization was more haphazard than today’s curated model: all artists had to do was add their names to the roster to get an alcove show. The one-person-per-niche system persisted until the 1950s and then showed up sporadically in the decades following, with alcove shows revisited in the mid-1980s and early 1990s. Around 300 small exhibits were presented in the museum’s first decade. Those historic events included works by Ernest L. Blumenschein, William Penhallow Henderson, Laura Gilpin, John Sloan, and Raymond Jonson. A new museum exhibit, Alcove Shows 1917-1927, presents a cross-section of art from the earliest shows, with more than 60 pieces by 24 artists, and reflects two of New Mexico’s artistic legacies: Romantic genre painting of the 19th century and American modernism. The show is on view by museum admission beginning on Friday, Aug. 8. A free opening reception takes place at 5 p.m. on Aug. 28. The museum is located at 107 W. Palace Ave. Call 505-476-5072 for more information. — Michael Abatemarco
PC or Mac | iPhones & iPads
T H E W O O D CA R E S P E C I A L I S T A n t i q u e s F i n e F u r n i t u re K i t ch e n s B u i l t - i n C a b i n e t r y !
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Ignite your senses. Experience world-class Spanish dance in a truly intimate theater setting.
JULY 2 – AUGUST 31, 2014 Performances nightly except Tuesdays | The Lodge at Santa Fe Tickets: $25-$45 | (505) 988-1234 or TicketsSantaFe.org 18
PASATIEMPO I August 8 - 14, 2014
STAR CODES Heather Roan Robbins
It’s time for something completely different. Summer renews us when we change our pace and see the world in a different light. This week both the sun and Mercury form a supportive trine with unpredictable, unsettling Uranus, which calls for fresh, unusual, electrifying experiences but works through surprises when we resist. So let’s cooperate and choose to take a break. Go someplace we’ve never been before, whether it’s physical or conceptual. We need to take a look at our own mind-sets, put them aside, and try on another person’s perspective. If we do, our imagination can be jump-started and a solution found where we saw none before. Without a fresh outlook we can get stuck in a difficult situation, wrestling with an intractable internal or external conflict set off as Jupiter, the sun, and Mercury in shiny, storytelling, stubborn Leo square off against intensifying Mars and Saturn in Scorpio all week long. Let’s be industrious today and take advantage of the competent but manipulative Capricorn moon-Pluto conjunction. A gloriously sociable full moon in Aquarius makes this weekend a perfect time to gather for art or politics. On Monday the moon enters deep-feeling Pisces and softens our hearts. On Tuesday Venus enters Leo and adds panache and drama to our story. Wednesday and Thursday the Aries moon brings verve and excitement — and a lazy streak when we’re not inspired. Ordinary just won’t cut it this week, so take a break and explore. If we need to keep working, let that work be extraordinary. Friday, Aug. 8: Get things done this morning and give a competent, obsessive moon-Pluto conjunction in Capricorn a place to burrow. Events may shock or surprise us. We can make a difference if we don’t give up as the sun and Mercury trine brilliant Uranus. Watch a serious edge tonight as Mercury squares Saturn. Saturday, Aug. 9: We may feel tired and creaky this morning, aware of heavy consequences and ready for a break as the sun squares Saturn. Logistics, history, old things, and elders matter. The mood lifts; it furthers progress to gather and howl at the moon tonight.
Remodels • Additions Hagen Builders specializes in new construction and remodels for any room in your home. Looking for a new garage, portal, outdoor kitchen, casita, guesthouse or addition? We do it ALL!
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Tuesday, Aug. 12: The plot thickens. We all need extra attention and consideration, even if it’s just from ourselves. Let’s look our dear ones directly but softly in the eye and let them know we’re here as Venus enters Leo. Save pity for people who really need help.
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Sunday, Aug. 10: A full moon in Aquarius contrasts our individual need to shine with our responsibility to community. Take turns sharing attention, potential, and progress with like minds. Be low-maintenance: our intimate beloveds are distracted. Monday, Aug. 11: A day to drift, dream, and give our brain a vacation, even if our work schedule does not allow. Empathy and compassion are called upon, but don’t play the guilt card more than necessary. Avoid allergens and make it safe to be softhearted under a sensitive Pisces moon.
A+ Rating
Better Business Bureau
Dr.Burt BurtMelton Melton Dr.
2 Locations Albuquerque 7520 Montgomery Blvd. Suite D-3 Mon - Thurs 505-883-7744
Santa Fe 141 Paseo de Peralta, Suite C Mon Wed -- Fri Fri 505-983-2909
Wednesday, Aug. 13: Enjoy an energetic, enthusiastic, brave day as the moon enters Aries and trines both Venus and Jupiter. Make a dramatic statement. Initiate. Reach out and touch someone. Just be aware of other people’s boundaries in the process. Thursday, Aug. 14: We’re ready to rumble this morning as that Aries moon squares powerful Pluto and conjuncts eccentric Uranus. Rebellion counters oppressive conditions. With a little imagination, we can direct this contrariness into positive expression, exploration, and invention. The evening unfolds more expansively. ◀ www.roanrobbins.com
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IN OTHER WORDS book reviews The Girls From Corona del Mar by Rufi Thorpe, Alfred A. Knopf, 242 pages In female friendships — especially those between girls as they mature — the halves of such pairs are often considered in contrast to one another. One is “the pretty one” and one is “the smart one.” Or one is “wild” while the other is “responsible.” Whether or not these descriptors are accurate for either girl — especially over the long march of time — doesn’t matter. Beliefs about who we are get etched into our consciousness, and they can blind us to the truth of who we become or who we have been all along. In Rufi Thorpe’s excellent debut novel, Mia is the awkward one; the headstrong, careless one; the one whose mother is drunk and whose stepfather is a callous jerk. Her best friend, Lorrie Ann, is beautiful, thoughtful, serene, and, though not financially secure, loved intensely by her close-knit family. As the two grow up together in Southern California, Mia is envious of the ease with which Lorrie Ann seems to exist, while her own life is rife with burdens. But all is not as it seems. Narrated by Mia, The Girls From Corona del Mar tracks what she sees, knows, and tries to understand about Lorrie Ann’s life as they graduate from high school and go their separate ways, carrying on a long-distance friendship as best they can. Mia crosses the country for college, while Lorrie Ann decides to marry her high school sweetheart because she is pregnant. The delivery goes awry, and the baby is born disabled. This is one in a series of tragedies that befall Mia’s heretofore graced friend, while Mia discovers a passion for Sumerian poetry and the world of academia and finds herself easily partnered with Franklin, a man who shares her interests. Whenever Lorrie Ann calls, Mia tries to be a good friend to her, which becomes more difficult when Mia moves to Turkey for her research. For a long time, Mia believes that Lorrie Ann is embracing a more dangerous lifestyle due to external circumstances that have traumatized her, but eventually she has to face the possibility that she never really knew her friend as well as she thought she did, which means she might not know herself as well as she thinks she does. Mia’s voice is interesting in its unevenness. She is both the kind of person who would break her own
toe to make a critical lie more convincing and the kind of person whose powers of description verge on the lyrical, almost the sentimental. For most of the book, she considers herself to be the former kind of person — cold, hard, desperate — because of a couple of dark acts she committed when she was growing up. As Lorrie Ann reveals herself to be colder, harder, and more desperate than Mia has ever envisioned herself to be, Mia can reconcile being more than the choices she made under duress before she was old enough to have better control of that duress. Thorpe’s prose sometimes heightens itself into purple, but these moments of waxing poetic have their own energy, which echoes the ebb and flow of Mia’s understanding. Thorpe explores the difference between being damaged and being ruined — against a backdrop that is increasingly heady. Mia gets deeper into translations of poetry about the goddess Inanna and begins to consider her life in the context of ancient metaphors for love. Lorrie Ann, once considered just as intelligent as her friend, feels left behind when conversations take an intellectual turn, and there is a sense that she is almost a caricature of an uneducated person who married too young — before we are reminded that getting married and having a baby was a choice she made. The other option, which would have been to get an abortion and go away to college as she’d planned, is presented unequivocally by Mia as the choice she didn’t make, the choice that would undoubtedly have altered the course of the next decade. “I wanted to slap her,” Mia says. “It was almost as though she were playing dumb, exaggerating her own California valley-girl cadences … her protestations of ignorance rang false with me, and I could only assume they were designed either to flatter Franklin or to injure me in some way, to lure me into being some kind of pretentious pedant as an obscure punishment.” Mia’s concern for Lorrie Ann may be misplaced. Is Mia a caring lifelong friend, or is she overbearing — prying into things that are none of her business? When your best friend seems to be purposely jumping off a bridge, does it make you “judgmental” if you express dismay and try to talk her down off the railing? Thorpe asks what happens to the people we used to know when we stop knowing them — and what happens to us. — Jennifer Levin book reviews continue on Page 22
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SUBTEXTS The long view Victoria Sambunaris displays an eclectic sense of classification in her big volume of color prints, Taxonomy of a Landscape (Radius Books). Sambunaris, raised in Pennsylvania, has taken to mounting road trips across the American West with a 5-by-7 wooden field camera. The word taxonomy in her book’s title suggests that the images will be broken into particular and definitive categories. But instead of being grouped by season, geography, or physical feature, they reveal another type of taxonomy altogether, one that developed naturally as Sambunaris conducted her travels and gathered her film. An essay by Natasha Egan helps explain Sambunaris’ eclectic take on taxonomy. (A strange but related short story, “The Mappist,” by Barry Lopez, is included as an insert.) The book first focuses on freight and the means of moving it. We see long rows of big-rig trailers parked on wet concrete; coal cars strung out against a flat brown prairie; and the Trans-Alaskan Pipeline snaking across the tundra. Then Sambunaris shows us marks made on the land, including mining pits and their terraced destruction and small towns sitting amid sprawling landscapes. Nearly all the photos capture human impacts, whether they are roads, rails, power wires crossing skies in front of rows of prefab houses, or bridges across rivers. They’re composed in a way that grants perspective to the viewer, suggesting a diminutive presence looking into a vast ocean of space. You feel as if you’re standing with the camera. Two things are common in all the photos. The first, aptly for a book on the western landscape, is the horizon. It’s as if the photographer is saying, Yes, the land is wide and large, but the sky is larger. The second is the perspective provided by stray figures in the vastness. A tiny man on a tiny horse fords the Río Grande, a string of container rail cars twists out of the foreground and far into the distance, and a house is tucked at the edge of a shadow in a wide rumpled landscape. Sambunaris discusses her work and sign copies of Taxonomy of a Landscape at 4 p.m. on Saturday, Aug. 9, at Radius Books, 227 E. Palace Ave., Ste. W, and at 2 p.m., Sunday, Aug. 10, at Tipton Hall, Santa Fe University of Art & Design, 1600 St. Michael’s Dr. Call Radius at 505-983-4068 for information. — Bill Kohlhaase
StarS of american ballet with principalS and SoloiStS of new york city ballet
wedneSday, auguSt 13 7:30 pm & thurSday, auguSt 14 7:30 pm Two different programs with a world premiere on Wednesday night. Pre-ballet talk at 6:30 pm each night.
Location: Lensic Performing Arts Center
ticketS: $27-$100
ticketsSantafe.org performanceSantafe.org
| |
505.988.1234 505.984.8759
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Owen’s Daughter by Jo-Ann Mapson, Bloomsbury USA, 352 pages
Peter Hagen
Landscape of Silence • Reception • Friday, August 8th • 5 to 7pm
M cLarry f i n e a r t
www.mclarryfineart.com
225 Canyon Road • Santa Fe, NM • 505.988.1161 • info@mclarryfineart.com
$30
worth of great stuff for only
$15
More than just building supplies! Your purchases (and donations) at the ReStore help HFHT to continue to build homes for people in need.
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(items shown may not be available) Exclusively available at SplurgeTaos.com T o r e c e i v e t h is off e r, v isi t Sp lu rgeT a os .c om b ef o re m id n i gh t A u gus t 1 3t h a n d pu r c h as e th e S plur ge c e rti fi cat e, whic h ca n be red eem ed f or th e a bov e of f e r. T h i s a dve rt ise m en t is n o t a S pl ur ge c e rt if ic at e.
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Sometimes the most gripping tales aren’t steeped in espionage or set in faraway lands. Familiar characters don’t necessarily need to be household names plucked from history books. The beauty of Owen’s Daughter, the 12th and latest novel by Santa Fe’s own Jo-Ann Mapson, is the realistic pathos of the human condition experienced by characters who could live right next door. If you’re human, you can’t help but relate to it. What could be more suspenseful than parent-child relationships, lifechanging health conditions, fragile or broken love connections, and the steep climb out of the abyss of addiction? These travails, set against a Santa Fe backdrop so vivid that the city becomes a mood instead of a star on a map, besiege characters so rich and well developed that the reader can visualize each one. The cadence of each voice and the posture each person would strike walking into or out of a room take shape quickly, thanks to Mapson’s thrifty tone. Mapson introduces us to Skye Elliot as she’s about to exit rehab, bitter and still craving booze and pills but determined to reclaim her 4-year-old daughter, Grace. Finding Grace proves arduous, as her rodeo-cowboy daddy, Skye’s estranged husband, has seemingly vanished with her. Enter another cowboy daddy — Skye’s father, Owen Garrett. After years of absence from Skye’s life, he shows up on horseback to whisk his daughter away from rehab. Throughout their years of distance, father and daughter have traveled parallel tracks. Both have struggled with alcoholism that has at times landed them in trouble with the law. Both have changed their names, hoping to reinvent themselves and leave behind who they once were. And both harbor an enduring love of horses. Together they bunk down at a vacant Canyon Road home that belongs to Skye’s mother and Owen’s ex-wife, self-absorbed Sheila. She seldom occupies the house, jet-setting instead with her plastic-surgeon husband. Tumult follows Margaret Yearwood, a 50-year-old divorcée still haunted by her love for none other than Owen, who disappeared from her life a decade before with little warning. Margaret endures the death of the aging aunt she has cared for, catastrophic news about her own health, and the unexpected return of her petulant deaf son, Peter, a 20-something whose marriage is in shambles. Skye’s quest to find Grace, and Owen’s push to find a job working with horses so he can help bankroll the search, leads to Margaret’s neighbors Glory and Joe Vigil. That connection and a chance encounter with Peter bring Owen and Margaret (whose torrid affair was the subject of Mapson’s novel Blue Rodeo) back to each other. They reunite romantically, to the chagrin of Peter and the delight of Skye. After explaining his disappearance a decade earlier — a prison stretch for his role in a violent fight — Owen quickly reawakens the passion that he and Margaret never let die. An apparition that could reside almost anywhere in this 400-year-old town observes the whole story as it unfolds, but her presence in the book is sparse enough to keep the plot largely believable. The author treats us to a few unpredictable plot twists in the homestretch, but the true appeal of Owen’s Daughter lies in the shared experience — or potential for it — that resides within us all. For readers familiar with Santa Fe, it holds a bonus. They’ll recognize local haunts and their distinctive flavors — even a few people, from concho-belted socialites to plain-spoken vaqueros and families with centuries of roots here. Together, these elements give readers who know our city the sense that Mapson is whispering a secret in their ears. — Patrick Malone
August at the E ldorAdo 2014 sAntA fE indiAn mArkEt EvEnts
All shows are held in the DeVargas Room at the Eldorado, and continue Saturday, August 23 and Sunday, August 24, 10:00 am-5:00pm.
Hopi Mana with Bowl, ca.
Dextra Quotskuyva
Photo: Cheryl Crownover
Ring by Sonwai, Bracelet by Edison Cummings
wedneSday, aug. 20, 2014
thurSday, aug. 21, 2014
Friday, aug. 22, 2014
deVargas room Show Opens at 2:00 pm (to 5:30pm)
deVargas room Show Opens at 4:00 pm (to 7:00 pm)
Major early pottery by Nampeyo
annual deVargaS OPening Now-famous early to mid-20th century artists who moved traditional jewelry onto the contemporary stage
deVargas room Jewelry and Pottery Show Opens at 11:00 am
Jewelry by Kenneth Begay A recently discovered collection of Western Apache baskets (ca. 1900)
Historic and contemporary American Indian pottery received by Marti in recent months; 20-25 jars and bowls
a SPecial exhibitiOn OF raymOnd SequaPtewa Jewelry 25 pieces made for Marti over the past year
Unveiled at 2:00 pm
join marti at the eldorado martha hopkins struever
Santa Fe Gallery: () - Online Gallery:
www.MarthaStruever .cOM PASATIEMPOMAGAZINE.COM
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Paul Weideman I The New Mexican
HEAD OF THE Anthropologist Michael F. Brown takes charge at SAR
M
ichael F. Brown, the recently named president of the School for Advanced Research, came to Santa Fe from about 2,000 miles east, after shifting into emeritus status as Lambert Professor of Anthropology and Latin American studies at Williams College in Williamstown, Massachusetts. Massachusetts. Why the change? “Because of SAR’s storied past, its recent successes, and its promising future,” he said in a “President’s Message” posted on the school’s website in June. “SAR’s location in our nation’s most culturally vibrant state capital was another factor pulling me west.” A childhood move from Massachusetts to Dallas may have given Brown a predisposition to leaving secure circumstances for something more adventurous. This was repeated (in decidedly more dramatic form) in his 1976 move to the Amazon rain forest in Peru,
AREA OF DETAIL
COLOMBIA
ECUA D OR
AWAJÚN COMMUNITIES
IQUITOS
AMAZON RIVER
Something that was striking when I first met
BR AZ I L
the Awajún was the sense of self-confidence of their own superiority, the sense of their own power — of their own agency, as anthropologists would say. If you have a spectrum with the highly individualistic at one end, they’re right there. — Michael F. Brown
MACHU PICCHU
CUSCO
BOLI V I A
C HI LE
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where he lived for more than two years with the Aguaruna tribe, descendants of headhunters. The young anthropologist wrote articles and books about various aspects of that experience, but a more holistic account can be found in his Upriver: The Turbulent Life and Times of an Amazonian People, due out on August 18 from Harvard University Press. “A few years ago,” Brown said during a visit by Pasatiempo to his office at SAR, “I had reached a certain age where you think about your legacy, and I thought I should digitize the thousand pages of handwritten scrawls from that time so they could be useful to others, including the Aguaruna, who call themselves the Awajún. As I was typing up the notes, I had to relive the whole experience, and 30 years later I saw things that I either ignored or hadn’t felt comfortable discussing.” Contrasting with a little confusion and insecurity in his writings from the 1980s, Upriver contains an older man’s revelations and perceptions about the tribe, gleaned from his notes and also based on a 2012 return visit to Peru. “With the new book, I also wanted to convey how challenging fieldwork is, how confusing a lot of it is, even when to be honest about things you don’t understand. The Awajún are complex, ambitious, determined people. It’s no accident that the first Amazonian Indian to be elected to the Peruvian congress was from their community.” The Awajún today are at the forefront of the indigenous rights movement in South America. Brown earned his bachelor’s degree from Princeton University and his Ph.D. in cultural anthropology from the University of Michigan. He has won research fellowships from the National Endowment for the Humanities, the Institute for Advanced Study, the National Science Foundation, and the Smithsonian Institution. He was a resident scholar at SAR in the late 1980s, when he worked on War of Shadows: The Struggle for Utopia in the Peruvian Amazon (co-authored with Eduardo Fernández, 1991). Among his other books are The Channeling Zone: American Spirituality in an Anxious Age (1997) and Who Owns Native Culture? (2003). The shelves in his new office — the former dining room of a 1927 home designed by William Penhallow Henderson — are lined with hundreds of books published by SAR Press and books coming out of the school’s resident-scholar program. Asked about any favorites, he said, “The archaeology collection is spectacular. One of the most successful books is Senses of Place by Steven Feld and Keith Basso. One of the most influential titles is Writing Culture: The Poetics and Politics of Ethnography, which came out of an SAR advanced seminar. One of the first I was involved with was Dreaming, edited by Barbara Tedlock.” Brown’s chapter in that volume is titled “Robes of Sand: Order and Imagery in Aguaruna Dreams.” “One of the seminars held just before I got here was on the problem of global obesity, and there will be a book coming out of that. One of the frustrating things is that it takes so long to produce a book, because of wrangling late contributors and all the editing and production and peer review. We’re thinking of a way of getting at least lively descriptions of the seminars up on our website within a month after the seminars.” Another book Brown said had a huge impact on him was Sun Chief: The Autobiography of a Hopi Indian (Yale University Press, 1942) by Don C. Talayesva.
“What always impressed me was that, considering the difficulties Native Americans had being rounded up, almost taken prisoners, having their hair cut, having their names changed, and being shipped off to boarding schools, Don Talayesva talks about it with such good humor, with a sense of wonder rather than anger, though he has anger about certain things. In that sense there are parallels to the Awajún people I’ve studied. They have a tremendous sense of humor. They’re much more aggressive and violent than the Hopi, but they’re also generous and smart.” He writes in the introduction to Upriver that the people were curious and not at all unwelcoming when he first appeared. “They were studying me,” Brown recalled with a laugh. “This was their chance to get up close and personal with a gringo. Something that was striking when I first met them was the sense of self-confidence of their own superiority, the sense of their own power — of their own agency, as anthropologists would say. If you have a spectrum with the highly individualistic at one end, they’re right there. I think of them as preadaptive for the 21st century. They’re forceful. They always want to be the leaders.” Why the shift to a book about the state of spirituality in America [The Channeling Zone, 1997] after being involved in Amazonia for years? “The Shining Path [guerrilla insurgents] convinced me to work somewhere else,” he said. “There’s nothing like doing an interview while someone is pointing a very large-caliber revolver in your general direction, which happened to me in about 1990.” While he was in Santa Fe working on War of Shadows, he kept running into people involved in various forms of New Age spirituality. There were books by believers such as Shirley MacLaine and books by debunkers, but he was struck that social scientists weren’t writing about it. “I thought it would be fun and useful to just treat channeling as if I were studying people in the Amazon,” he said. “You start from a position of sympathetic skepticism, or skeptical sympathy, and that’s actually consistent with a lot of New Age thinking: believe what’s useful to you, what resonates with you, and discard the rest. It’s a very individualistic orientation, and one of the criticisms is that it leads to narcissism. I didn’t find very much of that. What I found was a lot of
imagination and creativity — sometimes undisciplined — but in some ways the people I interviewed were a lot more fun than the academics I spent time with, because these people had a kind of free-form curiosity about the world that I really admired.” Another area of Brown’s research is the global challenge of protecting indigenous cultural property from misuse; in this category are myths, songs, artwork, religious rituals, and dance. A locally wellknown example is the Zia sign. Famous for its prominence on what many believe to be the most beautiful state flag, it is a religious symbol for the Pueblo of Zia. “The pot on which the state flag was based was once held by SAR and was repatriated to the Pueblo of Zia,” said Brown, who wrote about the Zia dilemma in Who Owns Native Culture? “When Zia wrote to the state legislature asking to be compensated, my first reaction was skepticism, but the more I got into it and after interviewing the tribal chairman, it seemed a lot of it came down to just a request for respect, for permission to use the symbol.” He saw a similar bottom line when Southwest Airlines asked the tribe for permission to use the symbol on one of its state-themed airplanes. “Permission was given and a sum was paid into a tribal college scholarship fund, but it really came down to the question of respecting people’s right to a sense of ownership and control of their religious symbols.” Brown is digging into his new position. “There’s so much going on. It’s really exciting. You’ve heard that SAR is the best-kept secret in Santa Fe? One of my goals is to make sure it’s not secret anymore. We’re working hard to make the institution more available to people.” His “President’s Message” (at www.sarweb.org) ends with, “If you’ve never seen the SAR campus or attended one of SAR’s public events, please stop by to ask for more information. You’ll be impressed by what you see.” “Obviously this is a scholarly community, so it’s not like we can have busloads of tourists driving through,” he said in the interview, “but I think there’s a sense of greater openness to the campus and reaching out more energetically to the public, just making people aware of the exciting stuff going on here.” ◀
Michael F. Brown; right, Awajún elder Míkig Daichap, 1977; below, Awajún men settle a dispute, 1978; bottom, an Awajún family returns from a long trek in the rain forest, 1977; opposite page, Brown dances with Awajún men, 1978
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Jennifer Levin I For The New Mexican
“Kookaburra sits in the old gum tree Merry, merry king of the bush is he Laugh, Kookaburra! Laugh, Kookaburra! Gay your life must be Kookaburra sits in the old gum tree Eating all the gum drops he can see Stop, Kookaburra! Stop, Kookaburra! Leave some there for me.”
Songs of a summer night
you went to summer camp as a kid, chances are you know “Kookaburra,” even if some of the lyrics varied in the version you sang. Maybe you sang the monkey-counting verse, or maybe the word gay was replaced with the word fun. Though it is often referred to as a nursery rhyme, “Kookaburra” is a camp song through and through, written in 1932 by a music teacher, Marion Sinclair, for an Australian Girl Guides songwriting competition. Because it has been passed from camp to camp, kid to kid, year to year, with regional variations commonplace — typical for folk music — Española
CAMP
was a place where girls could be themselves and learn skills, often without the influence of boys. “As soon as you had boys around, they did everything, and the girls watched. In a coed situation, you start dressing for the boys. At coed camps, girls didn’t cut wood and build fires. Girls-only camps give girls a sense of being able to do stuff.” —Patricia Averill
resident Patricia Averill includes it in Camp Songs, Folk Songs, a book that she wrote 40 years ago, which she recently unearthed while cleaning out her garage and subsequently self-published via Xlibris. While completing her dissertation on country music for the American Studies program at the University of Pennsylvania back in the early 1970s, Averill took several folklore courses and began to regard her 12 summers as a Camp Fire Girl as time spent in a folk community. “That’s what camp was,” she told Pasatiempo. After finishing her dissertation, she began writing to camps around the country — including Brush Ranch Camp in Pecos — to ask about the songs campers sang and about lyric and verse variations. She then put together a lengthy and detailed accounting of the information, dividngress
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PASATIEMPO I ????????? ??-??, 2014
Librar y of Co
“Great green globs of greasy, grimy gopher guts Mutilated monkey meat, little dirty birdie feet Great green globs of greasy, grimy gopher guts And I forgot my spoon!” Many of the songs in Averill’s book are more obscure — ones that have by now fallen out of fashion. These include old folk ballads and even crooner songs from the 1930s and ’40s. With or without their lyrics altered to reflect camp life, kids just don’t sing them anymore. Soon after she’d written her book, Averill sent it off to an academic publisher. She received a letter of rejection indicating that the manuscript would be returned along with notes as to why it was declined. But the package never reached her, and all she was left with were carbon copies, which she packed away. When she found those copies in a box in her garage decades later, she read through the work and realized that she had captured a history of what she didn’t know at the time was a dying tradition. Of course, kids still go away to camp, she explained, but the duration tends to be shorter, there are far fewer returning campers, and camps tend to be geared to specific activities — band, cheerleading, and so on. Less emphasis is placed on fostering independence and resourcefulness. Today, Camp Fire USA is a very different — and coed — organization, and even Girl Scout camps have fewer sessions each summer. As Camp Fire Girls, Averill and her friends camped overnight in the woods alone. One morning, when it was raining and they lacked the proper tools, someone in the group started a fire using insect repellent. Averill remains impressed by her friend’s daring and ingenuity. “A few years ago, we lost our natural gas in Española and Taos,” she said. “It was crisis time. People were trying to get space heaters for every room in their house. I just moved everything into one room and camped at home for three days. It was a pain to be without heat, but instead of trying to maintain the status quo, I looked at it as an adventure, which is an attitude I got from camp.” ◀
Arthur S. Siegel, Library of Congress
Are you ready for summer? Going Away Woodchuck #1 The Wake Up Song Best Friend Grandma’s in the Cellar The Disappointing Pancake Woodchuck # 2 Home on the range Woodchuck #3 PeanutButter &Jelly When It Rains The Cookie Jar Chant H.A.P.P.Y. It’s Not Goodbye PASATIEMPOMAGAZINE.COM
Arthur S. Siegel, Library of Congress
ing it into such sections as “Age Group Influence on Repertoire,” “Gender Influence on Repertoire,” and “Midwestern Influence on Repertoire.” The book, which is scholarly in nature, takes the camp setting for granted. It is in speaking to Averill that you really get a sense of the significance of summer camp in her life and the passion that inspired the project. Averill went to Camp Kitanniwa in Battle Creek, Michigan, for two weeks every summer during the 1950s and early ’60s. There were several one-week sessions and just one two-week session, which she said was filled with girls who really loved camp and returned to it each year. In the book, she is very clear that she is writing about sleep-away camp, not day camp — even though day-campers sing many of the same songs. “When talking about what traditions survived — and why — at each camp, it came down to continuity. It wasn’t that camp was coed; it wasn’t that the kids had diabetes. If they only had the kids for a week or two and there were very few returning campers…,” Averill trailed off and then added, “If you got to go to camp for eight weeks, then you ran the camp. Not the staff. The staff were your servants. They made sure you had food.” Continuity, along with duration, distinguished the one- and two-week agency camps — Camp Fire Girls, Girl Scouts, and so on — from the more expensive and elite private camps, which lasted all summer and routinely saw regular campers become counselors once they were college age. In “Camping Through Time,” a section of photographs, Averill pays close attention to the uniforms of female campers. Middies and bloomers were common in the early 1930s. By the late 1950s, girls were wearing pedal pushers, sans knee socks, which was considered quite an advancement by those who were tired of having to cover their legs when it was hot out. “There’s pride in and disdain for your uniform at the same time,” she said. “It makes you a group, but you’re a teenager, and anything you’re proud of, you deny.” Camp was a place where girls could be themselves and learn skills, often without the influence of boys. “As soon as you had boys around, they did everything, and the girls watched. In a coed situation, you start dressing for the boys. At coed camps, girls didn’t cut wood and build fires. Girls-only camps give girls a sense of being able to do stuff.” Some organizations, such as Camp Fire Girls, were considered prestigious in the 1950s and ’60s — the proper place for a mother to send her daughter — and important enough, Averill said, to get written about in newspaper society pages. Mothers who had gone to camp when they were girls knew it wasn’t always quite the nice, sweet place the papers made it out to be. And many of the bawdier songs, including “I Gave My Love a Cherry” (also called “The Riddle Song”), reflect that. The song is believed by many to be about courtship, marriage, and family, but Averill said the verses allude to the loaded topic of losing one’s virginity. Not to be overlooked are the gross-out songs like “Great Green Globs of Greasy, Grimy Gopher Guts”:
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LISTEN UP James M.Keller
Pockets of evocativeness udiences of Santa Fe Chamber Music Festival are already acquainted with Brett Dean, who has been presented in past seasons here as both a composer and a performer. Born in 1961 in Australia, he spent 14 years playing viola in the Berlin Philharmonic, for some of that time serving as its principal violist. In 2010 the festival programmed a work of Dean’s it had co-commissioned with the Australian String Quartet and La Jolla Music Society, his Epitaphs for string quintet, whose five movements memorialize various of the composer’s friends, mostly from the music world. On that occasion, the composer assisted the Orion String Quartet as the “extra” violist in his piece. He was back this season, again as a violist as well as a composer, and his appearances included another SFCMF co-commission, this time jointly funded by the Australian String Quartet and the Britten Sinfonia. Presented in Albuquerque on July 30 and at Santa Fe’s St. Francis Auditorium on July 31 (the latter being the performance we heard), the new work is his String Quartet No. 2, which carries the intriguing subtitle And Once I Played Ophelia. Again, the piece is for five musicians; although identified as a string quartet, the work also uses a soprano singer very prominently, her text
Lisa-Marie Mazzucco
A
Alessio Bax
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being assembled from words declaimed by, expressed to, or said about the character of Ophelia in Shakespeare’s Hamlet. The text was contrived by Matthew Jocelyn, the general and artistic director of the Canadian Stage in Toronto, who is currently collaborating with Dean on an opera scheduled to be premiered at Glyndebourne in 2017. In a program note about the new quartet, Dean explains that he and Jocelyn “saw it increasingly as an examination of what remains in our memory and understanding of this secondary, yet utterly pivotal role ‘after all the Ophelias have played Ophelia.’ … And perhaps, just perhaps, Ophelia drowns not from a romantically fed whim or madness, but simply because of the pure weight of the words others say about her caught irrevocably in her pockets.” In its U.S. premiere, the piece was performed by the Orion String Quartet and soprano Tony Arnold. The Orions are obviously devoted to Dean’s music, and their polished interpretation underscored the broad emotional range the composer has invested in the piece, from introspection to vehemence. Since he is an accomplished string player, we should not be surprised that his compositions reflect mastery of what such instruments are capable of doing in the domain of extended technique. The Orions matched him point for point. Arnold is one
of the most astonishing talents working in contemporary music, and she negotiated the contours of her part with an ease that belied how challenging the vocal writing must really be. She plucked pitches out of the atmosphere with supreme security, shaped the melodic lines (which often involve wide intervallic leaps or descents) with musical sensitivity and dynamic diversity, and even conveyed a good many of the words with diction that could be discerned by the listeners. Notwithstanding Arnold’s admirable performance, the piece did not come across as a dramatic scene or even a character study, and the five connected movements lodged most strongly in the memory as tone studies for string quartet.
One wishes that more pianists were as conscientious as Bax when it comes to legato playing, but as a default position it can grow wearying, and repertoire demands similar skill with razzle-dazzle stuff like repeated notes and flying octaves. A similar impression was left by Dean’s Sextet, “Old Kings in Exile,” a work from 2010 performed in the same hall at the noon concert on July 24. This is a welcome addition to the burgeoning repertoire for what is known as the “Pierrot ensemble,” so called because its instrumentation is essentially that used by Schoenberg in his groundbreaking Pierrot lunaire of 1912: flute, clarinet, violin, cello, and piano. Dean’s sextet is a slight variation on that grouping. The flutist (here Bart Feller) plays regular flute, alto flute, and piccolo; the clarinet part is divided between performers on standard-size clarinet (Todd Levy) and bass clarinet ( James Shields); the violin ( Jennifer Frautschi), cello (Wilhelmina Smith), and piano (Benjamin Hochman) stick to just their instruments; and percussion (David Tolen) is added to the mix. Apparently the two clarinet parts can be doubled by a single player, which is why Dean identifies the piece as a sextet rather than a septet. As with And Once I Played Ophelia, the subtitle Old Kings in Exile is not likely to illuminate listeners without some explanation. It refers to a memoir published in 2011 by Austrian writer Arno Geiger titled Der alte König in seinem Exil (The Old King in His Exile), which details the descent of the author’s father into dementia brought on by Alzheimer’s disease. (I wish the program note had explained why Dean chose to make his title plural and how he came to write the piece a year before the book was published. Maybe he had an advance copy.) The 20-minute work is cast in three movements, a prelude and a postlude framing a central “Double Trio.” The outer sections convey a mysterious, creepy-crawly spirit, while the middle movement is invested with boisterous vigor. Sections
in contrasting tempos are arrived at through metric transitions that bring to mind the procedures of Elliott Carter. The sonic effects are unusual and captivating. Right at the outset the violin made a spooky sound that seemed electronically derived, but since there was no electronic setup, it must have involved some peculiar sort of mute or a similar acoustic adjustment. The percussion added much to the haunted quality of the opening and closing sections — indeed, to the piece throughout, as Tolen drew on a selective but evocative array of instruments. I regret that I was unable to return that evening to hear Dean perform his own Skizzen für Siegbert for solo viola. I would, however, add a word of admiration for the performance of Mendelssohn’s D-minor Piano Trio that shared the bill at the Old Kings in Exile concert. Played by violinist William Preucil, cellist Mark Kosower, and pianist Jon Nakamatsu, it emerged with clearly articulated vivacity in the first movement, gracious elegance in the second, winning energy (if not quite elfin sparkle) in the third, and animated drama in the fourth. It is easy to fall into routine in a work as familiar as this, a particular challenge in Mendelssohn, who leaves no rough edges that might offer potential grit. Nonetheless, these players endowed the piece with smart touches of tonal delicacy throughout and imbued the whole with just enough rhythmic elasticity to keep listeners constantly engaged. Italian pianist Alessio Bax offered a much-anticipated recital on July 29 at noon. Apart from the fine work he has already done as a chamber musician early in this year’s festival, he arrives with a raft of good credentials that include first prize in the Leeds International Pianoforte Competition (2000), an Avery Fisher Career Grant (2009), and Lincoln Center’s Martin E. Segal Award (2013). His Santa Fe recital balanced between two masterworks — Beethoven’s Piano Sonata in A-flat major (Op. 110) and Musorgsky’s Pictures at an Exhibition — with short items by (or arranged by) Rachmaninoff separating them. The Beethoven received a pleasing, rather literal rendition. The scherzo movement was clearly plotted, even in its bizarre, off-balance trio, which in most performances sounds chaotic and illogical but here at least seemed to fit into its surroundings. The fugue was paced on the fast side, but it was rendered with rhythmic clarity that justified the interpretation. Trills are very important in Beethoven’s late piano music — they are basically the composer’s way of sustaining a piano’s sound over an extended span — and one wished that Bax’s trills had been more evenly voiced, and even that he had shaded them through their duration. Of two Rachmaninoff preludes (part of the midconcert palate cleanser), the one in G major (Op. 32, No. 5) was the more admirable, being spun out dreamily. The famous Prelude in G minor (Op. 23, No. 5) was appropriately ghoulish but unswervingly tense and tight; one yearned for more separation between repeated chords, more spring in the wrists, something different from the legato that had been Bax’s watchword throughout the Beethoven. His rendition of Pictures at an Exhibition displayed both the strong and weak suits he had already laid on the table. His tempos tended to quickness, as they had in the Beethoven; in some recurrences of Musorgsky’s “Promenade,” one had the feeling that the viewer of the titular exhibition was
Tony Arnold
worried about getting through the show before closing time. Bax proved himself again most convincingly when playing legato, which served him strongly in several of the “Promenade” passages, in “The Old Castle,” and in the weightiness of the “Bydlo.” Not so impressive was what we might call the punctuation of his phrasing, the separation of individually important melodic notes. The boisterous children of the “Tuileries,” the “Ballet of the Unhatched Chicks,” the bustling “Marketplace at Limoges” — all of these are filled with staccato markings or short notes set off by short rests, and none of them really glittered. Just as rapidly repeated tones had fallen flat in Rachmaninoff’s G-minor Prelude, so did they, most disappointingly, in “Samuel Goldenberg and Schmuyle,” where they are intended to suggest the whining voice of the latter character. One wishes that more pianists were as conscientious as Bax when it comes to legato playing, but as a default position it can grow wearying, and repertoire demands similar skill with razzle-dazzle stuff like repeated notes and flying octaves. There may be a mitigating factor. As the recital progressed, one sensed that Bax was not relating comfortably to the particular piano he was playing. It may be that the instrument’s regulation would have been right for another player but was not quite optimal for Bax. Having already played what was effectively an encore (though it was printed on the bill) in the program’s middle group — Rachmaninoff’s transcription of the “Hopak” from Musorgsky’s opera The Fair at Sorochinsk — Bax concluded with another Rachmaninoff transcription, this one of Fritz Kreisler’s “Liebesleid.” Rachmaninoff’s own interpretation of this piece, which has probably been in print continuously since he recorded it in 1921, might serve as inspiration for any pianist seeking ideas about how to invest even a bagatelle with prismatic variety of color and articulation. I wonder if it has crossed Bax’s radar. ◀
Brett Dean
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PASATIEMPO I August 8-14, 2014
PASA REVIEWS
ack DeJohnette has maintained a reputation of inventiveness for half a century, a fact pointed out by poet and former National Endowment for the Arts deputy chairman A.B. Spellman when he introduced the drummer-composer-bandleader to a sold-out crowd on Saturday, July 26, at the Lensic Performing Arts Center. Spellman said the recently appointed NEA Jazz Master’s music was consistently new and fresh. The performance that followed — the final Santa Fe concert of the 2014 New Mexico Jazz Festival — seemed to prove that point. DeJohnette’s trio, with saxophonist Ravi Coltrane and bassist Matthew Garrison, made something new of the few classic pieces they touched while also offering new works that relied on Garrison’s bass and its attached electronics to provide harmonic interest. The results were unexpected from a saxophone trio but fully in line with Spellman’s introduction. DeJohnette’s play, still characteristic of his work going back to the 1960s and stints with Jackie McLean, Charles Lloyd, and Miles Davis, has evolved over the years to emphasize accents and color while maintaining its rhythmic drive. This was audible from the opening number, an original called “Atmospheres,” a piece as impressionistic as its name. It focused on the drums as an instrument of color and shading rather than timekeeping. DeJohnette invited comparisons with his earlier days by performing Joe Henderson’s “Black Narcissus,” a tune he first recorded with Henderson in 1969. That performance was all cymbal and light snare touch; this one drew from understated tom-tom exchanges. Garrison, triggering electronic effects with foot pedals and pulling chordal clusters from his bass guitar’s strings, gave the threesome’s sound a richness that belied the band’s size. Coltrane was his own man. He’s a player who eschews all clichés — and, except for his rich tone on both tenor and soprano, he gave no clue that he’s his father’s son. His approach on Lee Morgan’s well-known, muchsampled “The Sidewinder” brought something entirely new and quirky to the song. Yet when the band dipped into his father’s music for an encore, Coltrane produced a kind of homage that took only a few notes to suggest the legacy in his blood. Drummer Terri Lyne Carrington’s Mosaic Project brought another kind of freshness to the Lensic Stage on Friday, July 25. Using two contrasting vocalists — Gretchen Parlato and Lizz Wright — Carrington’s ensemble found a sweet spot where accessible beats and blues changes allowed for soulful statements from saxophonists Hailey Niswanger and Grace Kelly. With keyboardist Rachel Z not arriving until midway through the second set, the group relied on guitarist Matt Stevens to keep up the harmonic interest with his creamy electric tones. Z’s arrival brought new life to the band, and its cover of Nick Drake’s “Three Hours” proved an emotional high in what was sometimes an uninspired show. Pianist-composer Dick Hyman’s appearance with an all-star sextet co-led by 88-year-old guitarist Bucky Pizzarelli was the model of what’s always been great about jazz: musicians coming together to speak in a shared language. Pizzarelli, a most melodic soloist, put blazing rhythm additions to “Sing, Sing, Sing” that suggested a sort of heavy-metal jazz. Hyman opened “Blue Monk” with a fascinating statement that seemed to change keys at the end of every phrase before the band took the familiar tune and began to swing. Fresh? You bet. — Bill Kohlhaase
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Pas de deux redux
New York City Ballet troupe returns with an all-star show
Michael Wade Simpson I For The New Mexican
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PASATIEMPO I August 8-14, 2014
N
early 100 dancers call the New York City Ballet home. Daniel Ulbricht is one of them, but he prefers smaller groups. As founder and director of Stars of American Ballet, sponsored by Performance Santa Fe, he brings a hand-picked group of eight dancers to the Lensic Performing Arts Center on Wednesday and Thursday, Aug. 13 and 14. “I am beyond words that these dancers believe in what I’m trying to do. They are team players. They know I trust them, and they enjoy being ambassadors,” he told Pasatiempo. This is the show’s fourth time in Santa Fe. For NYCB members, engagements in places like this during breaks from their obligations with the big company help them remember why they love dancing. “There is a lot of pressure to deliver back in New York, for Peter Martins [ballet master in chief] and for the audiences there, which can be relentless. In Santa Fe the audiences are warm and wel-
Photo illustration
Daniel Ulbricht, Tiler Peck, Robert Fairchild, and Andrew Veyette; below, left, Ulbricht and Peck
coming. We develop intimacy among colleagues and share experiences. We enjoy teaching master classes and talking about what it is we do with students, who are hungry for this kind of firsthand information.” The Santa Fe program is mostly solos and pas de deux, a practical choice when trying to schedule rehearsals with incredibly busy dancers in the middle of their spring/summer season in New York, although a group piece traditionally closes each performance. Ulbricht also programs differently than he would in New York, offering a smorgasbord of ballet — a little Balanchine, a little Swan Lake, a little George Gershwin — a sampler of famous music and choreography mixed with some contemporary ballet and often a couple of short works created just for Stars. Stars of American Ballet gives audiences the chance to see Robert Fairchild, Tiler Peck, Teresa Reichlen, Ask la Cour, Andrew Veyette, Megan Fairchild, and Ulbricht himself — all principal dancers in NYCB
— doing what they do best. This year Ulbricht has asked two corps dancers, Emily Kikta and Russell Janzen, to join the show. And he’s giving dance teacher Justin Allen a big career boost by inviting him into the big leagues as a choreographer. As a visiting instructor at the Rock School, a preprofessional ballet school in Philadelphia, formerly associated with the Pennsylvania Ballet, Ulbricht became aware of the choreography of Allen, who taught there. When the two sat down to discuss the possibilities of Allen creating a solo for Ulbricht, Allen suggested duo guitarists Rodrigo y Gabriela as a musical possibility. By chance, Ulbricht had just seen a concert by the two in New York and loved them. Two hours later, a three-and-a-halfminute solo had been finished. “The music is very fast,” Allen said. “The musicians also use their guitars as drums. Daniel can move in a very staccato, quick way. He had the incredible ability to pick up the steps I was throwing at him and
immediately make the movement his own. I’m used to breaking everything down for my student dancers, to tell them everything from how to perform the steps to how to feel. Daniel opened my eyes to what I really want to do. I want to work with dancers of his caliber. I want to choreograph for people with that kind of technique and artistry.” Two seasons ago, Ulbricht asked NYCB corps dancer Justin Peck to make a dance for the men in that year’s edition of Stars. Peck later made a strong impression with critics and audiences with his first creation for NYCB (Year of the Rabbit, with music by Sufjan Stevens), was invited to choreograph five other pieces for the company, and was appointed this year as the company’s official choreographer in residence. As for Kikta and Janzen, Ulbricht said he was impressed when he saw the two dancing together in a rehearsal space at Lincoln Center for the Performing Arts. “They’re both taller dancers. They have limbs that can extend, to stretch out into space just like the Rachmaninoff music they’re dancing to.” The piece, Opus 19, Andante, choreographed by Emery LeCrone, premiered last month in a performance at Jacob’s Pillow Dance Festival in Massachusetts. Different programs are planned for each night of the Stars of American Ballet engagement at the Lensic. On the first night, a white swan and a black swan dance in a truncated coda from Swan Lake that Ulbricht calls “Swan Lake Suite.” Reichlen and la Cour perform a pas de deux from the second act, in which the swan queen, Odette, falls in love with Prince Siegfried. Peck and Fairchild present the evil black swan, Odile, in a duet from the third act. Finally, the swans and their princes appear for a few moments on stage together. Both evenings end with Who Cares? by George Balanchine. This popular 1970 ballet features music by Gershwin; dancers perform to classics from the 1920s and 1930s, including “Embraceable You,” “I Got Rhythm,” “The Man I Love,” and “I’ll Build a Stairway to Paradise.” The second night features an excerpt from Balanchine’s Diamonds, which Ulbricht calls “the quintessential Balanchine tutu ballet.” Ulbricht has included a solo for himself to tango music by Astor Piazzolla. “It’s a chance to disengage from classical dance,” he said. “With all its changing rhythms, it’s a personal favorite.” Tiler Peck and Robert Fairchild perform an excerpt from a Christopher Wheeldon ballet called Mercurial Manoeuvres, created for NYCB in 2000. Tiler Peck and Fairchild, who met in dance class at the School of American Ballet when they were 13 and 15, respectively, were married in June. Megan Fairchild, Robert’s older sister, is married to company dancer Andrew Veyette. “It’s a balancing act,” Ulbricht said. “Sometimes couples love to dance together because of the intimacy. There’s a different level of dialogue. Other times, not so much. It does, however, save on hotel bills, which is great.” ◀
details ▼ Stars of American Ballet ▼ 7:30 p.m. Wednesday & Thursday, Aug. 13 & 14 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $27-$100, 505-988-1234; www.ticketssantafe.org
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PASATIEMPO I August 8-14, 2014
PASA TEMPOS
album reviews
JENNY LEWIS The Voyager (Warner Bros.) In the early 2000s, Jenny Lewis’ plain-spoken songwriting and keen sense of detail endeared Rilo Kiley, her band at the time, to legions of young fans. Whether her songs were strictly confessional or not, they seemed journalistic to the point where you felt like you knew her. In 2014, with Rilo Kiley long since ended, an album from Lewis feels like a welcome email from an old friend — it’s just nice to hear from her and see how she’s doing. Lewis is now 38, and this album finds her wrestling with concerns of marriage and monogamy, watching her biological clock, and coping with the loss of a parent. Produced by Ryan Adams, The Voyager is a robust record, one that sheds Lewis’ country influences in favor of cheerful, big-sounding pop. The relentlessly upbeat tone brings out the urgency of the lyrics. (“I’ve been losing sleep, and I cannot sit still,” she sings in “Head Underwater,” a song that kicks off the album with the topics of insomnia and mortality.) She still nails the details — “John’s been avidly reading Slash’s bio,” she notes in the vacation-from-hell tale “Aloha & The Three Johns.” Her voice is in fine form, and her wit and penchant for pop hooks remain. The album may be one of those on Lewis’ learning curve, but when it hits, it hits hard — especially if you’ve grown up with her. — Robert Ker DRESDEN BAROQUE ORCHESTRA Gloria Dresdensis (CPO) During the first two-thirds of the 18th century, no German musical establishment surpassed that of Dresden, seat of the Electors of Saxony, who (among their numerous titles) were also the kings of Poland and Lithuania. Leading composers elsewhere spoke longingly of Dresden’s high performance standards, enviable working conditions, and generous salaries. Even Johann Sebastian Bach, laboring 60 miles away in Leipzig, strove mightily to obtain an honorary appointment from the Dresden court, which he managed to do only after three years of persistent petitioning. Dresden’s reticence was, in a way, understandable: Bach was getting to be old-fashioned, while Dresden composers were on the cutting edge of a new rococo style. The Dresden Baroque Orchestra, a crackerjack period-instrument group, has put together a winning selection of seven orchestral pieces by as many composers, drawn from the court’s collection of 1,800 music manuscripts of that time. The playlist includes a vibrant opera overture by court music director Johann Adolf Hasse, a brooding sonata by court concertmaster Johann Georg Pisendel, an ebullient orchestral suite by Johann Friedrich Fasch (a close friend of Pisendel’s), and sinfonias by the trendy Italians Antonio Caldara (with rousing brass fanfares), Giuseppe Brescianello, and Giovanni Battista Sammartini. It’s a compelling program in toto, but the concluding number eclipses all: George Frideric Handel’s spectacular “Overture to an Occasional Oratorio,” its orchestration here expanded by Pisendel. — James M. Keller
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PASATIEMPO I August 8 - 14, 2014
ON STAGE More by four: Johannes String Quartet
This week the Johannes String Quartet appears at the Santa Fe Chamber Music Festival with five works that show their adaptability in a broad range of the quartet literature. On Sunday and Monday, Aug. 10 and 11 — at 6 p.m. on both evenings — the group performs Mozart’s D-major String Quartet (K. 575) and Weber’s Clarinet Quintet (with clarinetist David Shifrin) in a program that also spotlights other musicians in Mozart’s G-major Duo for Violin and Viola and Haydn’s cantata Arianna a Naxos (with mezzo-soprano Sasha Cooke). On Tuesday, Aug. 12, at noon, the foursome offers an imaginatively constructed program consisting of Kurtág’s Hommage à Mihály András, 12 Microludes for String Quartet, a potentially prickly collection of miniatures from 1977; Webern’s similarly compressed Six Bagatelles for String Quartet from 1913; and Brahms’ intense String Quartet No. 1 — the Brahms quartets being the focus of one of the group’s forthcoming recordings. Performances take place in the St. Francis Auditorium of the New Mexico Museum of Art, 107 W. Palace Ave. For tickets ($55-$75 for Aug. 10-11, $20-$25 for Aug. 12) call the festival at 505-982-1890 or 888-221-9836, ext. 102, or contact www.ticketssantafe.org (505-988-1234). — J.M.K.
Out on the ghost town
Betsy Burke’s much-anticipated film Season of Starlings gets an audible airing at 7 p.m. on Thursday, Aug. 14, at a most appropriate place: the Engine House Theatre in Madrid (2846 NM 14, 505-473-0743). There, Lenore Armijo, Jenny Gabrielle, Gary Farmer, and others from the movie’s cast perform a staged reading of its script. Burke’s screenplay tells the story of a tomboy transplanted to a New Mexico ghost town, where she encounters spirits and other frightening occurrences. The film’s developing horrors, as sampled in its trailer (at www.seasonofstarlings.com), are largely visual, but its spare narrative and tension-filled plot keep issues of domestic abuse, feminine ideals, and collective psychology hovering in the background. The suggested donation is $5-$10. Next door, on the deck of the Old West Saloon, Armijo provides music before the reading at 6 p.m. Farmer and his band, the Troublemakers, play nearby at the Mine Shaft Tavern at 8:30 p.m. — B.K.
THIS WEEK
Assiduous songbirds
In Performance Santa Fe’s series Festival of Song, music lovers get to hear stars from the Santa Fe Opera’s season explore more intimate recital repertoire. On Friday, Aug. 8, tenor Paul Groves, who appears at the opera as Florestan in Fidelio, will be assisted by pianist Joseph Illick in songs by Duparc (for once, not “L’invitation au voyage”), Britten (a group of British folk-song settings), Liszt, and Rachmaninoff. Soprano Brenda Rae (pictured) does triple duty at the opera this year; in addition to singing in both operas of the Mozart/ Stravinsky double bill, she also takes on the leading dual role of Norina/Sofronia in Don Pasquale. She nonetheless summons up the energy for a recital on Sunday, Aug. 10, assisted by pianist In Sun Suh; they offer songs by Schubert, Strauss, and Rachmaninoff, as well as Mozart’s stratospheric concert aria “Vorrei spiegarvi, oh Dio!” (K. 418). Concerts take place at 4 p.m. on the two afternoons at St. John’s United Methodist Church, 1200 Old Pecos Trail. Tickets ($45 general admission, $75 reserved seating) are available through www.performancesantafe.org or www.ticketssantafe.org (505-988-1234). — J.M.K.
Hojotoho! — SFO apprentices showcase a smorgasbord of scenes
Santa Fe Opera’s apprentice program is nationally acclaimed for providing a steppingstone for young professionals preparing for operatic careers. The most visible among them are the apprentice singers, who number 43 this year; two of them, in fact, have been thrust into leading roles they had been covering as understudies. Behind the scenes a further 75 apprentices are busy advancing their skills in such areas as scenery and props, costumes, wigs and makeup, stage carpentry, and other technical aspects of operatic production. The apprentices — both singers and techies — strut their stuff in two evenings of fully staged opera scenes, on Sunday, Aug. 10 and 17, at 8 p.m. both nights. The opening performance includes scenes from Anna Bolena, Ariadne auf Naxos, La Cenerentola, and Thaïs; the second week touches down on, among other operas, Lucia di Lammermoor, Doctor Atomic, Simon Boccanegra, and Die Walküre (the steeplechase in the sky: Hojotoho!). Tickets ($15 for adults, $5 for ages 6 to 22) are for sale at the opera box office (505-986-5900 or 800-280-4654) or online at www.santafeopera.org. Santa Fe Opera is seven miles north of Santa Fe on U.S. 84/285. — J.M.K. PASATIEMPOMAGAZINE.COM
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ART IN
REVIEW
Desert Serenade: Drones, Fences, Cacti, Test Sites, Craters, and Serapes. Reception 5 p.m. Aug. 9; exhibit through Aug. 31, weekends only from noon to 5 p.m. Lannan Foundation Gallery, 309 Read St., 505-954-5149
Victoria Sambunaris: Untitled (Border Fence Near Naco, AZ ), 2010, chromogenic print; bottom left, Subhankar Banerjee: Near the Dead Piñon Where Birds Gather in Autumn (I), 2008, chromogenic print; bottom right, Emi Winter: Spoonbill, 2003, oil on Masonite; images from the collection of the Lannan Foundation
A
lthough the Lannan Foundation’s group show Desert Serenade: Drones, Fences, Cacti, Test Sites, Craters, and Serapes has been up since mid-July, the exhibition’s official reception isn’t until Aug. 9 — a good opportunity to see this minimal, even spalike gallery space, which is open to the public only on Saturdays and Sundays. The foundation’s generous endowment has allowed it to amass an impressive collection of modern and contemporary artworks, a selection of which is on display for Desert Serenade. Group shows are tricky. A unified theme — even if not strictly adhered to — goes a long way in directing the viewer’s eye and managing the show’s visual thesis. The seven artists in this particular exhibit adhere to the range of topics mentioned in the show’s subtitle, covering issues specific — but not limited — to the American Southwest, with social and environmental undertones that range from suggestive to overt. India-born photographer and environmental activist Subhankar Banerjee moved to Northern New Mexico in 2006. In one of his images, a close-up of a cholla cactus foregrounds bare-branched piñon trees, stripped by beetle infestations following years of drought. Photographer Renate Aller, a native of Germany, takes pictures of White Sands that convey a similar mixture of curiosity and concern for Southwestern environments. The dunes there have an interstellar beauty, and though they’re a national monument, they’re also close to the spot where the world’s first nuclear-weapons detonation occurred. Aller’s contribution here is from a series she captured during Easter Sunday visits to White Sands in 2012 and 2013. Children play on the sugary sand, effecting a beachy vibe that’s enhanced by the artist’s choice to pair them with meditative ocean-and-sky photographs from an earlier body of work. For 2009’s Border series, American photographer Victoria Sambunaris hopped into her car and hit the highway, traveling west from the Texas border town of Del Rio to San Diego, California. Lannan’s blurb about the artist points out her ability to focus on Southwestern terrain that “existed long before the governments that now control [them].” Regardless of its underlying narratives, Sambunaris’ imagery is visually stunning. In Untitled (Border Fence Near Naco, AZ), a work from 2010, we hover over a sea of dirt and scrubby grasses, split by the long black structure that separates the U.S. and Mexico. The picture’s cotton-puff clouds recede almost out of sight, where they hover like drones above a jagged row of distant mountains. James Turrell needs little introduction. His muchpublicized (but still closed-to-the-public) Roden Crater installation has yielded numerous works on paper — from photographs to blueprints — that address the artist’s long-standing focus on the multisensory effects of pure light. Turrell’s inclusion in this show is fitting,
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PASATIEMPO I August 8-14, 2014
given his project’s location in Arizona, but also because of his relationship with Lannan, which has funded portions of the Roden Crater project. Mexico-born artist Emi Winter studied with Donald Judd at Marfa’s Chinati Foundation, prompting a fascination with light and hue that’s reflected in her brightly colored paintings. In one untitled oil-on-Masonite work from 2004, a horizontal band of neon yellow cuts across plummy mauve swaths of color, which bleed into pale blue. It’s pretty but nowhere near as commanding as Spoonbill, an immersively large (90-by-28-inch) vertical painting made up of five panels layered on top of each other. Brilliant stripes of turquoise and lime are interspersed with hot pink and forest green in an approximation of the jarringly festive colors of a
Mexican serape. It’s a lot like the exhibition itself: an amalgamation of boldness and subtlety, blended together to form an unexpectedly cohesive glimpse of contemporary Southwestern culture. — Iris McLister
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Michael Abatemarco I The New Mexican
Bright star
Monique van Genderen’s abstract paintings
THE
paintings of Monique van Genderen are something to move into: spaces defined by shape, color, depth, and motion. Van Genderen, a self-described nonobjective abstractionist, is hard to pin down to a particular genre or art movement, although her work touches on quite a few — including Abstract Expressionism, color-field painting, and Abstract Illusionism — while remaining in a class by itself. “I am working with a lot of elements of illusion, specifically conceptual illusions, playing with people’s expectations of what they’re looking at,” she told Pasatiempo. “Sometimes I landed in the color-field genre because I was making more reduced paintings with shapes I collaged together. But I’m really attempting to make every painting pretty different.” With notable, well-received exhibits on both coasts under her belt, van Genderen, a Los Angeles-based artist, comes to Santa Fe for her inaugural show at TAI Modern. Large-scale vertical paintings not included in the exhibit contain elements that can hint at the figure. Their 6-by-4-foot configurations suggest the dimensions of the human body, although there is nothing specifically drawn from life in her works. “When the viewer’s looking at them, they have this relationship to them, almost like a person. But the composition is abstract imagery.”
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PASATIEMPO I August 8-14, 2014
Prior to her vertical paintings, van Genderen worked on horizontal canvases, a format she returned to for the new group of pieces at TAI Modern. Her paintings can’t exactly be described as reductivist because, although the shapes and forms are uncomplicated, they are not drawn from life and therefore not related to something specific in the real world. Van Genderen doesn’t take a form and abstract it; her canvases are abstract from beginning to end. Even the elements reminiscent of landscapes seem so more by chance — or because of associations a viewer brings to a piece — than by intent. “I disbanded with the horizontal because every time I looked at [those works], they read too much as landscapes. I think a lot of abstract painters have gone to the vertical because of that. I have been thinking of them as relating to landscape, but they’re not representations of landscapes.” Van Genderen’s works encapsulate a dichotomy of spontaneity and control. Her compositions balance solidity, often marked by rich color saturation, and atmosphere, accomplished by thin washes of color that convey an openness into which shapes recede and from which they emerge. Even at their most gestural and dynamic, her paintings are self-contained, giving continued on Page 42
Monique van Genderen: Detail Painting #2, 2013, oil and pigment on linen; opposite page, top, Untitled, 2014, oil on linen; bottom, Untitled, 2012, oil on canvas
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Monique van Genderen, continued from Page 40
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PASATIEMPO I August 8-14, 2014
the appearance, or illusion if you will, of action that’s been rendered with precision — almost as with hard-edge painting. The artist has worked with collaged elements in the past, using cut vinyl in painterly arrangements. “The vinyl material is from the sign industry. [It was] designed to be a paint replacement, like a sheet of color a mechanical apparatus could cut out and affix to the wall with adhesive. I recouped that material and made paintings out of [it]. I was going at it with a very expressionistic palette-to-canvas method of working — although [I was using] a knife and not a brush — and layering transparent materials to create other colors. That may have landed my work in the color-field or hard-edge abstract painting class, because the edges were cut.” Van Genderen also uses contrasting color and brushwork techniques to belie her compositions’ apparent simplicity. One untitled vertical from 2013, for instance, is a wedge form encapsulated by concentric rectangles of gray, orange, magenta, and black. The central shape — the wedge — combines the magenta and orange to create a visual cohesiveness between the inner and outer elements of the work. It feels like an impromptu painting style, and perhaps it is, but one made with an inherent sense of the relationships between color, line, and form. Rigid shapes enter the canvas, often from along one edge, with a closeness that suggests they’re in the foreground of the painting. Linear elements and large swaths of color are made with less precision and looser brushwork reminiscent of calligraphy. Planes of color overlap like translucent veils, creating different color dynamics where they intersect. The palette is varied, and the artist often juxtaposes or layers bright yellows, light greens, and blues with more somber earth tones and inky blacks. In addition to the canvases, the exhibit features a selection of her ceramic pieces made with the same painterly sensibility — only van Genderen has replaced paint with ceramic glaze. “Those heavily relate to the vertical paintings. After making 50 pieces in that vertical format, I felt I knew it too well, so going to ceramics was a great way to paint dumb and blind again. It’s in keeping with my mini-history of dealing with materials and forcing them into a position of being an actor in the installation. I put the ceramic paintings within the installation of my work, and people think that they are canvases at first glance. This is what I was talking about when I said I play with conceptual illusions.” ◀
details ▼ Monique van Genderen ▼ Opening reception 5 p.m. Friday, Aug. 8; exhibit through Sept. 20 ▼ TAI Modern, 1601-B Paseo de Peralta, 505-984-1387
Untitled, 2013, oil and pigment on canvas; all images courtesy Susanne Vielmetter Los Angeles Projects/TAI Modern
Santa Fe Chamber Music Festival: Upcoming Concerts Concert venues this week include SFA: St. Francis Auditorium, 107 W. Palace Ave. and LEN: The Lensic Performing Arts Center, 211 W. San Francisco St., Santa Fe
MUSIC AT NOON Generously sponsored by the Edgar Foster Daniels Foundation
THE ORIGINAL BIBER
MOZART, HAYDN, WEBER
AUG 9
AUG 10 + 11
SAT 5 PM @ SFA
SUN + MON 6 PM @ SFA
Experience musical gems, some dating back over 3 centuries! Works by C.P.E. Bach, Telemann, and, yes, Heinrich Ignaz Franz Von Biber performed by chamber music superstars.
The sensational mezzo-soprano Sasha Cooke returns to perform Haydn’s dramatic Arianna a Naxos with pianist Pei-Yao Wang. The famed Johannes String Quartet plays Mozart’s sparkling String Quartet No. 21 in D and is joined by David Shifrin for Weber’s inspirational Clarinet Quintet!
SPONSORED BY THORNBURG INVESTMENT MANAGEMENT
MONDAY CONCERT SPONSORED BY OMAHA STEAKS
Dazzling Performances of Marvelous Music! Concerts continue through August 25. If you haven’t treated yourself to a masterful Santa Fe Chamber Music Festival concert yet – what are you waiting for? The world’s most
TUE AUG 12
celebrated chamber musicians perform the world’s greatest chamber music
noon @ SFA
this week at St. Francis Auditorium in
JOHANNES STRING QUARTET
the New Mexico Museum of Art on the
Featuring a performance written by their namesake Johannes Brahms, his dramatic and moving String Quartet No. 1 in C Minor and much more!
Plaza and at the magnificent Lensic Performing Arts Center! Experience virtuosic performances from Grammy Award-winning pianist and this season’s Artist-In-Residence Yefim Bronfman! Other renowned artists include the Johannes String Quartet,
MOZART AND THE END OF TIME
AUG 14
BRANDENBURG CONCERTOS 3, 4 & 5
AUG 16
THU 6 PM @ SFA
SAT 5 PM @ LEN
Violinist Ida Kavafian, violist Steven Tenenbom, and cellist Peter Stumpf join forces for one of Mozart’s greatest chamber works – the stunning Divertimento in E-flat Major. And Olivier Messiaen’s inspiring landmark, Quartet for the End of Time.
This season, we present Bach’s complete Brandenburg Concertos, beginning here with Concertos 3, 4, and 5. Chamber music stars include Harvey de Souza, Tara Helen O’Connor, and the Dover Quartet!
THU AUG 14 noon @ SFA
the Dover Quartet, Ida Kavafian, Peter Stumpf, Milena Pajaro-van de Stadt, Martin Beaver, Harvey de Souza,
MOZART PIANO QUARTET
Ran Dank, Clive Greensmith, and
Experience Mozart’s extraordinary Piano Quartet No. 2 in E-flat Major, one of only two works he ever wrote for violin, viola, cello, and piano!
Incredible Variety. Beloved Favorites.
many more! Dazzling Discoveries. All waiting for you to experience this week at the Santa Fe Chamber Music Festival!
SPONSORED BY THORNBURG INVESTMENT MANAGEMENT
TUE AUG 19 noon @ LEN
YEFIM BRONFMAN PIANO RECITAL BRONFMAN PLAYS BRAHMS
COOKING WITH MARTINŮ & SCHUBERT
AUG 17
AUG 18
SUN 6 PM @ LEN
MON 6 PM @ LEN
This season’s Artist-In-Residence, Grammy Award-winning pianist Yefim Bronfman, performs the epic Brahms Piano Quintet with chamber virtuosos Martin Beaver and Benny Kim, violins; Milena Pajaro-van de Stadt, viola; and Eric Kim, cello. SPONSORED BY THORNBURG INVESTMENT MANAGEMENT
The Tango, Charleston, and Fox Trot all make an appearance in the musical kitchen of Martinů’s witty La Revue de Cuisine featuring Benny Kim and Ran Dank. Plus, Franz Schubert’s beloved Octet. SPONSORED BY OMAHA STEAKS
Artist-In-Residence and piano luminary Yefim Bronfman performs Prokofiev’s towering Piano Sonata No. 6 and Festival Artistic Director Marc Neikrug’s seminal Passions, Reflected, composed for Bronfman, in an extraordinary recital at the Lensic!
YOUTH CONCERTS
Marc Neikrug, Artistic Director
RESERVE YOUR SEATS NOW! 505.982.1890
Free for children and accompanying adults!
SantaFeChamberMusic.com
MON AUG 11 10 AM @ SFA
Ticket Office: NM Museum of Art,
David Shifrin, clarinet Johannes String Quartet
107 West Palace Avenue
The Santa Fe Chamber Music Festival is funded in part by the National Endowment for the Arts, the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax, and New Mexico Arts, a division of the Office of Cultural Affairs.
PASATIEMPOMAGAZINE.COM
43
Paul Weideman I The New Mexican
REALITY
GIVE OR TAKE
s t e v e n a . j a c k s o n ’s p h o t o g r a p h s
Steven A. Jackson: Gas, Galisteo Basin Near Stanley, NM, 2006, archival digital print; below, Rio Bonito Near Capitan, NM, 2013, archival digital print
layers in Photoshop.” His preferences often result in images that he calls “a little weird and a little moody.” Another of those subtle adjustments of reality has to do with the exquisitely high level of detail achievable with the newest generation of digital cameras. Jackson’s Rio Bonito Near Capitan, NM shows amazing detail in the depiction of branches of leafless trees in winter against darkened skies. “Yeah, these new cameras are bizarre; they see things I don’t even see.” Jackson’s Nikon D800 SLR, boasting 36-megapixel resolution, is a far cry from his first camera, which he used to shoot planaria, a type of flatworm. “When I was in high school I did photomicrography with an old Graflex, and the shutter mechanism didn’t work, so I had to turn the light on and off to try to get the right exposure time.” He was able to get more consistent results when his uncle gave him a Minolta SLR. Later on, he did some work with a medium-format camera and a view camera, “but the lenses were so expensive,” he said. “And it was just a hobby at that time. I ended up with a Nikon 35-millimeter system.” A longtime Santa Fe resident, Jackson grew up in New Jersey and attended St. John’s College. Before being temporarily sidelined by a heart attack, he had a career in banking and real estate. Then he decided to focus on photography. At a certain point he fixated on printing, spending many hours in the darkroom. Then he began shooting and printing digitally. “The inks and the papers now are fantastic. I can get a product that’s as good as the old stuff [gelatin-silver prints from film negatives], but it’s different. And I don’t try to emulate what I would have done with a film camera. You can’t compare these pictures you see in the gallery to that, because I wouldn’t have done the same thing. It is a different medium. But there’s no question that it is photography and that I continued on Page 46
T
he photographs of Steven A. Jackson can be described as glowing fantasies, although they represent relatively subtle adjustments of reality. In Fields Near Picacho, NM, for example, we witness a more or less ordinary landscape transformed into the realm of the visionary by the photographer’s selective application of color. It thus possesses a striking edge of unreality, similar to some hand-colored blackand-white photographic prints. The image is in several parts. A gently diagonal fence line separates the softly hued, slightly blurred grasses in the foreground from a yellower, riverlike field of rye. Beyond are rolling hills and cloudy skies, both rendered solely in grays, black, and white. This and Aspens, Holy Ghost Canyon, Pecos, NM — another print showing a little intentional blurring — are
included in Corners: Photographs of the Southwest, an exhibit of Jackson’s work at New Concept Gallery. The photographs were produced between 2006 and July 2014. Artifacts & Icons, pieces by Jackson, painter Reg Loving, and sculptor Tim Prythero opens at the gallery on Aug. 15. “I used to do black-and-white film and wet-darkroom work. Then when I switched to digital, I tried to do more of that, because that was what I was used to,” Jackson told Pasatiempo. “But I realized that the arguments about whether film or digital was better didn’t matter, because they’re different, and that fact meant that trying to do what I did with a film camera was kind of silly. I’m printing on a German matte art paper; it doesn’t look or feel like photo paper. I take a raw digital image, convert it to black and white, tone it, tint it, then bring some of the colors back, working with PASATIEMPOMAGAZINE.COM
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Maria Benitez Institute for Spanish Arts presents:
Flamenco’s Next Generation at the Lodge Flamenco’s Next Generation are performing Sunday Matinees at the Lodge at Santa Fe. With Joaquin Gallegos & Veronica Medina, and Level 2 youth students from ISA. Reserve your tickets by calling Valerie at 505-449-7498 or purchase online at www.institutespanisharts.org
x Sundays, 2:00 PM
August 10,17, 24 The Lodge at Santa Fe
ISA Flamenco Classes Our Fall classes for children, teens, and adults start September 8th & 9th. Register online! www.institutespanisharts.org
505-467-3773 for more info flamenco@mariabenitez.com 1604 Agua Fria (Larragoite) Partially funded by:
ISA is Flamenco! www.mariabenitez.com 46
PASATIEMPO I August 8-14, 2014
Steven A. Jackson, continued from Page 45 take photographs in the same considered manner, but what I’m visualizing in my head is nothing like what I would have done when I was shooting Panatomic-X [a fine-grain consumer film made by Kodak from the 1930s to the late 1980s, after which it was discontinued].” At Bonanza Creek is another amazingly crisp landscape — “almost too precise for me,” Jackson commented. The picture demonstrates a dramatic contrast, with the sort of weird, beautiful sunlight that you sometimes see in landscapes under dark and stormy skies. Jackson said that most of that effect is a result of his being ready at the right moment, but he also emphasized the contrast in the print’s varied coloration. His rendition of a familiar ancient adobe structure in Pecos Ruin Church and Sky is a standout not only due to its great detail and the vortex of clouds above but because of his ultra-wide view. “It’s almost fisheye, pretty close to a 180-degree view.” If this were a standard building, vertical wall edges and door and window frames would look distorted, but the tumble of adobe walls looks natural. Gas, Galisteo Basin Near Stanley, NM, photographed in 2006, has been a popular image for Jackson. Only recently did he find out the truth about what appears to be an old gas station. A newer image, titled The Miller Place, offers a closer look at the building, which now includes graffiti. “When I was there, this guy comes across the road from his pickup. I thought ... he’s going to yell at me, but I’m Most of Jackson’s images not trespassing! But he just wanted to chat. He’s an old-timer from around there, and he are “found subjects,” said it was never a gas station. Somebody although he will remove painted that stuff on there [‘GAS’ in large beer cans or other junk letters and the slogan ‘El Super Servicio de — with the computer if Santo Nino’ over the front door], but he didn’t he can’t pick the stuff know why. He said they’ve always known it as up. “I will take it out the Miller Place. The newer one I left strictly in black and white. I wanted it to look a in Photoshop. I do little edgier compared with the early picture, blur things. I sharpen which looks almost sedate.” things. And I dodge and Also in the show at New Concept are studies burn the crap out of of buildings, among them the historic Rawlins this stuff. That’s Building in the railroad district of Las Vegas, how I get these skies.” a deteriorating adobe in Bernal, a detail of the Lamy train depot, and a wooden porch in St. Elmo, Colorado. “What sort of ties these all together is that you won’t see a picture of a place like other people photograph, because either I don’t think correctly or I don’t think the way that you’re supposed to. I go by what I see in my head. It’s not going to look like a straight picture, because what I’m seeing is the gold in the grass and other particular things I like. I’m not into blue skies. You don’t see any in the gallery. And I tend to not like brightly saturated landscapes.” Most of what Jackson shows us are “found subjects,” although he will remove beer cans or other junk — with the computer, if he can’t pick the stuff up. “I will take it out in Photoshop. I do blur things. I sharpen things. And I dodge and burn the crap out of this stuff. That’s how I get these skies.” Dodging and burning, traditional darkroom techniques the photographer uses to selectively lighten or darken certain areas of an image, have equivalents in the Photoshop tool palette. Jackson makes all his own prints and does the matting and framing himself. Does he ever work in series, singling out a particular subject to pursue? “I’ve tried that,” he responded, “but I keep seeing things when I go by that interest me. What I do pretty much every year is I’ll pick a month, usually in winter, and do a picture a day. “I guess I never will be an editorial photographer or a documentary photographer. I don’t have an agenda. I just see things I think are interesting.” ◀
details ▼ Corners: Photographs of the Southwest, works by Steven A. Jackson; exhibit through Aug. 15. ▼ Artifacts & Icons, works by Jackson, painter Reg Loving, and sculptor Tim Prythero; opening reception 5 p.m. Aug. 15; exhibit through Aug. 31 ▼ New Concept Gallery, 610 Canyon Road, 505-795-7570
DESERT SERENADE Drones, Fences, Cacti, Test Sites, Craters and Serapes 12 JULY – 31 AUGUST 2014 An exhibition from the Lannan Collection featuring works by
RENATE ALLER SUBHANKAR BANERJEE TOM MILLER TREVOR PAGLEN VICTORIA SAMBUNARIS JAMES TURRELL EMI WINTER
ARTIST RECEPTION Saturday 9 August from 5 to 7pm Lannan Foundation Gallery GALLERY HOURS Saturdays and Sundays noon to 5pm or by appointment 309 Read Street, Santa Fe, NM Tel. 505.954.5149
309 Read Street, Santa Fe, NM 87501 Tel. 505.954.5149
www.lannan.org IMAGE: Emi Winter, Spoonbill, 2003, Oil on Masonite, 90 x 28 inches overall, Collection Lannan Foundation.
PASATIEMPOMAGAZINE.COM
47
VIAJES PINTORESCOS Y ARQUEOLÓGICOS Khristaan D. Villela
Maximilian and Carlota: royal pawns May 21, 1864, the Santa Fe Gazette carried a story from the Washington, D.C., National Intelligencer reporting on congressional deliberations on a resolution condemning the establishment of a monarchy in Mexico. Ohio congressman Samuel S. Cox commented that it was late for words and that Congress should be prepared to act, since it was known that Maximilian, “who is called the arch Dupe of Louis Napoléon,” is on his way to this continent. Reading M.M. McAllen’s new account of the Second Mexican Empire of Maximilian of Habsburg and his wife, Carlota of Belgium, is a little like reading about the sinking of the Titanic: we know it ends badly. While there are no surprises on the last page, McAllen’s book offers a fascinating and meticulously researched glimpse at Maximilian’s doomed empire (1864-1867). Maximilian of Habsburg was convinced to take the throne of a newly formed Second Mexican Empire by the French emperor Napoléon III. But Mexico already had a president, Benito Juárez, whose Republican army fought Maximilian and the invading French for three years before defeating and executing him on June 19, 1867. Carlota became unhinged in the aftermath.
ON
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PASATIEMPO I August 8-14, 2014
The tragedy of Maximilian and Carlota and the French intervention in Mexico has long been a subject of public fascination. If you like to drink margaritas on Cinco de Mayo, in a way you are celebrating the downfall of Maximilian, since the holiday commemorates Mexico’s defeat of the French at the Battle of Puebla, on May 5, 1862. Beginning just after Maximilian’s death, French painter Édouard Manet made a series of images of his execution, which he could not exhibit in Paris until after the fall of Napoléon III, since the subject matter could easily have been taken as a critique of the emperor. And we cannot forget
Top left, Carlota of Belgium, circa 1864; photo François Aubert; Musée royal de l’armée et d’histoire militaire, Brussels Right, Maximilian von Habsburg, circa 1864; photo Andrew Burgess, assistant to Matthew Brady; Library of Congress Opposite page, top, Chapultepec Castle, Mexico City, between 1884 and 1900; photo William Henry Jackson; Library of Congress Bottom left, Mexican president Benito Juárez, Paso del Norte, Mexico, 1866; courtesy Palace of the Governors (NMHM/DCA), Negative No. 038164
William Dieterle’s film Juarez (1939), with Paul Muni as the embattled Mexican leader, Brian Aherne as Maximilian, and Bette Davis as Carlota. John Huston’s screenplay for the Dieterle film was based on Bertita Harding’s The Phantom Crown (1934) and on the play Juarez and Maximilian by Franz Werfel (1925). More recently, in 2006, the Museum of Modern Art mounted an exhibition of the Manet paintings and related works and photographs, and last year Rafa Lara directed a film about the Cinco de Mayo battle. McAllen begins her story on May 28, 1864, when the Austrian imperial frigate Novara arrived at the port of Veracruz, bearing the 31-year-old Austrian archduke Maximilian of Habsburg and his 23-year-old wife, Princess Charlotte of Belgium, known forever after in Mexico as Carlota. A retinue
of more than 80 courtiers and hundreds of cases of luggage accompanied the couple when they disembarked the next morning. In what was later interpreted as an ill omen, there was no large welcoming party, and one of Carlota’s ladies-in-waiting described the reception as “chilling.” Mexican and French soldiers escorted the entourage through the mostly empty streets of Veracruz to a narrow-gauge railway that would convey them up into the cooler and healthier highlands of Mexico. The main reason so few Mexicans turned out to welcome their new emperor was because there was much less support for the regime than Maximilian had been led to believe, and Juárez’s Republican forces still controlled large parts of the country. Maximilian was the younger brother of Austrian emperor Franz Josef I, who ruled from 1848 to 1916. Carlota was the daughter of the Belgian king Leopold I and first cousin to Britain’s Queen Victoria and Prince Albert. Maximilian faced the dilemma common to younger siblings of kings and queens: What to do? He had a career in the Austrian navy and in 1857 was named viceroy of the kingdom of Lombardy-Venetia, but he served in this post for only two years because his brother disapproved of his liberal policies. Relations between the men were often strained. Maximilian then settled near Trieste, Italy, and built a castle there called Miramar. The idea for a Second Mexican Empire germinated from an unusual set of circumstances in both Europe and the Americas. Maximilian’s regime was preceded decades earlier by the First Mexican Empire, when Agustín de Iturbide ruled the country for just 10 months in 1822-1823. Fastforward to 1861, when newly elected President Juárez decided that his administration could not be held responsible for the foreign debt his predecessors owed to France, Britain, and Spain. By
December ships from all three creditor nations had appeared in the port of Veracruz, determined to make Mexico pay. But the Spanish and British forces left when they learned that Napoléon III had planned a full-scale invasion, with the intent of gaining access to Mexican resources, especially silver. Napoléon wagered, correctly at least at first, that the United States could not respond to a European army in the Western Hemisphere — a clear violation of the Monroe Doctrine — because of the Civil War. It was during the French invasion in 1862 that Juárez’s Mexican troops defeated the foreigners at Puebla on Cinco de Mayo. But the French simply regrouped. With reinforcements — eventually 50,000 troops fought for Napoléon III in Mexico — they had taken control of central Mexico and key ports by the beginning of 1864. As early as October 1861, Mexican conservatives, enemies of Juárez, had approached Maximilian to offer him the throne of Mexico. A deal was brokered with Napoléon: he would provide troops and loans to support the regime until Maximilian could reorganize the Mexican army. When Maximilian told Napoléon that he would accept the throne only if the people voted in his favor, the French generals conducted a fraudulent plebiscite. So when Maximilian and Carlota arrived in Veracruz in May 1864, not only were they not welcomed by everyone, but the country was only partly pacified by French troops. Juárez and his Republican forces waged a constant guerrilla war against the occupying army. In short, the young couple let themselves be taken by Napoléon III. In Mexico City, Maximilian and Carlota were not unpopular. They gave lavish balls, went to Mass, and played the part of benevolent monarchs. And they renovated Chapultepec Castle as their official continued on Page 50
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Maximilian and Carlota,
continued from Page 49
residence. But the issues that faced Maximilian when he arrived in Mexico only grew more intractable. He never had control of the French army, whose generals reported to Napoléon. And even with thousands of foreign troops on Mexican soil, large sections of the country continued to be controlled by Juárez. Also, there was never enough money to run the empire properly, particularly since the French were taking significant percentages of customs duties at ports to repay loans made to Maximilian. When the Civil War ended in April 1865, the U.S. government began to pressure Napoléon to withdraw his forces from Mexico. At the same time, the United States began to arm Juárez’s Republican armies. One of the key figures in funneling arms and cash to Juárez was General Lew Wallace, who would be New Mexico’s territorial governor a few years later (1878-1881). A flood of defeated Confederate soldiers crossed the border into Mexico to enlist as Republican mercenaries. In 1866 Napoléon reneged on his promises to keep French troops in Mexico, spelling doom for Maximilian. From that point forward, it was only a matter of time until the empire collapsed. Carlota left for Europe in late 1866 to plead their case before Napoléon. She never saw Maximilian again and never returned to Mexico. Napoléon refused to help them any further. The Mexican intervention was increasingly unpopular in Paris, and French troops were needed to meet the growing threat of war with Prussia. Neither would Pope Pius IX intervene on Maximilian’s behalf. In Rome Carlota became frantic and suffered a mental breakdown from which she never really recovered. It is a historical irony that Maximilian and Juárez actually shared many beliefs about how modern countries should be governed. The Austrian considered himself a liberal and agreed with many of the principles of Mexico’s reform laws of the 1850s. He refused to restore the vast properties of the Catholic Church that had been nationalized before he arrived. Maximilian thus infuriated Mexican conservatives, who thought that he would immediately restore church property and influence. The last French troops left Mexico City on February 5, 1867, leaving Maximilian with a weak Mexican imperial army and only a few thousand Belgian and Austrian troops. Many prominent conservatives and former supporters of the empire also left for Europe. Maximilian considered abdicating during these months, and a ship was waiting for him in Veracruz. But he was convinced that he could not live with the failure. Nor would he be living up to the honor of his family. In mid-February Maximilian decided to meet the Republican troops at Querétaro, which was still under his control. Juárez’s Republican army besieged Querétaro for three months, outnumbering the Imperialistas three to one. Maximilian expected reinforcements, but they never arrived. On May 15, 1867, Maximilian was betrayed by one of his officers, who opened the gates of their 50
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compound to Republican soldiers. Maximilian and his two chief generals were prosecuted based upon an 1862 law that prescribed death for anyone who took up arms against Mexico. The three men were quickly convicted and sentenced to die that afternoon. Juárez, who was 100 miles away in San Luis Potosí, allowed a stay of one day. The next morning the men were taken to the nearby Cerro de la Campana and shot by firing squad. Maximilian’s last words were “¡Viva México!” His remains were embalmed and returned to Europe on the same ship that had conveyed the imperial couple to Mexico three years earlier. He is buried in the Kaisergruft, or Imperial Crypt, in the Capuchin Church in Vienna, with about 150 of his family members. When I visited the crypt in 2012, Maximilian’s was one the few sarcophagi bearing flowers and memorials from visitors. Someone had left a Mexican flag and a note quoting the onetime ruler’s last, defiant exclamation.
Top, the imperial Habsburgs of Austria: back row, Emperor Franz Josef, Ferdinand Maximilian, Carlota of Belgium, Ludwig Victor, Karl Ludwig; front row, Empress Elizabeth, Rudolf, Gisela, Archduchess Sophie, and Archduke Franz Karl; Österreichische Nationalbibliothek, Vienna Bottom left, Maximilian and Carlota, circa 1864 Bottom right, Maximilian in Mexican riding attire, with head groom Feliciano Rodríguez, who wears jaguar chaps, circa 1865; from the collection of Roberto Islas Carmona, Mexico City
•• An interview with M.M. McAllen Pasatiempo: How did you first become interested in Maximilian and Carlota? M.M. McAllen: My uncle was the Mexican minister of aviation. We had family in Cuernavaca, outside Mexico City. We traveled there frequently from when I was a child. People in Cuernavaca talked about Maximilian and Carlota all the time, as if they had just died. We visited the Borda Gardens, which Maximilian renovated as a retreat and where he spent more and more time. One day I was in a gallery in New York and bought a photograph of Maximilian in his coffin, taken by the French photographer [François] Aubert on the day of the emperor’s execution in 1867. I could not find a good recent book on Maximilian, in either English or Spanish, and I decided to write my own account of their lives in Mexico. Pasa: Isn’t it in Cuernavaca where Maximilian famously caught butterflies instead of attending to his crumbling empire? McAllen: Yes, Maximilian’s “botanizing” and collecting butterflies was recorded by many sources close to him, including Carlota herself. Pasa: There are many Maximilian and Carlota fanatics, and as you say, every week someone offers to sell you artifacts associated with their court. But why do you think general readers should find their story compelling? McAllen: The history of the French intervention and the Second Mexican Empire is the other side of the U.S. Civil War. After the Confederate surrender, the Union general Philip Sheridan commented that the Civil War would never be over until the French were out of Mexico. Sheridan missed the parade celebrating the end of the Civil War because President Andrew Johnson sent him and 50,000 U.S. troops to Mexico, where they waited off the port of Veracruz, ensuring that the French really were leaving. Pasa: Juárez refused to spare Maximilian’s life, in spite of great international pressure, from the U.S., as well as from what seems like every royal head of state in Europe. Is Juárez the villain of this story? McAllen: Maximilian was the victim of both Mexico and France. But Juárez knew that in order to regain his power base in Mexico, he needed the military, and the generals wanted Maximilian dead. In the long run, the Maximilian episode convinced Mexicans that their country was not a failed state. Between Mexico’s independence from Spain in 1821 and Juárez’s election as president in 1858, the country had 54 governments. ◀
Commemorative medal depicting Maximilian and Carlota and the Aztec Calendar Stone, circa 1866; from the collection of M.M. McAllen Images, unless otherwise noted, courtesy M.M. McAllen
M.M. McAllen’s “Maximilian and Carlota: Europe’s Last Empire in Mexico” was published by Trinity University Press in 2014.
••
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PLAYING WITH FIRE Romy Eijckmans’ ethereal photography
W
hen Belgium-based photographer Romy Eijckmans came to Santa Fe in June for Center’s Review Santa Fe, a juried portfolioassessment event for photographers worldwide, she had the opportunity to show in Lucent, Cloud 5 Project’s exhibit of lightthemed work by 10 artists. It was curated by two of those contributors, local photographer Nancy Sutor and the gallery’s founder, Stephen Auger, a photographer as well as an artist. Eijckmans was asked to include a number of pieces from several series she had shot in the Southwest and other parts of the U.S. over the past year. Her approach to photography is unusual, relying on older and alternative techniques such as photogramography (a cameraless process of producing images on light-sensitive paper) and tintype photography (a method that dates back to the mid-19th century). But Eijckmans is not interested in capturing the antique appearance of old-time photographs; her intent is to update the medium. “More and more people are picking 52
PASATIEMPO I August 8-14, 2014
Michael Abatemarco I The New Mexican up these old, forgotten processes,” Eijckmans told Pasatiempo. “I think in the States, probably, it’s really popular; in Europe, a little less. A lot of people are searching for this again, trying to get back to the material. It feels great to create something with your own hands. I don’t have anything against cameras, but it gets further and further from the material. It’s important if you still work with film to give it a contemporary touch and feel. I don’t think it’s interesting to make something people made 100 years ago, because that’s been made. If you use older processes, the technology lies in trying to make something in a contemporary framework. That’s the big challenge. It’s very labor-intensive.” Several of Eijckmans’ pieces in Lucent are from the series Lampyridae — Living Light, backlit photograms of fireflies that accentuate the almost magical quality of the bioluminescence the insects use to attract mates and prey. They are abstract: constellations of glowing green
dots marking patterns in the darkness around them. These linear trajectories of light are the result of timed exposures. Untitled nighttime shots of a canyon, taken here in the Southwest, were done using a camera and a long exposure that allowed background images to show up. The lighted paths of fireflies appear in the photos like fast-moving UFOs. “Some of the exposures are 15 minutes long,” Eijckmans said. “You can see the star trails, so you have an idea of how long the shutter has been open. But you can also see the trails the fireflies make in the canyon.” One of her photograms, Traces of Fireflies #1, has been selected for Alternative Processes, an exhibition opening in October at the Center for Fine Art Photography in Fort Collins, Colorado. The same piece is on view at Lucent. “Last year, I spent the whole summer in Santa Fe because I was working for Stephen Augur, who opened his space to the public for the first time at that point. It was for the show Coherent Light. I helped install that show, and that’s how I got to know him. He was interested in my work. We kept in touch. When I said I was coming
back to Santa Fe, he was already thinking about putting the Lucent show together and invited me to participate.” The quality of timed exposures made at night lends Eijckmans’ works an eerie, otherworldly presence. Between Light and Darkness, a second series on view that includes the canyon photos, deals primarily with portraits of creatures shot at night in natural settings. “It’s the quality of the light. Everything changes just after sundown, into twilight, into nighttime. You have this moment where you can’t really perceive colors anymore. I find that really fascinating. In the evening, when everything gets quiet, all the animals and life in the outdoors come alive again. Most of the animals I photograph, they go out to search for food, and they show themselves. For some reason I feel very charmed with that specific moment and time of day. It’s a magical Left to right, Traces of Fireflies #1, 2013, Duratrans mounted on Plexiglas and light box; Untitled (Fireflies ll), 2013, digital inkjet print mounted on aluminum; Untitled (Fox), 2013, digital inkjet print mounted on aluminum
time, and it doesn’t last that long.” The photographer first came to the area in October 2013 as part of an artist-in-residence program developed by Center before being selected to attend Review Santa Fe. “You have to submit your portfolio in January. In March you find out if you got in or not. That was my main purpose for coming to Santa Fe in the first place.” Her stay was a working trip, with numerous excursions into the wilderness to set up equipment and wait. The images from the series include shots of bats in flight, an owl, star trails, a fox, and a deer standing motionless in a meadow in the enveloping darkness. “I was actually camping,” she said. “We were walking one evening. We went through this meadow. We had headlamps on our hats. There were lots of deer. I just bumped into this one and lit him with the headlamp, and he just froze. He kept staring at me, and I just stood there and stayed put.” Another nighttime visitor, a fox, came up close to Eijckmans’ campfire. “We’d just come back from a really long two-day hike. It was just me and a friend, and we were so beat. We were making food, and he just
showed up. It mostly happens when I least expect it to.” The image is ghostly — the fox led there, it seems, by its inquisitive nature. Eijckmans took its portrait through the campfire’s flames. “Before, I was always working in the studio, in the darkroom. When I was in the States for most of last year, I was having so much fun being in the outdoors and photographing a lot, making a lot of work. I really got inspired. I was a little tired of working in the closed environment of a darkroom. I decided to start experimenting outside and let nature be my darkroom and my studio.” ◀
details ▼ Lucent, a light-themed group show ▼ Exhibit through Sunday, Aug. 10; limited hours ▼ Cloud 5 Project, 1805 Second St., 505-954-1274, www.cloud5project.com
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MOVING IMAGES film reviews
As time goes by Jonathan Richards I For The New Mexican Boyhood, drama, rated R, Center for Contemporary Arts, 4 chiles The older you get, the more apt you are to have uttered the words, “It’s all gone by so fast!” Well, as it turns out, you don’t have to be all that old. For 18-year-old Mason, it takes about two and a half hours of screen time to morph from the hazy, lazy summer days of round-cheeked early childhood to the anxieties and sky’s-the-limit possibilities of a stubbly-jawed young man leaving the nest to enter college. Richard Linklater’s extraordinary achievement has been to take one boy, a 6-year-old named Ellar Coltrane, and to put all his chips on that boy growing to three times his age without anything terrible happening to him, emotionally or physically, to scuttle the project. That gamble gets multiplied when you add in the rest of the core cast, a sister played by the director’s daughter, Lorelei, and parents played by veteran actors Ethan Hawke and Patricia Arquette. Linklater gathered his cast in the summer of 2002 and rolled the dice. He shot for a few days every year — 39 days over a dozen of them — writing each year’s screenplay segment based on talks with his cast as well as on his own experiences and imagination. In that respect the film’s process is not unlike the collaborative one that shaped his Before Sunrise trilogy, which follows a couple played by Hawke and Julie Delpy at 10-year intervals. Linklater is a director who doesn’t mind taking his time. Of course, none of this would be worth the sand in an hourglass if it were no more than a gimmick. But Linklater pays it off with patience and consummate artistry. The scenes he strings together
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PASATIEMPO I August 8-14, 2014
In the blink of an eye: Ellar Coltrane and Ethan Hawke
are not the dramatic fireworks of most movie fiction but the moments in life that slip by almost unnoticed — the life, as John Lennon’s lyrics had it, that “happens to you while you’re busy making other plans.” A lot of those plans are made by Mason’s mom, Olivia, beautifully played by Arquette, who takes her time as well, and makes the most of that. It’s a tool few actors get to use; she’s not only playing older by the movie’s end, she is older. We see her first as a young Texas mother trying to cope with adulthood and motherhood and making real-world choices. Some of those choices are good, some not so good, and in that second column are the men to whom she hitches her wagon. The first of these was the kids’ father, Mason Sr., whom Hawke plays as a cheerful, likable, slow-maturing good-time guy. He’s out of the marital picture by the time we pick up the story, but he still does his best to be a hands-on dad when he gets the chance. The next two men in Olivia’s life are more substantial in some ways, more disastrous in others. Some of her better decisions involve going back to
school and shaping a career for herself in teaching. As her hair changes and her body adds a pound or two, she wrestles with the realities of raising a couple of kids and finding her path through a world that doesn’t allow any do-overs. Hawke changes too, more reluctantly, but pulled by the same inexorable, invisible gravity of the passage of time. Clothes change and cars change. He takes the kids to ball games and bowling alleys, discusses the birds and the bees, and tries his best to be relevant. He starts a new family. Life goes on. There has never been anything quite like this movie. A few directors have played with the passage of time in film, notably Linklater himself in his aforementioned trilogy and François Truffaut in his series that introduced a 14-year-old Jean-Pierre Léaud as Antoine Doinel in The 400 Blows and revisited him in three features and a short over a 20-year period. Michael Apted staked out some of this ground in a documentary series that began in 1964 as a TV movie about a group of British 7-year-olds called Seven Up! and that has followed and filmed the same group every seven years, most recently with 56 Up in 2012. (Apted was a researcher on the initial project and has directed the series ever since then.) Perhaps an even more pertinent comparison is Alexander Sokurov’s remarkable Russian Ark, an elaborate costumed trip through 300 years of Russian history composed in a single, unbroken 95-minute take, in which the stakes rise to knuckle-biting tension as the film reaches its last stages with the knowledge than one misstep could quash the whole thing. So, spoiler alert: Mason grows up and makes it safely through boyhood adventures and discoveries, as his limbs lengthen, his cheeks hollow, his mind grows, his heart breaks and mends, and he arrives on the brink of young adulthood at the movie’s end. It’s not just the fact that a dozen real years pass and that Linklater holds the whole thing together. It’s the way it happens, the way he tells the story. It’s a life. ◀
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MOVING IMAGES film reviews
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Screeds of change Bill Kohlhaase I The New Mexican Finding Fela, documentary, not rated, The Screen, 2.5 chiles
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PASATIEMPO I August 8-14, 2014
Fela Anikulapo Kuti, the Nigerian musician and bandleader said to have fashioned Afrobeat music from a mix of highlife, Nigerian juju, and American funk, was a complicated, obsessed, and often angry figure. His music took a turn in 1970 when he returned to Nigeria after several months in Los Angeles. He began incorporating more funk and jazz into his music while retaining its polyrhythmic African roots. In the United States, Fela was influenced by such figures as James Baldwin and Eldridge Cleaver, his lyrics coming to focus more on the political struggles of postcolonial Africa against corruption, poverty, and military brutality — especially within his own country. The first half-hour of Alex Gibney’s Finding Fela seems more about the genesis of Bill T. Jones’ successful Broadway musical Fela! — its subject lost behind scenes and music from the play. This is the only part of the film when its title makes sense. Is this the real Fela? On a New York stage, playing sax, smoking a spliff, spouting political criticism, dragging his wives around by their hair? Eventually the narrative settles into the firebrand musician’s radical political stances and what was behind them. The film becomes a document of courage as we see Fela’s fame and influence on his countrymen grow. Gibney, whose credits include Enron: The Smartest Guys in the Room and Taxi to the Dark Side, is practiced at seamlessly inserting the appropriate talking head at the moment when some idea needs developing. He does a good job of presenting the political situation Fela faced throughout the ’70s, occasionally using disturbing, even horrifying scenes to accompany Fela’s almost matter-of-fact accounts of beatings at the hands of the authorities. What Gibney doesn’t have is extensive footage of Fela onstage during this period. Most of the extended musical takes and sax solos come from the play. Fela’s performance at the 1978 Berlin Jazz Festival, after which much of his band quit due to rumors that he intended to use the proceeds to fund his quest to become president of Nigeria, is well represented. But mostly we’re left to wonder at the series of mythic shows held at “the shrine” near Fela’s Lagos compound. Gibney explores Fela’s blatant sexism — already wed and with children, he once married 27 women in a single ceremony — but ignores his controversial stand on female genital mutilation, a position that cost him support in the United States and Europe. The best parts of the film are when the rhythms come pulsing up behind the words and in scenes devoted to Fela’s infectious Afro-grooves, whether from archival footage or from the play. The passion’s in the music. ◀
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MOVING IMAGES film reviews
Natalia de Molina, Javier Cámara, and Francesc Colomer
Lyric intent Jennifer Levin I For The New Mexican Living Is Easy With Eyes Closed, road movie, not rated, in Spanish with subtitles, The Screen, 3 chiles If Hercules and Sharknado 2 aren’t your thing, try this scenic drive through the countryside to Almería, Spain, with an unlikely trio of traveling companions. Living Is Easy With Eyes Closed, written and directed by David Trueba and based on a true story, is a bittersweet alternative to the typical summer blockbusters. Antonio (played by Javier Cámara, who won a Goya Award for his performance) is an English and Latin teacher on a weekend mission to meet John Lennon on the set of the 1966 film How I Won the War. Antonio wants Lennon to fill in the gaps in a notebook of lyrics he has transcribed from listening to Beatles songs and that he uses to teach his students English. We see Antonio instructing them on pronunciation as well as on the meanings of the songs. (He believes “Help!” is about the pressures of fame and about how we all just need to cry for help sometimes.) Belén (Natalia de Molina, who won a Goya Award and a Spanish Cinema Writers Circle Award for her performance) is pregnant and unwed, living unhappily in a home for such young women. And Juanjo (Francesc Colomer) is 16 and the oldest of six children; he chafes enough under his father’s authoritarian hand that he runs away from home. Antonio picks up Belén and Juanjo as hitchhikers. A die-hard teacher with a large heart, he’s both happy to have their company and concerned for their welfare. The film toys with us a bit at first, allowing us to see, through the eyes of his passengers, Antonio’s potential for menace, but he’s truly a good person. The movie is filled with genuinely good people (and a few villains), right down to Lennon, whom we never see but whose presence feels very real at key moments. Antonio’s zest for life — even in the face of admitted loneliness — and his love of music, poetry, and language are contrasted against the backdrop of Franco’s Spain, where Nationalist soldiers dot the roads. It’s obvious for much of the movie that Antonio will fall for the beautiful Belén, though this isn’t ultimately a love story. Belén suffers from the weakest character development of the trio, with the film relying more on her beauty than on her personality, but de Molina imbues her with enough subtext and motivation to make up for this shortcoming. After Lennon’s time in Spain, all Beatles albums came with printed lyrics. Whether or not this was because of his meeting with the schoolteacher doesn’t matter, because it’s part of the folklore now — part of Lennon’s legacy. ◀ 60
PASATIEMPO I August 8-14, 2014
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MOVING IMAGES film reviews
La Grigliata Del VenerdÌ Con Birra Come and join us on our beautiful patio for lunches in August. Featuring Guinness bratwursts and Cajun turkey burgers this Friday, cooked by Chef Cristian Pontiggia on our outdoor grill. Also offering cans of newly released seasonal Oktoberfest provided by Santa Fe Brewing Co. for $3, no better way to beat the Santa Fe Summer heat. Buon Appetito!
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PASATIEMPO I August 8-14, 2014
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Syncing outside the box: Audrey Tautou and Romain Duris
Flower power Michael Abatemarco I The New Mexican Mood Indigo, comedic fantasy, not rated, in French with subtitles, Jean Cocteau Cinema, 3.5 chiles It helps not to overthink the characters’ circumstances in Mood Indigo, the latest farce from Michel Gondry (Eternal Sunshine of the Spotless Mind). Based on Boris Vian’s 1947 novel L’écume des jours (Foam of the Days), the film tells the simple, if bizarre, story of Colin and Chloé, two sweet-natured but socially inept dreamers, and their ever-present friends. Inventive visuals lend this fable of doomed love a magical, surreal quality. The stellar cast includes Audrey Tautou as Chloé, a role she seems predestined for; Romain Duris (The Beat That My Heart Skipped) as the hapless Colin; Omar Sy (The Intouchables) as Nicolas, a fanciful chef and Colin’s confidant, who bandies about on bent, elongated legs, creating scrumptious meals like some kind of cheerful kitchen fairy; and Gad Elmaleh as Chick, a man obsessed with the nonsensical but serioussounding pronouncements of philosopher Jean-Sol Partre. Despite a catchy jazz score featuring Duke Ellington and a certain steampunk sensibility, the setting is decidedly contemporary, even though it appears that the cast exists in a sort of alternate reality where impossible physical contortions are possible and inanimate objects are animated. After Colin and Chloé’s touching engagement and marriage, just when the kinetic action and fanciful effects threaten to overwhelm the story, Mood Indigo takes a somber, moving turn. Chloé is diagnosed with a potentially fatal illness: she has a waterlily growing inside her lung. The only way to stop it is for Colin to continually surround her with flowers. A wealthy inventor, Colin is forced to find a job to support his dying bride and ends up working as a kind of human guinea pig in militarized agricultural experiments. He manages to get himself fired and then chased by his own shadow in one of the film’s best set pieces. All of this seems quite ridiculous. It works, though, thanks to the superb characters, who are so genuinely likable that we feel for them in their predicament, crazy as it is. Mood Indigo unabashedly claims its absurdities without explanation or apology and is a delightful romp by a seasoned director noted for some oddball films, including Eternal Sunshine and 2006’s equally wondrous The Science of Sleep. Cast members take the ever-shifting realities of the universe they inhabit in stride, as if it’s all routine. When Chloé challenges Colin to come up with the dullest, most normal thing he can think of, the scene unfolds with a weird irony. Nothing is normal in Mood Indigo, and nothing is quite as it seems. ◀
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— compiled by Robert B. Ker
Raphael is finally coming out of his shell: Teenage Mutant Ninja Turtles, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week BOYHOOD Richard Linklater’s extraordinary achievement has been to take one boy, a 6-year-old named Ellar Coltrane, and shoot 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 Mason grows up and makes it safely through boyhood’s adventures and discoveries: his limbs lengthen, his cheeks hollow, his mind grows, his heart breaks and mends, and he arrives on the brink of young adulthood as the movie ends. It’s not just the fact that 12 real years pass and that Linklater holds the whole thing together. It’s the way it happens, the way he tells the story. It’s a life. Rated R. 165 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) See review, Page 56. FINDING FELA Fela Anikulapo Kuti was a revolutionary political figure in Nigeria whose music was the message. Credited with the invention of Afrobeat in the late 1960s, he used his infectious rhythms to battle corruption,
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PASATIEMPO I August 8-14, 2014
poverty, and brutality, at the same time promoting something of a libertine lifestyle. This informative documentary from Alex Gibney (Enron: The Smartest Guys in the Room) depends too much on Bill T. Jones’ production of Fela! to provide the music and to propel the narrative. What archival footage there is shows an ensemble that rivaled James Brown’s in its musicality, showmanship, and groove. It’s a decent accounting of a complicated life lived amid confounding circumstances. Not rated. 119 minutes. The Screen, Santa Fe. (Bill Kohlhaase) See review, Page 58. FORBIDDEN PLANET In the distant future, a spacecraft travels to an isolated planet to find out what happened to an earlier expedition. All the crew members discover is a seemingly benign ruler and his sultry but innocent daughter — as well as a robot, an invisible monster, some killings, and a lot of unexplained occurrences. Though it seems like a film better suited for Universal or Allied Artists, MGM made this 1956 picture, which probably inspired Star Trek and the Alien films. The characters are more interesting than those you generally find in such fare, but the picture conveys a somberness that can leave you cold. Not rated. 98 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Nott)
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 people who set up an eatery across the street. Rated PG. 122 minutes. Regal DeVargas, Santa Fe. (Not reviewed) INTO THE STORM Come on, baby, let’s do the twist! This disaster movie is the biggest tornadobased thriller since 1996’s Twister, and it ramps the severity up to an almost comical degree. Little-known actors play various citizens and stormchasers in a small town that is ravaged by multiple tornadoes before the biggest one ever recorded spins in to finish the job. Rated PG-13. 89 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) LIVING IS EASY WITH EYES CLOSED This sweet Spanish import is based on the true story of an English teacher seeking out John Lennon on the set of How I Won the War in 1966. It’s a road movie filled with genuinely good people trying not to get hurt. Excellent performances
by Javier Cámara, Natalia de Molina, and Francesc Colomer deepen moments that veer toward the saccharine. Watch for a satisfying drive through a strawberry field near the end. Not rated. 108 minutes. In Spanish with subtitles. The Screen, Santa Fe. (Jennifer Levin) See review, Page 60. MOOD INDIGO Set in an alternate reality, Michel Gondry’s French farce runs the gamut between comedic fantasy and endearing drama. With a stellar cast that includes Audrey Tautou (Amélie)and Omar Sy (The Intouchables), Mood Indigo is the story of Colin (Romain Duris) and Chloé (Tautou), star-crossed lovers coping with Chloe’s potentially fatal disease. The film delights in visual trickery, and events unfold with dreamlike logic. The visual feast is set to a jazzy Duke Ellington score. Not rated. 131 minutes. In French with subtitles. Jean Cocteau Cinema, Santa Fe. (Michael Abatemarco) See review, Page 62.
with Shredder the over-the-top action treatment. Cowabunga, dudes! Rated PG-13. 101 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) WAR STORY Catherine Keener plays Lee, a war photographer who after a traumatic stint in Libya, goes to Sicily instead of going home so she can unpack her emotions and put the experience behind her. There she meets a young Tunisian refugee (Hafsia Herzi) and helps her get to France. Ben Kingsley plays Lee’s former lover and mentor. Not rated. 90 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed)
now in theaters
PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of Fuenteovejuna from Teatro Real in Madrid. Cristina Carnero and Ángel Gil star. 11 a.m. Sunday, Aug. 10, only. Not rated. 93 minutes. The Screen, Santa Fe. (Not reviewed)
AND SO IT GOES Rob Reiner directs this comedy in which a crusty real estate agent (Michael Douglas) is suddenly asked to care for a granddaughter he didn’t know he had — and most likely becomes less crusty in the process. His relationship with his neighbor (Diane Keaton) also evolves over the course of the film. Rated PG-13. 94 minutes. Regal DeVargas, Santa Fe. (Not reviewed)
STEP UP ALL IN Where has the time gone? The Step Up series, which began modestly in 2006, has now reached its fifth installment. How does the crew celebrate? By dancing, of course! This movie brings together some of the best cast members from the previous films for a big contest in Las Vegas. Rated PG-13. 112 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
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 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)
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
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)
spicy
medium
bland
heartburn
mild
Read Pasa Pics online at www.santafenewmexican.com/pasatiempo
DAWN OF THE PLANET OF THE APES This is the best and most thoughtful blockbuster franchise
going right now. The sequel to 2011’s terrific Rise of the Planet of the Apes picks up the story after a virus has wiped out most of humankind. The chimpanzee Caesar (played once more by Andy Serkis) leads the rapidly evolving simians in their redwood-forest community, until a human settlement (led by a man played by Gary Oldman) encroaches on them and small acts of aggression escalate into warfare. The special effects and creature performances are awe-inspiring, and the use of silence, sign language, and an often-subtle score lets the audience absorb the story peacefully. Rated PG-13. 130 minutes. Screens in 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) THE FLUFFY MOVIE This film showcases the stand-up comedy of outsize performer Gabriel Iglesias while also touching on his rise to fame and featuring behind-the-scenes footage of his recent world tour. Rated PG-13. 101 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) GET ON UP The hardest-working man in show business gets the biopic treatment in this film by Tate Taylor (The Help). Chadwick Boseman, who played Jackie Robinson in 42, now plays James Brown during the rise of his remarkable career. Viola Davis plays James’ mother, Susie, with whom he had a contentious relationship, and Craig Robinson plays sax man Maceo Parker. Rated PG-13. 138 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) GUARDIANS OF THE GALAXY The best film yet from Marvel Entertainment is this satisfying space opera, which injects much-missed fun back into the science fiction genre. Chris Pratt plays Star-Lord, the leader of a gang of intergalactic misfits and outlaws that includes a talking raccoon and a tree (voiced by Bradley Cooper and Vin Diesel, respectively). They learn to overcome their differences and become unlikely friends, just in time to fight off the evil Ronan and guard the galaxy. Great music, loads of heart, a superb cast, and a healthy dose of irreverence and humor overshadow even the wild special effects and the intricate world building. Rated PG-13. 121 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) HERCULES Dwayne “The Rock” Johnson returns to effects-heavy fantasy and gets back into beefcake mode to play the great hero Hercules. He’s called into action to defeat an evil warlock and wonders if he is actually a great hero. Ian McShane and John Hurt continued on Page 66
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THE PURGE: ANARCHY Last year’s cheapie horror flick The Purge received an onion in these very pages, and audiences agreed with terrible word of mouth. But it made a mint on its opening weekend, and so here’s the sequel. Once more, the premise centers on an America where crime is eradicated for 364 days a year, thanks to one day in which laws are tossed out and anything goes. Rated R. 103 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) SEX TAPE Cameron Diaz and Jason Segal play a married couple who decide to spice up their sex lives by filming themselves. Alas, he accidentally uploads the video to the internet, and the two try in vain to prevent the world — and, most important, their loved ones — from seeing it. Rated R. 100 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)
War Story
costar. Brett Ratner (Rush Hour) directs. Rated PG-13. 98 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed)
what makes the evil queen tick. It turns out she has been misunderstood all these years. Rated PG. 97 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Not reviewed)
I ORIGINS Filmmaker Mike Cahill impressed audiences with his 2011 low-budget sci-fi Another Earth. He returns with a follow-up that poses similar philosophical questions. Michael Pitt plays a scientist who falls in love with a woman based in part on her eyes. When she dies, he finds a woman with identical eyes in India and seeks her out with hopes that they’re windows to the same soul. Rated R. 107 minutes. Regal DeVargas, Santa Fe. (Not reviewed)
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 firsthour mosaic of disparate scenes to a last hour when it all funnels together. The film never achieves whiteknuckle 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)
LUCY Scarlett Johansson is Lucy, a woman who works as a drug mule until an experimental drug leaks into her body and unleashes the full potential of her brain. What does she do with this power? It’s never quite clear, but it is compelling. Director Luc Besson balances stylish action with goofy science about evolution and the brain’s capacity, but it all blends together for a movie that is original and highly unpredictable. Morgan Freeman also stars. Rated R. 90 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) MALEFICENT In Disney’s latest take on “Sleeping Beauty,” Angelina Jolie dresses up as the villainous Maleficent from the 1959 animated film to show us 66
PASATIEMPO I August 8-14, 2014
PLANES: FIRE AND RESCUE The world of Cars gave birth to 2013’s Planes, and this follow-up finds Dusty Crophopper (voiced by Dane Cook) fighting fires, learning about heroism, and no doubt off-screen appearing on a lunchbox or notebook near you. Rated PG. 83 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
TRANSFORMERS: AGE OF EXTINCTION The latest installment in Michael Bay’s highly popular yet critically reviled series stars a welcome Mark Wahlberg as a Texas dad who gets wrapped up in a war between giant transforming robots. These films are based on toys, and Bay plays with them like an 8-year-old might, applying a nonsensical plot to get from one action sequence to the next. The movie is loud, dumb, and often unfunny, but it’s also more stylish than the typical superhero film and more colorful than the usual sci-fi movie — which counts for a lot. Rated PG-13. 157 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) WISH I WAS HERE Filmmaker and star Zach Braff directs his first film since 2004’s Garden State, and this partly Kickstarter-funded comedy moves on to a completely new set of Shins songs to reflect another awkward phase of life. The story details the existential crisis of a 35-year-old actor who doesn’t understand his purpose in life. Rated R. 106 minutes. Regal DeVargas, Santa Fe. (Not reviewed)
other screenings Jean Cocteau Cinema, 505-466-5528 Auntie Mame (1958), Monty Python Live (Mostly), This is Spinal Tap (1984). Regal Stadium 14, 505-424-6296 Beverly Hills Cop (1984). ◀
WHAT’S SHOWING Call theaters or check websites to confirm screening times. CCA CINEMATHEQUE AND SCREENING ROOM
The Purge:Anarchy (R) Fri. to Wed. 2:10 p.m.,
4:55 p.m., 7:50 p.m., 10:25 p.m.
1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Boyhood (R) Fri. to Wed. 12 p.m., 1 p.m., 3:15 p.m., 4:15 p.m., 6:30 p.m., 7:30 p.m.
SexTape (R) Fri. to Wed. 7:15 p.m., 9:40 p.m.
JEAN COCTEAU CINEMA
Teenage Mutant Ninja Turtles 3D (PG-13) Fri. to
418 Montezuma Avenue, 505-466-5528 Auntie Mame (NR) Thurs. 6 p.m. Forbidden Planet (G) Fri. 4:30 p.m. Sat. 2 p.m. Sun. 4:30 p.m. Jose Ponce & Friends (NR) Mon. 7 p.m. Monty Python Live (NR) Sun. 1 p.m. Mood Indigo (NR) Fri. 6:40 p.m. Sat. 4:30 p.m., 8:30 p.m. Sun. 6:40 p.m. Tue. 6:40 p.m. Wed. 4:30 p.m., 8:30 p.m. Thurs. 8:40 p.m. This Is Spinal Tap (R) Fri. and Sat. 11 p.m. Sun. 8:30 p.m. War Story (NR) Fri. 8:30 p.m. Sat. 6:40 p.m. Tue. 8:30 p.m. Wed. 6:40 p.m. Thurs. 4 p.m. REGAL DEVARGAS
562 N. Guadalupe St., 505-988-2775, www.fandango.com And So It Goes (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:40 p.m., 10 p.m. Sun. to Tue. 1:30 p.m., 4:30 p.m., 7:40 p.m. Begin Again (R) Fri. and Sat. 1:05 p.m., 4 p.m., 7:30 p.m., 9:55 p.m. Sun. to Tue. 1:05 p.m., 4 p.m., 7:30 p.m. Chef (R) Fri. and Sat. 1:20 p.m., 4:40 p.m., 7:25 p.m., 10 p.m. Sun. to Tue. 1:20 p.m., 4:40 p.m., 7:25 p.m. The Hundred-Foot Journey (PG) Fri. and Sat. 1:15 p.m., 4:15 p.m., 7:15 p.m., 10:05 p.m. Sun. to Tue. 1:15 p.m., 4:15 p.m., 7:15 p.m. I Origins (R) Fri. and Sat. 4:25 p.m., 9:40 p.m. Sun. to Tue. 4:25 p.m. A Most Wanted Man (R) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:45 p.m. Sun. to Tue. 1 p.m., 3:50 p.m., 6:50 p.m. Wish I Was Here (R) Fri. to Tue. 1:40 p.m., 7 p.m. REGAL STADIUM 14
3474 Zafarano Drive, 505-424-6296, www.fandango.com Beverly Hills Cop (R) Sun. 2 p.m. Wed. 2 p.m., 7 p.m. Dawn of the Planet of the Apes (PG-13) Fri. to Wed. 11 a.m., 1:40 p.m., 4:35 p.m., 7:35 p.m., 10:35 p.m. The Fluffy Movie (PG-13) Fri. to Wed. 11:40 a.m. Get On Up (PG-13) Fri. to Wed. 1:10 p.m., 4:20 p.m., 7:35 p.m., 10:40 p.m. Guardians of the Galaxy 3D (PG-13) Fri. to Wed. 12:30 p.m., 1 p.m., 3:30 p.m., 4 p.m., 6:30 p.m., 7:10 p.m., 10 p.m. Guardians of the Galaxy (PG-13) Fri. to Wed. 1:30 p.m., 4:40 p.m., 7:40 p.m., 9:35 p.m., 10:30 p.m. Hercules 3D (PG-13) Fri. to Wed. 11:25 a.m., 2:20 p.m., 10:05 p.m. Hercules (PG-13) Fri. to Wed. 4:45 p.m., 7:20 p.m. Into the Storm (PG-13) Fri. to Wed. 11:15 a.m., 1:45 p.m., 4:15 p.m., 7 p.m., 9:30 p.m. Lucy (R) Fri. to Wed. 12:15 p.m., 2:50 p.m., 5:10 p.m., 7:40 p.m., 9:55 p.m. Maleficent (PG) Fri. and Sat. 11:05 a.m., 1:35 p.m., 4 p.m. Sun. 11:05 a.m. Mon. and Tue. 11:05 a.m., 1:35 p.m., 4 p.m. Wed. 11:05 a.m. Planes: Fire & Rescue (PG) Fri. to Wed. 11:35 a.m., 2:05 p.m., 4:15 p.m.
Step Up All In 3D (PG-13) Fri. to Wed. 2:15 p.m.,
5 p.m., 7:45 p.m.
Step Up All In (PG-13) Fri. to Wed. 11:30 a.m.,
NiNja TurTles 2D/3D 2:00** 4:30 7:00 hercules 2D 2:10** 4:40 7:15 lucy 2:25** 4:55 7:30 apes 2D 1:45** 4:25 7:10 purge: aNarchy 2:15** 4:45 7:20 sTep up: all iN 2D 1:50** 4:25 sTep up: all iN 3D 6:55 plaNes 2D 2:05** 4:35 7:05 guarDiaNs of The galaxy 2D 1:55** 4:35 7:15 iNTo The sTorm 2:20** 4:50 7:25 **saturday & sunday only *friday & saturday only Times for friday, august 8 - Tuesday, august 12
9:30* 9:45* 9:50* 9:55* 10:00* 9:35* 9:40* 9:55* 9:50*
10:30 p.m.
Wed. 12 p.m., 2:30 p.m., 5 p.m., 7:30 p.m., 9:30 p.m., 10 p.m. Teenage Mutant Ninja Turtles (PG-13) Fri. to Wed. 11:30 a.m., 2 p.m., 4:30 p.m., 7 p.m. Transformers:Age of Extinction (PG-13) Fri. to Tue. 6:30 p.m., 9:55 p.m. Wed. 9:55 p.m. THE SCREEN
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Finding Fela (NR) Fri. and Sat. 1:45 p.m., 8:35 p.m. Sun. 6 p.m. Mon. to Thurs. 1:45 p.m., 8:35 p.m. Fuenteovejuna from Teatro Real de Madrid (NR) Sun. 11 a.m. Living Is Easy with Eyes Closed (NR) Fri. and Sat. 11:30 a.m., 4:15 p.m., 6:30 p.m. Sun. 1:15 p.m., 3:30 p.m. Mon. to Thurs. 11:30 a.m., 4:15 p.m., 6:30 p.m. MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com Dawn of the Planet of the Apes (PG-13) Fri. 4:25 p.m., 7:10 p.m., 9:55 p.m. Sat. 1:45 p.m., 4:25 p.m., 7:10 p.m., 9:55 p.m. Sun. 1:45 p.m., 4:25 p.m., 7:10 p.m. Mon. to Thurs. 4:25 p.m., 7:10 p.m. Guardians of the Galaxy (PG-13) Fri. 4:35 p.m., 7:15 p.m., 9:55 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:15 p.m., 9:55 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:15 p.m. Mon. to Thurs. 4:35 p.m., 7:15 p.m. Hercules (PG-13) Fri. 4:40 p.m., 7:15 p.m., 9:45 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:15 p.m., 9:45 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:15 p.m. Mon. to Thurs. 4:40 p.m., 7:15 p.m. Into the Storm (PG-13) Fri. 4:50 p.m., 7:25 p.m., 9:50 p.m. Sat. 2:20 p.m., 4:50 p.m., 7:25 p.m., 9:50 p.m. Sun. 2:20 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. Lucy (R) Fri. 4:55 p.m., 7:30 p.m., 9:50 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:30 p.m., 9:50 p.m. Sun. 2:25 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. Planes: Fire & Rescue (PG) Fri. 4:35 p.m., 7:05 p.m., 9:40 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:40 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. The Purge:Anarchy (R) Fri. 4:45 p.m., 7:20 p.m., 10 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:20 p.m., 10 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. Step Up All In 3D (PG-13) Fri. and Sat. 6:55 p.m., 9:35 p.m. Sun. to Thurs. 6:55 p.m. Step Up All In (PG-13) Fri. 4:25 p.m. Sat. and Sun. 1:50 p.m., 4:25 p.m. Mon. to Thurs. 4:25 p.m. Teenage Mutant Ninja Turtles 3D (PG-13) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Teenage Mutant Ninja Turtles (PG-13) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m.
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RESTAURANT REVIEW Laurel Gladden I For The New Mexican
Eat, drink, and be mellow Masa Sushi 927 W. Alameda St., 505-982-3334 Lunch 11 a.m.–2:30 p.m., Mondays–Thursdays; lunch and dinner 11 a.m.–9 p.m. Fridays, noon–9 p.m. Saturdays; dinner 5–9 p.m. Mondays–Thursdays and Sundays Takeout available Handicapped accessible Vegetarian options Noise level: quiet to moderate Beer, wine, and sake Credit cards, no checks
]
The Short Order Try not to let the dedicated CrossFit enthusiasts make you feel guilty as you walk by Undisputed Fitness on the way to Masa Sushi, a one-room joint tucked into the minimall of Casa Solana. The space isn’t fancy, the ambience is pretense-free, and servers are attentive and friendly in a businesslike way. Nothing groundbreaking goes on here, but there’s nothing wrong with that. We don’t have to have our minds blown at every meal — sometimes we just want to eat dinner without any rhapsodic gushing and ecstatic eye-rolling. The requisite sashimi, nigiri, and maki (rolls) are offered, as are plenty of other dishes, from salad to tempura to noodles. Recommended: Monkey Ball appetizer, gyoza, chirashi nigiri plate, and mountain roll.
Ratings range from 1 to 5 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value. 5 = flawless 4 1/2 = extraordinary 4 = excellent 3 1/2 = very good 3 = good 2 1/2 = average 2 = fair 1 1/2 = questionable 1 = poor
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PASATIEMPO I August 8-14, 2014
Nothing groundbreaking goes on at Masa Sushi, a oneroom sushi joint tucked into the minimall of Casa Solana. There’s nothing wrong with that, of course. We don’t have to have our minds blown at every meal — sometimes we just want to eat dinner without any show, without any rhapsodic gushing and ecstatic eye-rolling. After all, the origins of sushi are humble. The sushi we know (nigiri style) was invented in 19th-century Japan as a fast food. Focusing only on the delicious Japanese food you’re planning to sample, don’t let the dedicated CrossFit enthusiasts make you feel guilty as you walk by Undisputed Fitness on the way to Masa Sushi. The space isn’t fancy, and the ambience is pretense-free. Yellow and green walls and red tablecloths make the place feel warm and cheerful. The décor is eclectic, with paper lanterns hanging from the ceiling, a model ship and fake fish on the corner of the bar, and colorful children’s drawings posted at the end of the sushi counter. Shoji screens mounted in the all-glass storefront window help make the restaurant feel a little more private and less like a fishbowl. Servers are attentive and friendly in a businesslike way. Probably the best approach to experiencing the beautiful simplicity of sushi is with sashimi and nigiri. Our 12-piece chirashi plate was a gorgeous, almost glowing rainbow of fish — tuna, salmon, snapper, and whitefish — the colors and textures mildly gelatinous and buttery and reminiscent of Turkish delight. The fish wasn’t ice-cold, and while that might seem off-putting in theory, it allowed the flavors to blossom. If rolls are more your speed, the menu has an extensive selection to choose from (as well as a few specials listed on the whiteboard just inside the door). The rainbow roll covers most of the bases of the sushi world. Crab (actually surimi, or imitation crab), cucumber, and avocado are stuffed inside, while lovely layers of tuna, salmon, and whitefish are draped across the top. The mountain roll is a seafood smorgasbord, combining tuna, salmon, yellowtail, and masago roe. Burdock root gives it an earthy crunch, and the mysterious “spicy sauce” provides a creamy but peppery punch. It was a powerful, entrancing whole-mouth flavor combination, and we enjoyed it so much that we almost ordered it twice. The spicy scallop roll offers a cool combination of brininess and spice along with an intriguingly creamy consistency. Among all that softness, cucumber and burdock root are welcome. The salmon-skin roll killed with its ribbons of crisp skin, smelt egg, more of that robust burdock root, fresh sprouts, and bonito — all drizzled with a sweet, soy-based sauce. Vegetarians will appreciate the generous list of fish-free options. To its roster of standards like avocado and cucumber, Masa adds sweet potato and asparagus tempura. The sizable “veggiepillar” roll is mild but very rich, stuffed with sweet potato, asparagus tempura, and zucchini and topped with perfectly creamy and gorgeously green avocado. Try the tamago — a Japanese omelet served nigiri-style on a little block of rice. Once you get over any irrational fears of eating cold scrambled eggs, you’ll revel in its sweet-and-salty flavor combination and its comfortingly spongy texture.
If sushi in any form just isn’t your thing, don’t fret. Plenty of other dishes are on offer here, from tempura to noodles. The octopus salad has an intriguing combination of flavors and textures — chewy octopus, crunchy celery, creamy avocado, and vegetal spinach. The cloudy sesame dressing was rich in a nutty way and had aromatic undertones of ginger, but the salad was thoroughly drowning in it. When we stirred the deliciously murky broth of our seafood miso soup, we found lots of little scallops, threadlike crab, dark green seaweed filaments, and tofu cubes swimming there. Much like the chirashi plate, it had a closer-to-room-temperature quality, not something one generally enjoys in a soup. We gobbled up our gyoza, half-moon-shaped dumplings with a salty, slightly toothy wonton-wrapper skin and a supremely savory filling of tender cabbage and chicken. The slippery emerald strands of the seaweed salad had a pleasant fresh crunch, but it was bland overall. Remember that scene in Indiana Jones and the Temple of Doom where the group sits down to a dinner of snake surprise, bugs, eyeball soup, and monkey brains? Masa Sushi’s peculiarly delicious Monkey Ball appetizer sounds like something off that menu, but it’s actually nothing so exotic. Large mushrooms are stuffed with spicy tuna, given a light tempura batter, quickly fried till barely golden, cut into segments, and topped with a creamy-spicy sauce and a sprinkling of sesame seeds and green onion. That’s about as far as you can get from the raw simplicity of traditional sushi, but even the best rules were meant to be broken sometimes. ◀
Dinner for two at Masa Sushi: Seaweed salad ........................................................ $ 5.95 Octopus salad ........................................................ $ 11.50 Monkey Ball .......................................................... $ 11.50 Rainbow roll .......................................................... $ 13.50 Chirashi sashimi plate ........................................... $ 25.00 Pot of jasmine tea .................................................. $ 2.00 TOTAL ................................................................... $ 69.45 (before tax and tip) Dinner for three, another visit: Seafood miso soup ................................................. $ 6.00 Gyoza .................................................................... $ 5.50 Salmon skin roll .................................................... $ 7.00 Veggiepillar roll ..................................................... $ 11.60 Mountain roll ........................................................ $ 12.95 Tamago nigiri ........................................................ $ 4.25 Spicy scallop roll ................................................... $ 8.50 Three small Sapporos ............................................ $ 15.00 TOTAL ................................................................... $ 70.80 (before tax and tip)
Galerie Züger presents
Tuesday, August 12, 6 pm My Life in Art
alive with mystery
Meet Britten Thursday and Friday August 7 3-6pm & 8 2-6 pm 120 W San Francisco St, Santa Fe 505.984.5099 galeriezuger.com
Bruce Ferguson, first Director and Curator of SITE Santa Fe and Vice Chairman of Louise Blouin Media with Robert Enright, Senior Contributing Editor and film critic for Border Crossings Magazine Armory for the Arts Theater, 1050 Old Pecos Trail Co-sponsored by Avalon Trust & Dan C. Perry Oil & Gas Law/Mineral Management Tickets: $10/$5, please call 505.989.1199 or visit sitesantafe.org SITE’s Art & Culture programs are organized in series, including My Life in Art and SITEcenter, and are made possible by a grant from the Marlene Nathan Meyerson Family Foundation.
1606 Paseo de Peralta, Santa Fe, NM 87501 www.sitesantafe.org
TAOS MESA BREWING
OPEN 7 days a week for Lunch & Dinner (575) 758-1900
Located 3 miles west of Taos on US HWY 64 towards Gorge Bridge
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69
B I R D P O R T R A I TS
Seton Birthday Reception / Galler y Opening The Academy for the Love of Learning invites you to join us in a celebration of Ernest Thompson Seton's 154th birthday. The event also marks the opening of a new exhibition, “Bird Portraits” featuring Seton’s finest avian illustrations. The images come from the Academy’s collection of Seton artwork plus a special loan of selected works from the Philmont Museum and Seton Memorial Library at Philmont Ranch in Cimarron, New Mexico.
FREE to the public I RSVP 505.995.1860 The gallery will be open from 10-4 and again from 6:30-8:30 pm. Annual Champagne Toast to the“Chief”: 7:00 pm.
THURSDAY
I
AUG 14
I
6:30 pm - 8:30 pm
Learn more about what lives behind
A love of learningSM
5 0 5 . 9 9 5 .18 6 0
Krysteen Waszak
NORTHERN NEW MEXICO’S NEWS LEADER
Trunk Show August 8th 9th & 10th Reception: Friday, August 8th 5-7pm
Highest U.S. traffic rank Most pages read per user Longest time on site per user compared to:
Jane Hamilton Fine Art 200 Canyon Rd Suite D Santa Fe NM 87501 janehamiltonfineart.com 520.465.2655 janehamiltonfineart@gmail.com 70
PASATIEMPO I August 8 - 14, 2014
To learn more about digital advertising and how to reach YOUR audience, call
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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 8-14, 2014
CALENDAR COMPILED BY PAMELA BEACH
FRIDAY 8/8 Gallery & Museum Openings Bindle Stick Studio
616 ½-A Canyon Rd., 917-679-8080 The Drifter: Into the Unknown, paintings by Jeffrey Schweitzer, reception 5-8 p.m., through Sept. 4.
Chiaroscuro Contemporary Art
702 ½ Canyon Rd., 505-992-0711 Rose B. Simpson: Finding Center, mixed-media sculpture, reception 5-7 p.m., through August.
Commissioner's Gallery — New Mexico State Land Office
310 Old Santa Fe Trail, 505-827-5762 Patterns, Panoramas and Plants in Watercolor and Collage, works by April Fletcher and Karin Pitman, reception 5-7 p.m., through August.
Gerald Peters Gallery
1011 Paseo de Peralta, 505-954-5700 Jun Kaneko, work by the ceramist, reception 5-7 p.m., through Sept. 14.
Hotel St. Francis
Boardroom, 210 Don Gaspar Ave., 505-983-5700 Istanbul & Beyond: An Artist's Journey, watercolors and sketches by Ray Audain, open 10 a.m.-7 p.m., through Saturday.
Intrigue Gallery
238 Delgado St., 505-820-9265 African Art Masquerade, vintage works, reception 5-7 p.m., through August.
Karan Ruhlen Gallery
225 Canyon Rd., 505-820-0807 Quiet Beauty, mixed-media paintings by Jinni Thomas and Pauline Ziegen, reception 5-7 p.m., through Aug. 20.
LewAllen Galleries at the Railyard
1613 Paseo de Peralta, 505-988-3250 Branches, glass sculpture by Hiroshi Yamano and paintings by Pedro Surroca, reception 5-7 p.m., through Sept. 21.
McLarry Fine Art
225 Canyon Rd., 505-988-1161 Landscape of Silence, work by plein-air painter Peter Hagen, reception 5-7 p.m., through Aug. 22.
Meyer Gallery
225 Canyon Rd., 505-983-1434 Landscapes by William Hook, reception 5-7 p.m., through Aug. 14.
Museum Hill Café
710 Camino Lejo, Milner Plaza, 505-984-8900 Two Artists at Work, photographs by Joseph Cosby and equine-themed paintings by Kiki Martines, reception 4-8 p.m.
Museum Hill Café shows work by photographer Joseph Cosby, 710 Camino Lejo, Milner Plaza.
New Concept Gallery
610 Canyon Rd., 505-795-7570 Artifacts & Icons, works by photographer Steven A. Jackson (see story, Page 44), sculptor Tim Prythero, and painter Reg Loving, reception 5-7 p.m., through August.
New Mexico Museum of Art
107 W. Palace Ave., 505-476-5072 Alcove Shows 1917-1927, works from the museum collection, on view by museum admission.
Nüart Gallery
670 Canyon Rd., 505-988-3888 Still Winds, paintings by Hyunmee Lee, reception 5-7 p.m., through Aug. 24.
Patina Gallery
131 W. Palace Ave., 505-986-3432 Work by jeweler Claire Kahn, reception 11 a.m.-4 p.m.
Peyton Wright Gallery
237 E. Palace Ave., 505-989-9888 Vivian Springford: A Retrospective, The late artist's paintings from the 1960s to the 1980s, reception 5-7 p.m., through Sept. 3.
Owings Gallery
120 E. Marcy St., 505-982-6244 Grand Figures: Masterpieces of the American West, reception 5-7 p.m., through Sept. 9.
Santa Fe Clay
545 Camino de la Familia, 505-984-1122 Works by ceramists David Crane and José Sierra, reception 5-7 p.m., through Sept. 20.
Steve Elmore Indian Art
839 Paseo de Peralta, 505-995-9677 Historic San Ildefonso Polychrome Pottery: 1875-1925, reception 5-7 p.m., through Oct. 15.
Tai Modern
1601-B Paseo de Peralta, 505-984-1387 Monique van Genderen, abstract paintings, reception 5-7 p.m., through Sept. 20. (See story, Page 40)
Opera Dr. Sun Yat-sen
Santa Fe Opera, 301 Opera Dr., 505-986-5900 In its American premiere, Dr. Sun Yat-sen is firmly
cast and well-performed but, does not live up to its dual ambitions as a historical epic and a romantic drama about modern China's founding father. 8 p.m., tickets begin at $32, standing room $15.
Classical Music Paul Groves
St. John’s United Methodist Church, 1200 Old Pecos Trail Santa Fe Opera tenor, accompanied by pianist Joseph Illick, music of Duparc and Britten, 4 p.m., $45-$75, 505-988-1234, ticketssantafe.org.
Santa Fe Chamber Music Festival
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Flux Quartet, music of Ryan Chase, Tonia Ko, and Julian Anderson; preconcert talk with Julian Anderson and Marc Neikrug 5 p.m., concert 6 p.m., $5, santafechambermusic.com, 505-982-1890.
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Tresa Vorenberg Goldsmiths
656 Canyon Rd., 505-988-7215 Jewelry and sculpture by Heyoka, reception 11 a.m.-5 p.m.
Opera Don Pasquale
Santa Fe Opera, 301 Opera Dr., 505-986-5900 Soprano Brenda Rae and tenor Alek Shrader deliver winning vocalism as the young lovers in director Laurent Pelly's shtick-laden take on Donizetti's comedy, apparently inspired by sitcom gags. As the title character, baritone Andrew Shore settles for being the butt of the practical joke that surrounds him. Corrado Rovaris presides in the orchestra pit. 8 p.m., tickets begin at $32, standing room $15.
Classical Music Santa Fe Chamber Music Festival
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Music of Biber, Marais, and Telemann, 5 p.m., performers include flutist Tara Helen O'Connor, violinist Daniel Phillips, and cellist Timothy Eddy, $10-$45, santafechambermusic.com, 505-982-1890.
333 Montezuma Arts shows works by painter Thornton Dial, 333 Montezuma Ave.
TGIF Bach recital
First Presbyterian Church of Santa Fe, 208 Grant Ave., 505-982-8544, Ext. 16. Harpsichordist Jan Worden-Lackey, 5:30-6 p.m., donations welcome.
In Concert In the Mood: Artists and musicians in collaboration
Vivo Contemporary, 725 Canyon Rd., 505-982-1320 Meet-and-greet with live music; 5-7 p.m. Fridays through Aug. 29, tonight’s performers: Luc Skarda (synthesizer) and Steve Palmer (guitar), no charge.
Jeff Platz
O'Shaughnessy Performance Space, Santa Fe University of Art & Design, 1600 St. Michael's Dr. The Boston-based jazz guitarist/composer performs with local musicians contrabassist Ben Wright and percussionist Dave Wayne, 7:30 p.m. $10 at the door.
Theater/Dance Antonio Granjero and EntreFlamenco
María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco dance troupe, with Estefania Ramirez, 8 p.m., $25-$45, 505-988-1234, ticketssantafe.org, nightly performances, except Tuesdays, through August.
Sylvia
Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 The New Mexico Actors Lab presents A.R. Gurney’s comedy, 7:30 p.m., $20, discounts available, santafeplayhouse.org, Thursdays-Sundays through Aug. 17.
Books/Talks Breakfast with the Artist
Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill Meet Laguna Pueblo photographer Lee Marmon, 8:30-10:30 a.m., $35 includes a full breakfast at Museum Hill Café, followed by programs at the museum, 505-982-5057, advance tickets available at the MIAC gift shop.
Of Libraries and Lexicons
Op. Cit. Books, 500 Montezuma Ave., Sanbusco Center, 505-428-0321 A Hooked on Books student reading featuring poet Hakim Bellamy, 2 p.m.
72
PASATIEMPO I Aug. 8-14, 2014
Pinhole to Pixel
New Mexico History Museum, 113 Lincoln Ave. California artist Peggy Ann Jones discusses how she constructs her cameras, in conjunction with the exhibit Poetics of Light: Pinhole Photography, 6 p.m., no charge, 505-476-5200. (See Subtexts, Page 20)
Events Danger: Solar Storm
Santa Fe Community College Planetarium, 1401 Richards Ave., 505-428-1744 Find out if Earth's new technology offers us safety from solar flares and coronal mass ejections, 8-9 p.m., $5 at the door, discounts available.
Rag Rug Festival & Gift Show
Museum of International Folk Art, 706 Camino Lejo, Museum Hill, 505-476-1200 Annual event hosted by the New Mexico Women's Foundation in support of programs creating economic support for women and girls in the state, 5-8 p.m., continues through Sunday, no charge.
Santa Fe County Fair
Fair grounds, 3229 Rodeo Rd.
Indoor exhibits open 9 a.m.-8 p.m.; livestock auction 4 p.m., dance 8 p.m.
Santa Fe Opera Backstage Tours
Santa Fe Desert Chorale
Duel Brewing
Pray For Brain, Mustafa Stefan Dill on guitar and oud, Jefferson Voorhees on drums, and Chris Nelson on bass, indofunk/sufisurf fusion, 7:30 p.m., no cover.
El Farol
Girls Night Out, 9 p.m., call for cover.
La Fiesta Lounge at La Fonda
Pleasure Pilots, R & B, 8 p.m.-close, no cover.
La Posada de Santa Fe Resort and Spa Nacha Mendez Quartet, 6:30 p.m., no cover.
Pranzo Italian Grill
Jazz vocalist Faith Amour and pianist John Rangel, 6-9 p.m., call for cover.
Jazz guitarist Pat Malone, 6-9 p.m., no cover.
Café Café
Trio Los Primos, 6 p.m., no cover.
Cowgirl BBQ
Singer/songwriter Michael Kirkpatrick, 5-7:30 p.m.; Felix y Los Gatos, zydeco/Tejano/juke-swing, 8:30 p.m., no cover.
¡Chispa! at El Mesón
Three Faces of Jazz, featuring guest guitarist Tony Cesarano, 7:30-10:30 p.m., no cover.
In Concert Fast Peso String Band
High Desert Guitars, 1807 Second St., Suite 107, 505-983-8922 or 505-988-2733 Appalachian-style tunes, 7 p.m., $15 in advance and at the door, proceeds benefit Southwest Pickers and the Santa Fe Bluegrass & Old Time Music Festival, southwestpickers.org.
Janiva Magness
Second Street Brewery
Railyard Plaza, 1607 Paseo de Peralta The blues singer performs as part of an outdoor summer concert series, 7 p.m., no charge.
no cover.
Santa Fe Bandstand Southside
Western-swing band The Tumbleweeds, 6 p.m.,
DJ Chil, Bon Jovi tribute, 9 p.m.-4 a.m., no cover.
3466 Zafarano Dr. Paula Rhae McDonald & Friends, country/ jazz/blues, 7 p.m.; Soulstatic, R & B and funk dance band, 8:15 p.m.; no charge, visit santafebandstand.org for the summer series schedule.
Vanessie
Sixth Annual Mariachi and Dance Concert
Second Street Brewery at the Railyard
Greg Daigle Band, electric Americana, 7 p.m., no cover.
Shadeh
Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.
SATURDAY 8/9
Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered Mondays-Saturdays Gallery & Museum Openings through Aug. 22, 9 a.m., $10; seniors $8; no charge Center for Contemporary Arts for ages 22 and under. 1050 Old Pecos Trail, 505-982-1338 Nightlife Subliminal Memory, paintings by David Rudolph, reception 5-7 p.m., through Sept. 7. (See Page 73 for addresses)
Bishops Lodge
Cathedral Basilica of St. Francis of Assisi, 107 Cathedral Place Mozart's Requiem, with mezzo-soprano Susan Graham, 8 p.m., $15-$125, desertchorale.org, 505-988-2282.
Kindred Spirit Animal Sanctuary
3749-A NM 14, south of Santa Fe, 505- 471-5366, kindredspiritsnm.org Animals & Nature, group art show to benefit animals in hospice and elder care, 10 a.m.-4 p.m.
Lannan Foundation Gallery
309 Read St., 505-954-5149 Desert Serenade: Drones, Fences, Cacti, Test Sites, Craters and Serapes, group show including Emi Winter, Trevor Paglen, Subhankar Banerjee, and Renate Aller, reception 5-7 p.m., through August. (See review, Page 38)
Buffalo Thunder Resort & Casino Performers include Johnny Hernandez, Mariachi Nuevo Sonido, Allen Muñiz, and Mariachi Buenaventura; silent auction 5:30-6:30 p.m., music starts at 7 p.m., $18 in advance at tickets.com, $20 at the door, proceeds benefit the nonprofit organization Sangre de Cristo Funeral Fund.
Theater/Dance Antonio Granjero and EntreFlamenco
María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco dance troupe, with Estefania Ramirez, 8 p.m., $25-$45, 505-988-1234, ticketssantafe.org, nightly performances, except Tuesdays, through August.
In the Time Before I Knew You: Dances of Making Contact
Railyard Performance Center, 1611 Paseo de Peralta Performances by Human Landscape Dance of Washington D.C. and Santa Fe dancers Sarah Ashkin, Brittany Delany, Amina Re, and Sophia Rog, 8 p.m., $10 in advance at hldance.org.
Santa Fe Musical Theatre Festival
Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael's Dr. Staged readings of four new musicals, 2 p.m., 3:30 p.m., 5 p.m., and 6:30 p.m., reception follows at 8 p.m., $30, santafemusicaltheatrefestival.org, 505-946-2468.
Slowgirl
Blackbox Theater, Warehouse 21, 1614 Paseo de Peralta, 505-989-4423 For Giving Productions presents Greg Pierce's drama, 7:30 p.m., $13, discounts available, call 505-438-6078 for ticket information, final weekend.
Sylvia
Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 The New Mexico Actors Lab presents A.R. Gurney’s comedy, 7:30 p.m., $20, discounts available, santafeplayhouse.org, Thursdays-Sundays through Aug. 17.
Books/Talks Gallery talk
Nightlife
(See addresses at right)
Café Café
Guitarist Ramon Bermudez, 6:30 p.m., no cover.
¡Chispa! at El Mesón
Shades of Tjader, Brazilian jazz, 7:30 p.m., no cover.
Cowgirl BBQ
Bill Hearne Trio, pure country, 2-5 p.m.; Sean Healen Band, folk rock, 7:30 p.m.-close; no cover.
Del Charro
Turquoise buying seminar
Events Contra dance
Odd Fellows Hall, 1125 Cerrillos Rd., New England folk dance with music by The Thrifters and calls by Danielle Boudreau, beginner classes 7 p.m., dance 7:30 p.m., $9, students $5, 505-820-3535.
Rag Rug Festival & Gift Show
Museum of International Folk Art, 706 Camino Lejo, Museum Hill, 505-476-1200 Annual event hosted by the New Mexico Women's Foundation in support of programs creating economic support for women and girls in the state, 10 a.m.-4 p.m. today and Sunday, no charge.
Santa Fe County Fair
El Farol
C.S. Rockshow, with Don Curry, Pete Springer, and Ron Crowder, 9 p.m., call for cover.
La Fiesta Lounge at La Fonda
Pleasure Pilots, R & B, 8 p.m.-close, no cover.
Mine Shaft Tavern
Kitty Jo Creek, bluegrass, 3-7 p.m., no cover.
Palace Restaurant and Saloon
Sweetwater Harvest Kitchen
John Serkin on Hawaiian slack-key guitar, 6 p.m., no cover.
Upper Crust Pizza
Country-tinged folk singer/songwriter Dana Smith, 6-9 p.m., no cover.
Vanessie
Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.
SUNDAY 8/10 Opera Brenda Rae
St. John’s United Methodist Church, 1200 Old Pecos Trail Santa Fe Opera soprano, accompanied by pianist In Sun Suh, music of Schubert, Strauss, and Rachmaninoff, 4 p.m., $45-$75, 505-988-1234, ticketssantafe.org.
Santa Fe Opera Apprentice Showcase Scenes
Santa Fe Opera, 301 Opera Dr., 505-986-5900 Fully staged performances, 8 p.m., adults $15, ages 6-22 $5, Aug. 17 encore.
Santa Fe Opera Backstage Tours
Santa Fe Chamber Music Festival
Vista Grande Social Club
La Tienda Performance Space, 7 Caliente Rd. Eldorado Dance to Cesar Bauvallet y Tradiciones; salsa lesson 8-9 p.m., dancing 9 p.m.-12:30 a.m., $10 at the door.
Antonio Granjero and EntreFlamenco
William & Joseph Gallery, 727 Canyon Rd., 505-982-9404 A series of gospel music with Johny Broomdust and his Gospel Quartet, noon-2 p.m. Sundays, through August.
Lake Street Dive
Santa Fe Sol Stage & Grill Jazz and soul band, 7:30 p.m., $25, 505-988-1234, ticketssantafe.org.
María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco dance troupe, with Estefania Ramirez, 8 p.m., $25-$45, 505-988-1234, ticketssantafe.org, nightly performances, except Tuesdays, through August.
Flamenco’s Next Generation
Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco group from the María Benítez Institute for Spanish Arts, 2 p.m. Sundays, through Aug. 24, institutespanisharts.org.
Duel Brewing
Rockers Stephanie Hatfield and Bill Palmer open for alternative-rock band Frankie Boots, 6 p.m., no cover.
Fair grounds, 3229 Rodeo Rd. Indoor exhibits open 9 a.m.-8 p.m.; afternoon events include herding-dog demonstrations, a small-pet show, barnyard olympics, a salsa contest and chile challenge, and a dance at 8 p.m., concludes Sunday. Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered Mondays-Saturdays through Aug. 22, 9 a.m., $10; seniors $8; no charge for ages 22 and under.
Theater/Dance
The Gospel of Art
Mariachi Teotihuacan, with Stephen Montoya, Jaime Martinez, and Daniel Martinez, 2-9 p.m., no cover.
Blues/rock guitarist Alex Maryol, on the patio, Wheelhouse Art, 418 Montezuma Ave., 505-919-9553 2 p.m., no cover. Carol Rose Brown and Becky Pinnick discuss their Pranzo Italian Grill works in the exhibit Ursus Adaptation, 1 p.m. Geist Cabaret, with pianist David Geist, 6-9 p.m., Joseph Bottone call for cover. Op. Cit. Books, 500 Montezuma Ave., 505-428-0321 Second Street Brewery The poet reads from Wild Honey, 4:30 p.m. Blues band The Barbwires, 6-9 p.m., no cover. Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 505-476-1250 Led by Jim Kissock of Kings Trading Company, 1-3 p.m., by museum admission.
In Concert
Classical Music St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Music of Mozart, Haydn, and Weber, 6 p.m.; performers include the Johannes String Quartet, violinist Ida Kavafian, and violist Steven Tenenbom; $55-$75, 505-982-1890, santafechambermusic.com, Monday encore.
Schola Cantorum of Santa Fe
Loretto Chapel, 207 Old Santa Fe Trail The sacred-music ensemble presents a concert titled Echoes of Mary, 7 p.m., $20, discounts available, 505-474-2815, schola-sf.org.
Check with venues
for updates and sp
ec
ial events 317 Aztec Lodge Lounge 317 Aztec St., 505-8 20-0150 at The Lodge at Sa Agoyo Lounge nta Fe 750 N. St. Francis Dr at the Inn on the Ala ., 505-992-5800 meda Low ’n’ Slow Lowride 303 E. Alameda St., 505-984-2121 r Bar at Hotel Chimayó de Anasazi Restauran Santa Fe t & Bar 125 Washington Av 113 Washington Av e., 505-988-4900 e., 505-988-3030 The Matador Betterday Coffee 116 W. San Francisc 905 W. Alameda St., o St. 505-555-1234 Mine Shaft Tavern Bishop’s Lodge Ranc h Resort & Spa 2846 NM 14, Madrid, 1297 Bishops Lodge 505-473-0743 Rd., 505-983-6377 Mu seum Hill Café Burro Alley Café 710 Camino Lejo, Mi 207 W. San Francisc lner Plaza, o St., 505-982-0601 505-984 -8900 Café Café Music Room at Garre 500 Sandoval St., 50 tt’s Desert Inn 5-466-1391 311 Old Santa Fe Tra ¡Chispa! at El Mesó il, 505-982-1851 n Omira Bar & Grill 213 Washington Av e., 505-983-6756 1005 St. Francis Dr., Cowgirl BBQ 505-780-5483 Palace Restaurant 319 S. Guadalupe St. & Sa , 505-982-2565 142 W. Palace Ave., 50 loon The Den at Coyote 5-428-0690 Café Pranzo Italian Grill 132 W. Water St., 50 5-983-1615 540 Montezuma Av Duel Brewing e., 505-984-2645 Santa Fe Community 1228 Parkway Dr., 50 5-474-5301 Convention Center El Cañon at the Hilto n 201 W. Marcy St., 50 5-955-6705 100 Sandoval St., 50 5-988-2811 Santa Fe Sol Stage Eldorado Hotel & Sp & Grill a 37 Fire Place, solofsan 309 W. San Francisc tafe.com o St., 505-988-4455 Second Street Brewery El Farol 1814 Second St., 50 5-982-3030 808 Canyon Rd., 505-9 83-9912 Second Street Brew El Paseo Bar & Grill ery at the Railyard 1607 Paseo de Peral 208 Galisteo St., 505-9 ta, 505-989-3278 92-2848 Shadeh Buffalo Th under Evangelo’s Resort & Casino 200 W. San Francisc o St., 505-982-9014 Pojoaque Pueblo, U.S. 84/285, High Mayhem Emerg 505-455-5555 ing Arts 2811 Siler Lane, 505-4 38-2047 Sweetwater Harve st Kitchen Hotel Santa Fe 1512-B Pacheco St., 505-795-7383 1501 Paseo de Peral ta, 505-982-1200 Swiss Bakery Pastr ies and Bistro Iconik Coffee Roas 401 S. Guadalupe St. ters , 505-988-5500 1600 Lena St., 505-4 28-0996 Taberna La Boca Jean Cocteau Cinem 125 Lincoln Ave., 50 a 5-988-7102 418 Montezuma Av e., 505-466-5528 Tiny’s Junction 1005 St. Francis Drive , Suite 117, 530 S. Guadalupe St. 505-983-9817 , 505-988-7222 La Boca The Underground at Evangelo’s 72 W. Marcy St., 505-9 200 W. San Francisc 82-3433 o St. La Casa Sena Canti Upper Crust Pizza na 25 E. Palace Ave., 50 329 Old Santa Fe Tra 5-988-9232 il, 505-982-0000 La Fiesta Lounge at Vanessie La Fonda 100 E. San Francisco St., 505-982-5511 434 W. San Francisco St., 50 5-982-9966 La Posada de Santa VFW Fe 330 E. Palace Ave., 50 Resort and Spa 370 Mo 5-986-0000 ntezuma Ave., 505-9 84-2691 Lensic Performing Warehouse 21 Arts Center 211 W. San Francisc o St., 505-988-1234 1614 Paseo de Peralta, 50 5-989-4423 Zia Dinner 326 S. Guadalupe St. , 505-988-7008
C L U B S, R O O M S, V E N U ES
Juan Siddi Flamenco Santa Fe
The Lensic Dance ensemble, 8 p.m., $25-$72, 505-988-1234, ticketssantafe.org, visit aspensantafeballet.com for more information.
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Classical Music Annual Santa Fe Chamber Music Festival
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. 10 a.m., free youth concert, with the Johannes String Quartet and clarinetist David Shifrin; 6 p.m. concert, music of Mozart, Haydn, and Weber; performers include the Johannes String Quartet, mezzo-soprano Sasha Cooke, and pianist Pei-Yao Wang; $55-$75, santafechambermusic.com, 505-982-1890.
In Concert José Antonio Ponce, Dave Tutin, and Eric George
Jean Cocteau Cinema Performance and conversation with the songwriters, 7 p.m., $8, jeancocteaucinema.com.
Santa Fe Bandstand
The Plaza Jazz vocalist Faith Amour, 6:30-7:30 p.m.; jazz duo John Trentacosta and Andy Gabrys, 7:45-9 p.m.; no charge, visit santafebandstand.org for the summer series schedule.
Theater/Dance Antonio Granjero and EntreFlamenco
Photographer Peggy Ann Jones discusses how she constructs pinhole cameras at 6 p.m Friday, in conjunction with the New Mexico History Museum exhibit, Poetics of Light: Pinhole Photography, 113 Lincoln Ave.; shown, Self Portrait, by Jones; photo courtesy of the Palace of the Governors Photo Archives.
Slowgirl
Blackbox Theater, Warehouse 21, 1614 Paseo de Peralta, 505-989-4423 For Giving Productions presents Greg Pierce's drama, 4 p.m., $13, discounts available, call 505-438-6078 for ticket information.
Sylvia
Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 The New Mexico Actors Lab presents A.R. Gurney’s comedy, 4 p.m., $20, discounts available, santafeplayhouse.org, Thursdays-Sundays through Aug. 17.
Books/Talks Turquoise From Prehistory to the Present
Nightlife
(See Page 73 for addresses)
Cowgirl BBQ
Teri True and Sweet Sister Gospel Band, noon; guitarist Rene Reyes, 8 p.m.; no cover.
Duel Brewing
Blues/rock guitarist Alex Maryol, 5-7 p.m., no cover.
El Farol
Chanteuse Nacha Mendez, 7:30 p.m., call for cover.
Evangelo’s
Tone and Company jam band, 8:30 p.m., call for cover.
Second Street Brewery at the Railyard
Hot Honey, Appalachian country, 1-4 p.m., no cover.
Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 505-476-1250 A lecture series, with Navajo jeweler Fritz Casuse, 2-4 p.m., by museum admission.
Vanessie
Outdoors
Gallery and Museum Openings
Wildflower Walk
Hyde Memorial State Park, Hyde Park Road Join Ken Collins in a two mile round trip, 10 a.m., $5 per vehicle, 505-983-7175.
Events Rag Rug Festival & Gift Show
Museum of International Folk Art, 706 Camino Lejo, Museum Hill, 505-476-1200 Annual event hosted by the New Mexico Women's Foundation in support of programs creating economic support for women and girls in the state, 10 a.m.-4 p.m., no charge.
Santa Fe Opera Backstage Tours
Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered Mondays-Saturdays through Aug. 22.
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PASATIEMPO I Aug. 8-14, 2014
Pianist Doug Montgomery, 6:30 p.m., call for cover.
MONDAY 8/11 Adobe Gallery
221 Canyon Rd., 505- 629-4051 The Tradition of the Martinez Family of San Ildefonso Pueblo, pottery and paintings, reception 5-7 p.m., through Sept. 15.
Opera Carmen
Santa Fe Opera, 301 Opera Dr., 505-986-5900 In this Stephen Lawless production, Bizet's tragedy unrolls in the U.S.-Mexican borderlands a half century ago, with black-and-white film integrating with live stage action to enhance the period feel. Ana María Martínez is Carmen, Joyce El-Khoury sings Micaëla, Roberto De Biasio portrays Don José. 8 p.m., tickets begin at $32, standing room $15.
María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco dance troupe, with Estefania Ramirez, 8 p.m., $25-$45, 505-988-1234, ticketssantafe.org, nightly performances, except Tuesdays, through August.
Books/Talks Southwest Seminars lecture
with Nazi imagery. But don't worry, the Brits are on the way to set things aright, and the music gets an exciting workout under the baton of Santa Fe Opera's new chief conductor Harry Bicket. 8 p.m., tickets begin at $32, standing room $15.
Classical Music Santa Fe Chamber Music Festival
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. The Johannes String Quartet, music of Brahms, Kurtág, and Webern, noon, $20-$25, 505-982-1890, santafechambermusic.com.
In Concert Faith Amour
William & Joseph Gallery, 727 Canyon Rd., 505-982-9404 The Toronto-based jazz artist sings selections from her album Bright Eyes, $20 in advance and $25 at the door, brownpapertickets.com or faithamourjazz.com.
Santa Fe Bandstand
The Plaza Americana band Broomdust Caravan, 6-7 p.m.; progressive-bluegrass band The Greencards, 7:15-8:45 p.m.; no charge, visit santafebandstand.org for the summer series schedule.
Events Santa Fe Opera Backstage Tours
Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered MondaysSaturdays through Aug. 22.
Nightlife
Hotel Santa Fe, 1501 Paseo de Peralta, 505-466-2775 (See Page 73 for addresses) Maps, Mapmakers, and Troublemakers in Mid-1800s ¡Chispa! at El Mesón New Mexico, with Philip Goldstone, 6 p.m., Argentine Tango Milonga, 7:30 p.m., call for cover. $12 at the door, southwestseminars.org.
Events Santa Fe Opera Backstage Tours
Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered Mondays-Saturdays through Aug. 22, 9 a.m., $10; seniors $8; no charge for ages 22 and under.
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 73 for addresses)
Cowgirl BBQ
Jackie Meyers Band, soul, 8 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 p.m., no cover.
Vanessie
Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.
WEDNESDAY 8/13 Gallery & Museum Openings John Ruddy Textile and Ethnographic Art
Duel Brewing
129 W. San Francisco St., 505-988-9860 Annual summer exhibit featuring textiles from Japan, China, Burma, and Cambodia, reception 6-8 p.m., through August.
La Fiesta Lounge at La Fonda
Taylor Dale Tribal Art
Ska/punk/reggae band The Holophonics, 7:30 p.m., no cover. Bill Hearne Trio, pure country, 7:30-11 p.m., no cover.
Vanessie
Pianist Doug Montgomery, 6:30 p.m., call for cover.
TUESDAY 8/12 Opera Fidelio
Santa Fe Opera, 301 Opera Dr., 505-986-5900 Beethoven's opera about spousal heroism in the face of political oppression is here anchored convincingly in a concentration camp dripping
129 W. San Francisco St., 505-670-3488 28th annual exhibit of antique Oceanic, American Indian, and African works of art, reception 6-8 p.m., through August.
Opera Don Pasquale
Santa Fe Opera, 301 Opera Dr., 505-986-5900 Soprano Brenda Rae and tenor Alek Shrader deliver winning vocalism as the young lovers in director Laurent Pelly's shtick-laden take on Donizetti's comedy, apparently inspired by sitcom gags. As the title character, baritone Andrew Shore settles for being the butt of the practical joke that surrounds him. Corrado Rovaris presides in the orchestra pit. 8 p.m., tickets begin at $32, standing room $15.
In Concert Santa Fe Bandstand
The Plaza Voice and drum ensemble Mala Maña, 6-7 p.m.; folk/rock duo Round Mountain, 7:15-8:45 p.m., no charge, visit santafebandstand.org for the summer series schedule.
Trova
El Farol Latin global music ensemble, Nacha Mendez, Melanie Monsour, Carla Kountoupes, and Polly Tapia Ferber, 8 p.m. Wednesdays through August, $25.
Theater/Dance Antonio Granjero and EntreFlamenco
María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco dance troupe, with Estefania Ramirez, 8 p.m., $25-$45, 505-988-1234, ticketssantafe.org, nightly performances, except Tuesdays, through August.
Daniel Ulbricht and New York City Ballet performers
The Lensic Stars of American Ballet, 7:30 p.m., includes a pre-performance talk by Ulbricht, $13.50-$100, 505-988-1234, ticketssantafe.org, Thursday encore. (See story, Page 32)
Books/Talks
Santa Fe Clay Wednesday Night Slide Lecture
545 Camino de la Familia, 505-984-1122 The series concludes with ceramist Adrian Arleo, 7 p.m., no charge.
Events Santa Fe Opera Backstage Tours
Seton Gallery
Crash Course: How to Take an Oral History
El Farol
Academy for the Love of Learning, 133 Seton Village Rd., 505-995-1860 Ernest Thompson Seton birthday celebration and exhibit opening for Bird Portraits, drawings and paintings by the late artist, through July 2015, reception 6:30-8:30 p.m., annual champagne toast 7 p.m.
New Mexico History Museum classroom, 113 Lincoln Ave. Join interim director Jon Hunner and curator Meredith Davidson for a free workshop, 1-3 p.m., to reserve a seat contact Tomas Jaehn at tomas.jaehn@state.nm.us.
Wade Wilson Art
217 W. Water St., 505-660-4393 Group show, including works by Ford Ruthling, Melissa Zink, and Carol Mothner, through Sept. 9.
Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The poet reads from and signs copies of Ears of Corn: Listen, 6 p.m.
Opera
Events
Gary Farmer & The Troublemakers, Texas roadhouse blues, 8 p.m., call for cover.
Santa Fe Opera Backstage Tours
Palace Restaurant and Saloon
Nightlife
The Matador
Family night: Dr. Sun Yat-sen
Santa Fe Opera, 301 Opera Dr., 505-986-5900 In its American premiere, Dr. Sun Yat-sen is firmly cast and well-performed but, does not live up to its dual ambitions as a historical epic and a romantic drama about modern China's founding father. 8 p.m., adults $25, children $12.
Classical Music Santa Fe Chamber Music Festival
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Noon concert, music of Debussy, Hindemith, and Mozart; performers include flutist Bart Feller, hornist Kelly Cornell, bassoonist Theodore Soluri, and violinist Harvey de Souza, $10-$25; 6 p.m. concert, music of Mozart and Messiaen, $10-$70; 505-982-1890, santafechambermusic.com.
In Concert
Max Early
Guitarras con Sabor, Gypsy Kings-style rhythms, 8 p.m., no cover.
La Boca
Chanteuse Nacha Mendez, 7-9 p.m., no cover.
La Fiesta Lounge at La Fonda
Country band Sierra, 7:30 p.m., no cover.
La Posada de Santa Fe Resort and Spa
Pat Malone Jazz Trio, 6-9 p.m., no cover.
Mine Shaft Tavern
Santa Fe Opera, 301 Opera Dr., 505-986-5900 Limelight karaoke, 10 p.m., no cover. Behind-the-scenes tours including production and Pranzo Italian Grill front-of-house areas are offered Mondays-Saturdays Geist Cabaret, with pianist David Geist, 6-9 p.m., through Aug. 22. call for cover. (See Page 73 for addresses)
¡Chispa! at El Mesón
Kirk Kadish Duo, jazz pianists, 7-9 p.m., no cover.
Cowgirl BBQ
Americana guitarist/songwriter Jeremy Joyce, 4:30 p.m.; Americana/rock band J.J. & The Hooligans, 8 p.m., no cover.
Duel Brewing
Advance Trance, dance band, 7:30 p.m., no cover.
DJ Inky Inc. spins soul/punk/ska, 8:30 p.m., no cover.
Second Street Brewery
Paw Cole & The Clinkers, old-timey tunes, 6-9 p.m., no cover.
Shadeh
DJ Oona, retro rewind, 9 p.m.-4 a.m., no cover.
Vanessie
Pianist Bob Finnie, 6:30-9:30 p.m., call for cover.
Santa Fe Bandstand
The Plaza Americana/folk duo Terri Hendrix & Lloyd Maines, 6:30-7:30 p.m.; country singer/songwriter Michael Hearne & Friends, 7:45-9 p.m.; santafebandstand.org, no charge, visit santafebandstand.org for the summer series schedule.
Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered Mondays-Saturdays Theater/Dance through Aug. 22, 9 a.m., $10; seniors $8; no charge Antonio Granjero and EntreFlamenco for ages 22 and under. María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr. Nightlife Flamenco dance troupe, with Estefania Ramirez, (See Page 73 for addresses) 8 p.m., $25-$45, 505-988-1234, ticketssantafe.org, nightly performances, except Tuesdays, through Burro Alley Café Lounge August. Jazz (off the Plaza), with Cristianne Miranda, Tommy Trujillo on the patio; swing-dance lessons Daniel Ulbricht and New York City Ballet inside; 9 p.m.-2 a.m., call for cover. performers
¡Chispa! at El Mesón
Flamenco guitarist Chuscales, 7-9 p.m., no cover.
Cowgirl BBQ
Singer/songwriter Caroline Spence, 8 p.m., no cover.
La Fiesta Lounge at La Fonda
Country band Sierra, 7:30 p.m., no cover.
Palace Restaurant & Saloon
Vanilla Rauk, rock and blues, 8:30 p.m., no cover.
THURSDAY 8/14 Gallery and Museum Openings Objects of Art Santa Fe preview
El Museo Cultural de Santa Fe 555 Camino de la Familia The Art and Artistry of Margaret Tafoya: Santa Clara Pueblo Potter, loan exhibit for Objects of Art Santa Fe, 6 p.m., $50 admission fee benefits New Mexico PBS.
Iconik Coffee Rosters
1600 Lena St., 505-428-0996 Photographs by Robert Stivers and sculpture by Andrea Senutovitch, reception 6:30-8:30 p.m.
The Lensic Stars of American Ballet, 7:30 p.m., includes a pre-performance talk by Ulbricht, $13.50-$100, 505-988-1234, ticketssantafe.org.
The Fantasticks
Christ Lutheran Church, 1701 Arroyo Chamiso The musical is presented by the church to raise funds for roof repairs, 7 p.m., $20 in advance and $25 at the door, church@christlutheransantafe.org, 505-471-6596, continues Aug. 15-16.
Sylvia
Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 The New Mexico Actors Lab presents A.R. Gurney’s comedy, 7:30 p.m., $20, discounts available, santafeplayhouse.org, Thursdays-Sundays through Aug. 17.
Books/Talks Breakfast with the Curator
Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill Get a behind-the-scene peek of Native American art with curator Maxine McBrinn, 8:30-10:30 a.m., $35 includes a full breakfast at Museum Hill Café, followed by programs at the museum, 505-982-5057, advance tickets available at the MIAC gift shop.
Sheinbaum & Russek shows works by photographer Manuel Alvarez Bravo, 505-988-5116.
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Taos School of Music Festival
The season finale: free Young Artists concerts: 8 p.m. Saturday, Aug. 9, music of Brahms and Schubert, Hotel St. Bernard, Taos Ski Valley; 7:30 p.m. Sunday, Aug. 10, music of Schumann and Schoenberg, Taos Community Auditorium, 145 Paseo del Pueblo Norte; 575-776-2388, taosschoolofmusic.com.
8/9
Smokey Bear's 70th Birthday Celebration in Taos
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.
Pastel Paintings Exhibition
Tjaruwa Woods prospectus and details for the Nov. 1-30 show held at Albuquerque’s 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 September 17, guidelines and fee information are available online at santafeworkshops.com.
Hunter Kirkland Contemporary show paintings by Michael Madzo, 200-B Canyon Rd.
ALBUQUERQUE Events/Performances Chatter Sunday
The Kosmos, 1715 Fifth St. N.W. The ensemble plays music of Beethoven, Strauss, and John Adams, 10:30 a.m. Sunday, Aug. 10, poetry reading by Jim Fish follows, $15 at the door only, discounts available, chatterabq.org.
Freedom Work: Folk Forms and Variations
Outpost Performance Space, Albuquerque A five-part jazz suite by Santa Fean Lenny Tischler, 7:30 p.m. Thursday, Aug. 14, performers include woodwind artist Arlen Asher, saxophonist Brian Wingard, and bassist Andy Zadrozny, $10-$15 in advance at holdmyticket.com.
516 Arts
516 Central Ave. S.W., 505-242-1445 Digital Latin America, group show, through Aug. 30.
Los Alamos County Fair & Rodeo
Various venues Aug. 8-10 Kick-off exhibit 5-8 p.m. Friday, Mesa Public Library; Celebrate Los Alamos parade of floats 9-10 a.m. Saturday, Central avenue, arts & crafts fair follows at the Fuller Lodge until 4 p.m.; rodeo begins at 2 p.m. Saturday and runs through Sunday, North Mesa at Brewer Arena, visit losalamosnm.us for details.
MADRID
Season of Starlings
Engine House Theatre, 2846 NM 14, 505-473-0743 Staged reading of the screenplay about Madrid by filmmaker Betsy Burke, 7 p.m. Thursday, Aug. 14, $5-$10 suggested donation includes a movie poster sticker.
RED RIVER
18th Annual Hot Chile Days, Cool Mountain Nights
514 Central Ave. S.W., 505-766-9888 That's Where You Need to Be, group show of contemporary works, through Sept. 19.
Showcasing the town's root-music scene; Red River Red Chile Cook-off, Lone Star BBQ Society competition, and New Mexico State Green Chile Championship, Thursday-Saturday, Aug. 14-16, redriver.org.
JEMEZ SPRINGS
TAOS
Richard Levy Gallery
Pueblo Independence Day
Jemez Historic Site Commemorating the successful rebellion against Spanish Colonization by the Pueblo people of New Mexico in 1680; 7 a.m. Sunday, Aug. 10, pilgrimage run (13 miles) open to the public; festivities follow from 10:30 a.m. to 3 p.m., featuring traditional dances, arts & crafts, and food, no charge, 575-829-3530.
LOS ALAMOS Events/Performances Gordons’ Summer Concerts
The free music series continues with blues singer Janiva Magness, 7 p.m. Friday, Aug. 8, Ashley Pond, gordonssummerconcerts.com.
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Events/Performances KTAOS Solar Center concert
9 State Rd. 150, in El Prado Roots/reggae band The Meditations, 8:30 p.m. Friday, Aug. 8; advance tickets available online at holdmyticket.com.
Smokey Bear's 70th birthday celebration
Taos Plaza Songs, games, a Smokey Bear poster exhibit, and the surviving members of the Taos Pueblo firefighting crew, the Snowballs, will recount the story of the discovery of Smokey Bear during a wildfire in the Capitan Mountains, 2:30-5 p.m. Saturday, Aug. 9.
Community 2014 Fiesta Melodrama call for props
Workshop rehearsal space, 3205-B Richards Lane, 505-988-4262. In need of furniture and clothing for costumes for Aug. 22-Sept. 7 performances.
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
Call for sponsors, volunteers, and vendors to participate in an inaugural evening of live music and entertainment, with food trucks, from 4 p.m. to 7:30 p.m. Saturday, Sept. 19, in the parking lot of Santa Fe Place, 4250 Cerrillos Rd.; contact Dominic Silva, dthomas505@hotmail.com or 505-424-2452.
Santa Fe Humane Society and Animal Shelter
Dogs need individuals to take them on daily walks; all shifts available, call Katherine at 505-983-4309, Ext. 128.
Performers/Playwrights Coro de Cámara
The chamber chorus seeks 24 singers; six each: soprano, alto, tenor, and bass; auditions 9 a.m.1 p.m. Saturday, Aug. 23, Church of the Holy Faith, 311 E. Palace Ave.; 9 a.m.-1 p.m. Saturday, Aug. 30, First United Methodist Church, 715 Diamond Dr., Los Alamos; corodecamara_nm@aim.com or 505-695-6037.
Santa Fe Playhouse Workshops auditions
Santa Fe Playhouse Workshops, 3205-B Richards Lane, 505-988-4262 Women (ages 40-80) and girls (ages 14-17) for The Effects of Gamma Rays on Man-in-the-Moon Marigolds, held 11 a.m.-2 p.m. Saturday and Sunday, Aug. 16-17; and women of all ages for the musical Quilters, 11 a.m.-3 p.m. Sunday, Aug. 23 and 6-9 p.m. Monday, Aug. 25.
Santa Fe Playhouse playwright's forum
142 E. DeVargas St., 505-988-4262 Accepting full-length works by playwrights for the 2014-2015 season; plays must be unpublished and consist of eight or less characters; four plays will be selected for staged readings Oct. 23-26, one will be chosen for a March 2015 production; submit a short bio and play synopsis (and hard copy) no later than Sept. 15 to Cristina Duarte.
UNDER 21
Slowgirl
Blackbox Theater, Warehouse 21, 1614 Paseo de Peralta, 505-989-4423 For Giving Productions presents Greg Pierce's drama, 7:30 Saturday, 4 p.m. Sunday, Aug. 9-10, $13, discounts available, call 505-438-6078 for ticket information, final weekend.
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. 8, $5 suggested donation.
Santa Fe County Fair
Fair grounds, 3229 Rodeo Rd. Indoor exhibits, herding-dog demonstrations, a small-pet show, barnyard olympics, 9 a.m.-8 p.m. Friday and Saturday, 11 a.m.-noon Sunday, Aug. 8-9.
Preschool Story Time
Santa Fe Public Library, Main Branch, 145 Washington Ave., 505-955-6783 Geared toward ages 2-5; must be accompanied by an adult, 11-11:30 a.m. Friday, Aug. 8.
Smokey Bear's 70th birthday celebration
Taos Plaza Songs, games, a Smokey Bear poster exhibit, and the surviving members of the Taos Pueblo firefighting crew, the Snowballs, will recount the story of the discovery of Smokey Bear during a wildfire in the Capitan Mountains, 2:30-5 p.m. Saturday, Aug. 9
Here Comes the Storyteller
Wheelwright Museum of the American Indian, 704 Camino Lejo, Museum Hill, 505-982-4636 Joe Hayes returns to town spinning tales of the Southwest, 7 p.m. Saturday and Sunday, Aug. 9-10, no charge., this is an outdoor even, so bring a blanket, pillow, or lawn chair.
Mindfulness class
Bee Hive Kids Books, 328 Montezuma Ave., 505-780-8051 Promoting creativity, self-awareness, and focus in kids ages 4 and up, 10:30-11:30 a.m. Sunday, Aug. 10, $12.
Georgia O'Keeffe Museum Education Annex 123 Grant Ave., 505-982-0121 Art and Leadership Programs for Girls and Boys exhibit of works by students ages 11-14, reception 3-5 p.m., through Aug. 29. ◀
Violent Femmes
11 a.m.-6 p.m. Friday-Sunday, Aug. 15-17, $10 run of show in advance, objectsofartsantafe.com, $13 at the door.
Jerry López and Friends
Santa Fe School of Cooking, 125 N. Guadalupe St., 505-983-4511 Featuring a dinner organized by chef John Rivera Sedlar and Jemez Pueblo artist Phillip Vigil, 6 p.m. Tuesday, Aug. 19, $250 in advance online at attheartiststable.eventbrite.com, proceeds benefit Partners in Education and Santa Fe Arts Commission.
Santa Fe Community Convention Center Veteran alternative-rock band, 7:30 p.m. Thursday, Sept. 11, $42, 505-988-1234, ticketssantafe.org. 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.
MUSIC
Hayes Carll and His Band
Santa Fe Sol Stage & Grill Singer/songwriter, 7:30 p.m. Friday, August 15, $17, ticketssantafe.org, 505-988-1234.
Music From Angel Fire
Angel Fire, Las Vegas, Raton, and Taos
The 31st festival season runs Aug. 15-31, opening night features Ida Kavafian, Steven Tenenbom, and Anne-Marie McDermott in works by Beethoven and Andrew Hsu, tickets start at $30, discounts available, 888-377-3300, musicfromangelfire.org.
Kaye Ballard
Santa Fe Playhouse, 142 E. De Vargas St. The veteran singer performs with pianist David Geist in a program titled Everything You Always Wanted to Know About Nothing, But Were Afraid to Ask!, 7:30 p.m. Sunday, Aug. 17, $20, 505-988-4262, proceeds benefit the Santa Fe Melodrama.
Eric Johnson
Santa Fe Sol Stage & Grill Austin, TX-based rock guitarist, 7:30 p.m. Sunday, Aug. 17, $27, 505-988-1234, ticketssantafe.org.
Robert Mirabal
El Farol Dinner shows by the Taos Pueblo flutist, dinner 5:30 p.m., performance 6:30 p.m. Monday, Wednesday, and Friday, Aug. 18, 20, and 22, $25, 505-983-9912.
Dave & Phil Alvin
James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Country-blues brothers, 7:30 p.m. Tuesday, Aug. 19, $25 in advance, $29 at the door, brownpapertickets.com.
40th Annual Santa Fe Bluegrass & Old Time Music Festival Santa Fe County Fairgrounds, 3229 Rodeo Rd. This year's lineup includes The Chapmans, James Reams & The Barnstormers, Todalo Shakers, and Higher Ground, Friday-Sunday, Aug. 22-24, $15-$40, three-day pass $50, ages 16 and under no charge, tickets available in advance and at the door, southwestpickers-fesitival.org.
Avett Brothers
Santa Fe Opera, 301 Opera Dr. North Carolina-based folk-rock band, 8 p.m. Wednesday, Aug. 27, $35-$55 in advance, ticketmaster.com, $40-$60 day of show.
Mariachi Extravaganza de Santa Fe
Santa Fe Community Convention Center, 201 W. Marcy St. Annual Santa Fe Fiestas concert; Mariachi Reyna de Los Angeles (with Angel Espinoza), Mariachi Buenaventura, and Los Niños de Santa Fe, 7 p.m. Sunday, Aug. 31, call 505-988-1234 for advance tickets.
Justin Furstenfeld: An Open Book Tour
Jean Cocteau Cinema Singer/songwriter, 7 p.m. Wednesday, Sept. 10, $25, jeancocteaucinema.com.
Lyle Lovett and His Large Band
The Downs of Santa Fe, 27475 W. Frontage Rd. Texas singer/songwriter, 7 p.m. Saturday, Sept. 13, $12-$76, 505-988-1234, ticketssantafe.org.
Steve Riley & Mamou Playboys
The Lensic Cajun band, 7 p.m. Saturday, Sept. 13, $15-$35, 505-988-1234, ticketssantafe.org.
Big Al Anderson
Gig Performance Space, 1808 Second St. Guitarist/songwriter, 7:30 p.m. Saturday, Sept. 13, $20 at the door, gigsantafe.com.
Santa Fe Pro Musica
The Lensic The 33rd season opens with pianist Melissa Marse joining the orchestra in a performance of Beethoven's Symphony No. 5 and Piano Concerto No. 3; 4 p.m. Saturday and 3 p.m. Sunday, Sept. 20-21, $10-$65, 505-988-1234, ticketssantafe.org, dinner with the pianist follows (contact SFPM box office to reserve a seat, 505-988-4640).
THEATER/DANCE
Dancing Earth
Skylight, 139 W. San Francisco St. Origi-Nation: Roots and Seeds, the dance troupe's tenth-anniversary performance, 6 p.m. Sunday, Aug. 24, dance party follows at 8 p.m., $25, VIP tickets $50, dance party only $10, for advance tickets email dancingearthtkts@gmail.com.
The Artist's Table
Antique American Indian Art Show Santa Fe 2014
El Museo Cultural de Santa Fe, 555 Camino de la Familia Preview party 6-9 p.m. Tuesday, Aug. 19; show 11 a.m.-6 p.m. Wednesday and Thursday, Aug. 20-21, preview party and Institute of American Indian Arts benefit $50 in advance and at the door, show tickets $10 run of show in advance, $13 at the door, tickets available online at antiqueindianartshow.com.
Sundance Institute Native Film Series
Jean Cocteau Cinema Shorts and features shown daily at 6:30 p.m. Wednesday-Sunday, Aug. 20-24; featuring Sydney Freeland's 2013 film Drunktown's Finest, Sterlin Harjo's This May Be the Last Time, and Andrew Okpeaha MacLean's On the Ice, $10, discounts available, jeancocteaucinema.com.
39th Annual Wheelwright Museum of the American Indian Benefit Auction
704 Camino Lejo, Museum Hill Silent auction and preview of live auction items 4-6 p.m. Thursday, Aug. 21, Collector’s Table 10 a.m. Friday, Aug. 22, followed by live auction preview and live auction; catered lunch available, 505-982-4636, wheelwright.org.
Indigenous Fine Art Market- IFAM
Santa Fe Railyard More than 400 Native artists are slated to participate in this inaugural market ThursdaySaturday, Aug. 21-23; events include a kickoff Glow Dance Party, youth programming, and film screenings, indigefam.org.
93rd Annual Santa Fe Indian Market
The Plaza Thursday, Aug. 21; sneak preview Friday, Aug. 22; live auction dinner and gala Saturday, Aug. 23; market Saturday and Sunday, Aug. 22-23; swaia.org, 505-983-5220.
Palace of the Governors Portal Artisans Celebration
Music, handcrafted wares, raffles, traditional dances, and food, 10 a.m.-5 p.m. Saturday and Sunday, Aug. 23-24, on the Plaza, no charge, 505-476-5100.
Santa Fe Pow Wow
Genoveva Chavez Community Center, 3221 Rodeo Rd. The tenth annual event includes Host Northern Drum Black Eagle Singers, Host Southern Drum Southern Crew Singers, gourd dancer Milton Yazzie, and dancer Alannah Tailfeathers, artists booths open and gourd dancing begins at 5 p.m. Saturday, Aug. 23, grand entery is at 7:30 p.m., $5 at the door, discounts available.
Annual burning of Will Shuster's Zozobra
Fort Marcy Recreation Complex 490 Bishops Lodge Rd. Gates open at 3 p.m. Friday, Aug. 29, Old Man Gloom goes up in flames after dusk, includes live music and food concessions, $10 in advance and at local venues, kids under 10 no charge, visit burnzozobra.com for details.
O'Keeffe!
Warehouse 21 Carolyn Wickwire performs in a Flower and Bone Productions presentation of Lucinda McDermott's one-woman play, Monday, Aug. 25, WednesdaySunday, Aug. 27-31, $20, Monday performance $15, visit brownpapertickets.com for advance tickets.
Aspen Santa Fe Ballet: Mixed Repertory
The Lensic Encore performance of Square None by Norbert De la Cruz III; Return to a Strange Land by Jiří Kylián; and The Heart(s)pace by Nicolo Fonte, 8 p.m. Saturday, Aug. 30, $25-$72, 505-988-1234, ticketssantafe.org.
National Theatre of London in HD
The Lensic The broadcast series continues with Euripides' tragedy, Medea, 7 p.m. Thursday, Sept. 11, $22, 505-988-1234, ticketssantafe.org.
HAPPENINGS
36th Annual Whitehawk Antique Indian & Ethnographic Art Show
Santa Fe Community Convention Center, 201 W. Marcy St. Workshops and free evaluations of items brought to the show; launch party and preview Friday, Aug. 15, show runs Saturday-Monday, Aug. 16-18, preview and party $75; general admission to the show $10; run of show $17; whitehawkshows.com.
Fifth Annual Objects of Art Santa Fe
El Museo Cultural de Santa Fe, 555 Camino de la Familia Contemporary, ethnic, and antique objects, including sculpture, jewelry, furniture, and books,
Guitarist Eric Johnson performs Aug. 17 at Santa Fe Sol Stage & Grill.
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New Mexico History Museum/ Palace of the Governors
113 Lincoln Ave., 505-476-5200 Painting the Divine: Images of Mary in the New World, rare Spanish colonial paintings, through March 29, 2015 • Poetics of Light: Pinhole Photography, through March 29, 2015 • Transformed by New Mexico, work by photographer Donald Woodman, through Oct. 12 • Water Over Mountain, Channing Huser’s photographic installation • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe; nmhistorymuseum.org; open daily through Oct. 7. Zane Bennett Contemporary shows work by Yamaguchi Ai, 435 S. Guadalupe St.
AT THE GALLERIES
SITE Santa Fe
Cloud 5 Project
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.
Eggman & Walrus Art Emporium
217 Johnson St., 505-946-1000 Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept. 17. Open daily; okeeffemuseum.org.
Bellas Artes
653 Canyon Rd., 505-983-2745 Black White Silver, group show, through Aug. 30. 1805 Second St., 505-954-1274, cloud5project.com Lucent, group show of multimedia works, including artist Romy Eijckmans (see story, Page 52), limited hours Fridays-Sundays, through Sunday, Aug. 10. 130 W. Palace Ave., second floor, 505-660-0048 Cracking the Egg, group show, through Sunday, Aug. 10.
Gebert Contemporary
558 Canyon Rd., 505-992-1100 Without Gravity, paintings by Lawrence Fodor, through Saturday, Aug. 9.
Hunter Kirkland Contemporary
200-B Canyon Rd., 505-984-2111 Works by painter Michael Madzo and sculptor Ted Gall, through Sunday, Aug. 10.
Karan Ruhlen Gallery
225 Canyon Rd., 505-820-0807 Wax Duet, encaustic paintings by Ellen Koment and Mary through Sunday, Aug. 10.
Marion Center for Photographic Arts Santa Fe University of Art & Design
1600 St. Michael's Dr., 505-473-6341 Water Spirits Walking on the Land, paintings, photographs, and an installation by Cate Moses, through Aug. 20.
Photo-eye Gallery
541 S. Guadalupe St., 505-988-5152 Reverie, work by photographer Tom Chambers, through Sept. 13.
Scheinbaum & Russek
812 Camino Acoma, 505-988-5116 Tres Visiones, photographs by Manuel Álvarez Bravo (1902-2002), Manuel Carrillo (1906-1989), and Luis González Palma, through Sept. 13.
Turner Carroll Gallery
725 Canyon Rd., 505-986-9800 Survival, group show including works by Hung Liu, Georges Mazilu, and Igor Melnikov, through Aug. 25.
MUSEUMS & ART SPACES Santa Fe Santa Fe Center for Contemporary Arts
1050 Old Pecos Trail, 505-982-1338, ccasantafe.org The Curve, Center’s annual show of awardwinning photography • Dear Erin Hart, multimedia exhibit by Jessamyn Lovell • Air Force: Aesthetic Experiments in Aviation, works on paper created via remote-controlled airplane; exhibits through Sunday, Aug. 10. Open Thursdays-Sundays.
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PASATIEMPO I Aug. 8-14, 2014
Georgia O’Keeffe Museum
Museum of Contemporary Native Arts
108 Cathedral Place, 505-983-1777 Looping screenings of the documentary Bert & Wei Wei: TIME 2014 by Daniel Hyde and Blackhorse Lowe through Oct. 16. Closed Tuesdays; iaia.edu/museum.
Museum of Indian Arts & Culture
710 Camino Lejo, Museum Hill, 505-476-1250 Footprints: The Inspiration and Influence of Allan Houser, five monumental works by the late Chiricahua Apache sculptor displayed outdoors; accompanied by works of other sculptors including Houser's sons Bob Haozous and Philip Mangas Haozous, Doug Hyde, Estella Loretto, and Robert Shorty; through May 2015 • Turquoise, Water, Sky: The Stone and Its Meaning, highlights from the museum’s collection of jewelry • Native American Portraits: Points of Inquiry, vintage and contemporary photographs, through January 2015 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, artifacts from the museum collection. Open daily; indianartsandculture.org.
Museum of International Folk Art
706 Camino Lejo, Museum Hill, 505-476-1200 Between Two Worlds: Folk Artists Reflect on the Immigrant Experience, International Folk Arts Week kick-off 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 • Brasil and Arte Popular, pieces from the museum’s collection, through Sunday, Aug. 10; internationalfolkart.org; open daily.
Museum of Spanish Colonial Art
750 Camino Lejo, Museum Hill, 505-982-2226 Secrets of the Symbols: The Hidden Language of Spanish Colonial Art • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation; spanishcolonial.org; open daily through Sept. 1.
New Mexico Museum of Art
107 W. Palace Ave., 505-476-5072 Alcove Shows 1917-1927, works from the museum collection, opening Friday Aug. 8 • Local Color: Judy Chicago in New Mexico 1984-2014, focusing on public and personal projects, through Oct. 12 • Focus on Photography, rotating exhibits • Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes used to make color and platinum-palladium prints from the collection, through March 2015 • New Mexico Art Tells New Mexico History, including works by E. Irving Couse, T.C. Cannon, and Agnes Martin, through 2015 • Spotlight on Gustave Baumann, works from the museum’s collection, through 2015. Open daily through Oct. 7; nmartmuseum.org.
Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900 Harvesting Traditions, work by ceramicist Kathleen Wall, through Jan. 4, 2015. Closed Mondays; pvmiwa.org.
Poeh Cultural Center and Museum
Maxwell Museum of Anthropology
UNM campus, 1 University Blvd. N.E., 505-277-4405 The museum’s collection includes individual archaeological, ethnological, archival, photographic, and skeletal items. Closed Sundays and Mondays; maxwellmuseum.unm.edu.
National Hispanic Cultural Center
1701 Fourth St. S.W., 505-604-6896 ¡Papel! Pico, Rico y Chico, group show of works in the traditional art of papel picado (cut paper). Closed Mondays; nationalhispaniccenter.org.
Los Alamos Bradbury Science Museum
1350 Central Ave., 505-667-4444 Information on the history of Los Alamos and the Manhattan Project as well as over 40 interactive exhibits. Open daily; lanl.gov/museum.
Los Alamos Historical Museum
1050 Bathtub Row, 505-662-4493 Core exhibits on area geology, homesteaders, and the Manhattan Project. Housed in the Guest Cottage of the Los Alamos Ranch School. Open daily; losalamoshistory.org.
Pajarito Environmental Education Center
3540 Orange St., 505-662-0460 Exhibits of flora and fauna of the Pajarito Plateau; herbarium, live amphibians, and butterfly and xeric gardens. Closed Sundays and Mondays; pajaritoeec.org.
Española Bond House Museum and Misión Museum y Convento
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.
78 Cities of Gold Rd., 505-455-3334 Nah Poeh Meng, 1,600-square-foot installation highlighting the works of Pueblo artists and Pueblo history; closed Saturdays and Sundays; poehcenter.org. Also, ongoing sculpture exhibits in the Tower Gallery, 505-455-3037. Closed Sundays; roxanneswentzell.net.
708 Hacienda Way, 575-758-1000 One of the few Northern New Mexico-style, Spanishcolonial“great houses”remaining in the American Southwest. Built in 1804 by Severino Martinez. taoshistoricmuseums.org; open daily.
Wheelwright Museum of the American Indian
E.L. Blumenschein Home and Museum
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.
Holocaust and Intolerance Museum of New Mexico
616 Central Ave. S.W., 505-247-0606 Exhibits on overcoming intolerance and prejudice; nmholocaustmuseum.org; closed Sundays and Mondays.
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.
La Hacienda de los Martinez
Taos 222 Ledoux St., 575-758-0505 Color-field paintings by Donald Roy Thompson, through Sunday, Aug. 10. 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, ceramics, 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.
Michael Madzo: I Remember the Day When You First Arrived Within My Heart 2014, acrylic on paper sewn with cotton threads Hunter Kirkland Contemporary, 200-B Canyon Road, 505-984-2111 Ted Gall’s bronze-and-steel sculptures and Michael Madzo’s surreal mixed-media portraits and still lifes are quirky flights of fancy drawn from the realm of the phantasmagorical. Gall infuses his works with a sense of myth and spirituality. Madzo’s whimsical paintings are made on sewn-together bits of paper, lending them a complex textured quality. The artists’ work is on view at Hunter Kirkland through Sunday, Aug. 10.
Peter Hagen: In the Shadows 2014, oil on canvas Liberian Grebo mask early 20th century Intrigue Gallery, 238 Delgado St., 505-820-9265 Anthropologist Robert Fiedler’s impressive collection of traditional tribal objects shares space with contemporary figurative art at Intrigue Gallery. The antique pieces — tribal masks, sculptural objects, and miniatures from western and central Africa among them — roost at the space, while the new exhibit African Art Masquerade,, a selection of vintage ethnographic art recently acquired by Fiedler, is on view through August. The show opens with a 5 p.m. reception on Friday, Aug. 8.
McLarry Fine Art, 225 Canyon Road, 505-988-1161 Plein-air artist Peter Hagen’s New Mexico landscapes capture the Southwest’s pristine beauty in atmospheric paintings awash in golden light. Landscape of Silence, an exhibit of his work, opens with a 5 p.m. reception on Friday, Aug. 8.
A P E E K AT W H AT’S S H OW I N G A R O U N D TOW N
David Crane: Diagonal Box 2014, stoneware
Pedro Surroca: Portraiture of a Branch 2014, oil on linen LewAllen Galleries at the Railyard 1613 Paseo de Peralta, 505-988-3250 Branches, a two-person show of sculptures by Hiroshi Yamano and paintings by Pedro Surroca, explores the elegant forms of tree branches. Yamano creates blown-andsculpted glass figures of birds, branches, flowers, and fish in three-dimensional still lifes that convey a sense of harmony and peace. Surroca’s photorealistic paintings of branches are graceful, sparse compositions that capture the beauty of the unadorned branch. The opening reception is on Friday, Aug. 8, at 5 p.m.
Santa Fe Clay 545 Camino de la Familia 505-984-1122 David Crane’s and José Sierra’s functional ceramics are sculptural objects rendered with sleek, geometric patterns and contemporary designs. Crane, a founding member of the crafts association Sixteen Hands, works in stoneware and is inspired by diverse pottery traditions. Sierra, a native of Venezuela, works in stoneware and porcelain and is inspired by contemporary aesthetics and pre-Columbian art. The 5 p.m. opening reception is on Friday, Aug. 8. An Indian Market reception takes place on Friday, Aug. 22, at 5 p.m.
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NEWMAN’S Newmans
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soils now is the ideal time to plant trees and shrubs. Planting now will give the trees plenty of time to root and establish before cold winter months set in. The trees will continue to grow roots all winter long giving you a much more drought tolerant tree for next year. With the soils loosened gophers are also able to dig easier and are expanding their territory. Now is the time to use Mole Go and solar powered devices to keep them out of areas with new plants.
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Pete Moss’ Garden Tip: With all of our great rain and moist
Ocate Road
Walmart
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25 lbs. $19.99 Regularly $29.99
#5 containers $19.99 Regularly $29.99
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Yum-Yum mix
#1 containers $7.99 Regularly $11.99
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#5 containers $19.99 Regularly $29.99
oPeN 9am-5Pm 7 daYs a WeeK
Good thru 8/14/14 • while supplies last • stop by today and see our Great selection.
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PASATIEMPO I August 8 - 14, 2014
5 I-2
7501 Cerrillos rd.
471-8642