The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture July 25, 2014
innovative native cuisine
526 Galisteo Street • 820.0919 www.restaurantmartin.com
Lunch Special Lunch Special Santacafé “Very Green Salad” Santacafe Lobster Roll Avocado, Iceberg Lettuce Wedge, Asparagus, Fernando’s Lobster Salad served in Soft Housemade Roll Applewood Smoked Bacon w/ Pommes Frites – 20.00 & Green Goddess Dressing - 12.00 w/ Lobster Salad - 18.00 Dinner Special Braised Pork “Osso Buco” Special w/ Green ChileDinner Country Mashed Potatoes, 8 oz “Bistro Skirt Steak”, Polenta, Carrots w/ Wild Mushroom Creamy Demi-Glace – 26.00 Sauteed Baby Spinach w/ Salsa Fresca - 28.00
lunch / dinner / brunch – open every day! Happy Hour: 4 – 6 p.m. Mon. thru Fri. Our ‘Classic’ appetizers – 50% off
Selected W ines-by-the-glass, ‘Well’ cocktails & House Margarita - $5.00 each FULL BAR ● FREE WI-FI ● HDTV
505 • 984 • 1788 please visit our website www.santacafe.com
231 washington ave ● santa fe
Open for lunch and dinner daily. 1501 Paseo de Peralta, Santa Fe 505-955-7805 dine@hotelsantafe.com
NINTH ANNUAL
NEW MEXICO JAZZ FESTIVAL
ALBUQUERQUE | SANTA FE
JULY 11–27, 2014 A COLLABORATIVE PROJECT OF THE OUTPOST PERFORMANCE SPACE THE LENSIC PERFORMING ARTS CENTER & THE SANTA FE JAZZ FOUNDATION
PERFORMANCES AT T H E L E N S I C
Terri Lyne Carrington’s Mosaic Project J U LY 2 5 , 7 : 3 0 P M
Jack DeJohnette Trio with Ravi Coltrane & Matt Garrison J U LY 2 6 , 7 : 3 0 P M
OTHER NM JAZZ F E S T I VA L P E R F O R M A N C E S C L A U D I A V I L L E L A Q U A RT E T C E D R I C WAT S O N & B I J O U C R E O L E T O O T I E H E AT H , E T H A N I V E R S O N , BEN STREET TRIO BUTLER, BERNSTEIN & THE HOT 9 ARRESTED DEVELOPMENT RAOUL MIDÓN O M A R S O S A Q U A RT E T O AFROCUBANO
IN F O:
NewMexicoJazzFestival.org TicketsSantaFe.org 505-988-1234 O UT POST: 505-268-0044
TI CKE TS:
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dr. mark Botwin
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| 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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SANTA FE’S RAILYARD ARTS DISTRICT The Destination for Contemporary Art L A ST F R I DAY A R T WA L K
TO N I G H T, J U LY 2 5 . 2 0 1 4
5:00-7:00PM
WILLIAM SIEGAL GALLERY 18th Century Aymara Ponchos
TAI MODERN Fujitsuka Shosei, Cosmos
CHARLOTTE JACKSON FINE ART Anne Truitt, Paintings and Works on Paper
LEWALLEN GALLERIES Henry Jackson, Halted in Transition
EVOKE CONTEMPORARY Nicholas Herrera, A Modern Santero, opening + book signing
DAVID RICHARD GALLERY Gregory Botts, Selections from the Madrid Group Meridel Rubenstein, Photosynthesis Landscapes and Cloudscapes
PHOTO-EYE Tom Chambers, Reverie
JAMES KELLY CONTEMPORARY James Drake, Black Swan, drawings #1254 & 1255 (detail)
RAILYARDARTSDISTRICT P
JAMES KELLY
S PA EO
WAREHOUSE 21
CAMINO DE LA FAMILIA
EL MUSEO CULTURAL
P
LEWALLEN
MANHATTAN
CAMINO DE LA FAMILIA
MARKET STATION
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PE RA
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SANTA FE DEPOT
RAILYARD PLAZA
SITE SANTA FE Visit SITE’s new biennial series, SITElines.2014: Unsettled Landscapes and bring an item to barter in Jason Middlebrook’s Your General Store, a SITE Santa Fe Commission
MA
TAI MODERN EVOKE
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UA
DA
LU
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CHARLOTTE JACKSON
WILLIAM SIEGAL DAVID PHOTO-EYE RICHARD
ZANE BENNETT
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ZANE BENNETT CONTEMPORARY ART Japanese Contemporary Art,
R A I L YA R D PA R K
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The Railyard Arts District (RAD) is comprised of nine prominent Railyard area galleries and SITE Santa Fe, a leading contemporary arts venue. RAD seeks to add to the excitement of the new Railyard area through coordinated events like this monthly Art Walk and Free Fridays at SITE, made possible by the Brown Foundation, Inc., of Houston. We invite you to come and experience all we have to offer.
www.santaferailyardartsdistrict.com 4
PASATIEMPO I July 25 - 31, 2014
See Club Rock for promotional rule details.
10 Min. North of DOWNTOWN Santa Fe Exit 175 on Hwy 84/285
1-800-GO-CAMEL camelrockcasino.com
Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room
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Featuring Attractive Handcrafted Furniture
Southwestern Style Great one-of-a-kind Pieces Reasonable prices everyday of the year! Please come in, you’ll be pleasantly surprised.
Navajo One Door Bookcase Adjustable Shelves 17”W x 13”D x 76”h $480 Navajo Two Door Bookcase (shown) Adjustable Shelves 31”W x 13”D x 76”h $682 Navajo Three Door Bookcase Adjustable Shelves 48”W x 13”D x 76”h $980
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
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T H E S A N TA F E O P E R A PRESENTS
Joaquin encinias
marisol encinias
FLAMENCO aT el farol on canyon road
july 10 - august 24 • thursday - tuesday • 7 : 00pm
AMERICAN PREMIERE
D R . S U N YAT- S E N
T
I
- DINNER SHOW • $25 • RESERVATIONS RECOMMENDED -
HUANG RUO
Escape for an evening of flamenco with traditional Spanish tapas and wine in a romantic garden setting. This summer, at Santa Fe's El Farol on historic Canyon Road, witness up close the intimate
WITNESS TO HISTORY
connection between flamenco dancer, singer and guitarist as they weave their way through complex rhythms and haunting melodies.
his historical opera takes an intimate look behind the struggle to
overthrow China’s ancient monarchy. Huang Ruo’s compelling music evokes not only Sun Yat-sen’s heroic exploits, but also those of the woman he loved. Dr. Sun Yat-sen delivers a thrilling blend
Come be transformed.
– f e at ur i n g – yjastros
of Eastern, Western, folk and classical music styles. This American premiere offers a most unique night at the Opera. Don’t miss it!
the american flamenco repertory company
8:30 pm July 26 • 8:00 pm July 30; August 8, 14
Backstage Tours offered Monday - Saturday at 9 am. 6
PASATIEMPO I July 25 - 31, 2014
www.SantaFeOpera.org 505-986-5900 I 800-280-4654
Ken Howard photo
vicente griego
Arrive early with a tailgate supper to enjoy the sunset and mountain views!
kayla lyall
carlos menchaca
alexa miton
elena osuna
calvin hazen
505.983.9912 • ELFAROLSF.COM • 808 CANYON ROAD • SANTA FE, NEW MEXICO
IMPACTS! . 勢み Japanese COntempOrary art preVIeW OpenInG FRIDAY, JULY 25, 5-7 PM
IMAGE: TANADA KojI, TENsEN GIrl , 2011, cAMphor TrEE wooD, pAINT, 37 3/4 x 13 3/8 x 10 5/8 IN. (96 x 34 x 27 cM)
FeSTIvAL oF SonG
In partnership with The Santa Fe Opera Festival of Song is a series of intimate one-hour recitals featuring stars of The Santa Fe Opera, followed by meet-the-artist receptions. Alek Shrader, tenor, and Daniela Mack, mezzo-soprano, with Joseph Illick, pianist thursday, july 31, 2014 | 4:00 pm Corinne Winters, soprano, with Steven Blier, pianist sunday, august 3, 2014 | 4:00 pm Paul Groves, tenor, with Joseph Illick, pianist friday, august 8, 2014 | 4:00 pm Brenda Rae, soprano, with In Sun Suh, pianist sunday, august 10, 2014 | 4:00 pm Tickets: $45 & $75 TicketsSantaFe.org | 505 988 1234 or PerformanceSantaFe.org | 505 984 8759 Location: St. John’s United Methodist Church
2014–2015 sponsors
GranD OpenInG FRIDAY, AUGUST 22, 5-7 PM presenteD By zAne benneTT ConTeMPoRARY ART & MIzUMA ART GALLeRY, ToKYo zane bennett contemporary art
p e r F O r m a n c e S a n Ta F e 505 984 8759 · www.PerformanceSantaFe.org
435 S Guadalupe St, Santa Fe, nM 87501 t: 505-982-8111 zanebennettGallery.coM
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Joseph Henry Sharp | After the Hunt | 30 by 36 inches Oil on canvas | Estimate: $240,000 - $280,000 | To be offered at the August Auction
AUCTION SATURDAY | AUGUST 16TH | SANTA FE 494 LOTS WILL BE OFFERED SESSION I (LOTS 1-235A) - 10:00 AM | SESSION II (LOTS 236-493) - 2:00 PM ARTWORK WILL BE ON PREVIEW AUGUST 4TH TO AUGUST 16TH MONDAY THROUGH FRIDAY, 8:30 AM - 5:30 PM, SATURDAY 10:00 AM - 4:00 PM
VISIT ALTERMANN.COM FOR DIGITAL CATALOG AND AUCTION REGISTRATION
8
PASATIEMPO I July 25 - 31, 2014
The Bell Tower on the La Fonda Rooftop is Now Open for Lunch!
Fabulous Food. Spectacular Views. Open Daily 11am to Sunset PASATIEMPOMAGAZINE.COM
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THE SANTA FE NEW MEXICAN
July 25 - 31, 2014
www.pasatiempomagazine.com
ON THE COVER 48 Magic touch The subjects of photographer Tom Chambers’ unconventional photomontages, often children and animals, capture a spirit of innocence and wildness in affecting, dreamlike compositions. Chambers regards his striking, narrative imagery as works of magic realism, infusing the commonplace with a haunting sense of enchantment. Reverie, an exhibition of his recent bodies of work, opens Friday, July 25, at Photo-eye Gallery. On the cover is Chambers’ A View From the Bridge, a selection from his Illumination series.
MOVING IMAGES
BOOKS AND TALKS
68 Yves Saint Laurent 70 El Gusto 72 Pasa Pics
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In Other Words Abroad and Native Performers in Wild West Shows 22 Type A Writing between the lines
CALENDAR
MUSIC AND PERFORMANCE 24 26 29 30 34 38 40
ART
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Listen Up The season throws in some spice Pasa Tempos CD reviews Onstage Sylvia Power spot Battle of the flamenco companies In the key of chinoiserie Dr. Sun Yat-sen China’s new wave Composer Huang Ruo Fast learners Santa Fe Opera’s understudies take center stage
Pasa Week
AND 17 19 76
Mixed Media Star Codes Restaurant Review: Loyal Hound
50 54
Art in Review Mary, Mary Pageantry on the Plaza Spanish Market & Contemporary Hispanic Market 56 Lord of the rings Jeweler Reyes Ulibarri 58 Viajes The Sylvanus G. Morley legacy 62 Fearful Symmetry The art of Mark Spencer
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 PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com ■
Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com
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Associate Art Director — Lori Johnson 505-986-3046, ljohnson@sfnewmexican.com
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Calendar Editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com
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Copy Editor — Susan Heard 505-986-3014, sheard@sfnewmexican.com
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Marisol, by Tommy Romero
STAFF WRITERS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Bill Kohlhaase 505-986-3039, billk@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com CONTRIBUTORS Loren Bienvenu, Taura Costidis, Ashley Gallegos-Sanchez, Laurel Gladden, Peg Goldstein, Robert Ker, Jennifer Levin, Iris McLister James McGrath Morris, Robert Nott, Adele Oliveira, Jonathan Richards, Heather Roan Robbins, Casey Sanchez, Michael Wade Simpson, Steve Terrell, Khristaan D. Villela PRODUCTION Dan Gomez Pre-Press Manager
The Santa Fe New Mexican
© 2014 The Santa Fe New Mexican
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Robin Martin Owner
www.pasatiempomagazine.com
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Ginny Sohn Publisher
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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007
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MARKETING DIRECTOR Monica Taylor 505-995-3824
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RETAIL SALES MANAGER - PASATIEMPO Art Trujillo 505-995-3852
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ADVERTISING SALES - PASATIEMPO Chris Alexander 505-995-3825 Amy Fleeson 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830
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GRAPHIC DESIGNERS Rick Artiaga, Jeana Francis, Elspeth Hilbert, Joan Scholl
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ADMINISTRATIVE ASSISTANT Claudia Freeman 505-995-3841
Ray Rivera Editor
Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet
the owings gallery O N PA L AC E 100 East Palace Avenue Monday through Saturday, 10 to 5 Santa Fe, New Mexico 87501 505.982.6244 phone | 505.983.4215 fax info@owingsgallery.com | www.owingsgallery.com
Opening Reception: Tonight from 5 to 7pm At the Intersection of Palace and Washington Please also visit our main location at 120 East Marcy Street
PASATIEMPOMAGAZINE.COM
11
Proudly serving Northern New Mexico & Santa Fe for over 22 years.
ANTONIO GRANJERO + ESTEFANIA RAMIREZ
Ignite your senses. Experience world-class Spanish dance in a truly intimate theater setting.
JULY 2 – AUGUST 31, 2014 Performances nightly except Tuesdays | The Lodge at Santa Fe Tickets: $25-$45 | (505) 988-1234 or TicketsSantaFe.org
12
PASATIEMPO I July 25 - 31, 2014
• Implant Dentures • Implant Crowns • Partial & Full Dentures • Same Day Repairs • In-house Dental Lab • Emergencies Welcome • Artistically Crafted • Customized to the Individual
EMERGENCIES WELCOME EMERGENCIES WELCOME FINANCING AVAILABLE SENIOR DISCOUNTS DISCOUNTS
Coming up GALLERY CONVERSATION Monday, July 28, 12:15–1 p.m. “Understanding the Penitente Tradition in New Mexico,” with Joseph Maes, Curator of Historical Interpretation at El Rancho de las Golondrinas. Free with regular museum admission. PUBLIC LECTURE Wednesday, July 30, 6–7 p.m. “Judy Chicago: Feminist Icon and Iconoclast.” Scholar Lois Rednick will discuss Judy Chicago, from the artist’s explosive breakthrough project, The Dinner Party, to her thirty years in New Mexico. St. Francis Auditorium Free. ICE-CREAM SOCIAL Friday, August 1, 5:30–7:30 p.m. Enjoy our annual sweet treat in the patio. Free.
Weekly PLEIN-AIR PAINTING IN THE PATIO Sundays, 9 a.m.–Noon. Gather your paints, brushes and friends and enjoy the patio for a personal adventure in art. Admission to patio is free. (Museum opens at 10 a.m. with regular admission.)
IN-DEPTH GUIDED TOURS Wednesdays, 12:15–1 p.m. The museum’s knowledgeable and friendly guides lead in-depth exploration into specific artists and topics.
RESIDE
DROP IN AND DRAW Fridays, Noon–1 p.m.
Stop by, pick up pencils and a drawing board, and explore the museum.
HOME
classicalseries
JULY 10 Opening Night Dinner | La Fonda at 6:00 p.m. 10 The New World: Music of the Americas | CBSF
CBSF Cathedral Basilica of St. Francis LC Loretto Chapel FPC First Presbyterian Church
17 Spanish Mystics | LC 19 The New World: Music of the Americas | CBSF 20 Spanish Mystics | LC 22 A Romantic Evening with Brahms | FPC 24 Spanish Mystics | LC 25 The New World: Music of the Americas | CBSF 26 A Romantic Evening with Brahms | FPC 27 The New World: Music of the Americas | CSJ* 29 Spanish Mystics | LC
venueguide
in Albuquerque
31 A Romantic Evening with Brahms | FPC AUGUST 1 A Romantic Evening with Brahms | FPC 2 The New World: Music of the Americas | CBSF 5 Spanish Mystics | LC
Santa Fe
DesertChorale Intimate. Timeless. Transcendent.
CSJ Cathedral of St. John IPC Immanuel Presbyterian Church W21 Warehouse 21 All concerts begin at 8:00 p.m. *Matinee performances begin at 4:00 p.m.
Exploration and curiosity. Mysticism and devotion. Romance and passion. Sacrifice and radiance.
2014 summerfestival For more information, seating charts, and to purchase tickets, please visit our website at www.desertchorale.org
7 Mozart Requiem with Susan Graham | CBSF 9 Mozart Requiem with Susan Graham | CBSF 10 Mozart Requiem with Susan Graham | IPC*
in Albuquerque
popseries
AUGUST 14 “You Only Sing Twice!” Gala Benefit feat. Voasis 15 Soaking up the Summer with Voasis | W21 16 Soaking up the Summer with Voasis | W21*
Matinee and Evening Performances
17 Soaking up the Summer with Voasis | W21*
PASATIEMPOMAGAZINE.COM
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3 DAY SALE SPANISH MARKET WEEKEND JULY 25TH-27TH DOOR BUSTER
SALE $59
ITEM OF THE MONTH
DOZENS OF ITEMS
SALE $139 35-60% OFF YOUR MORNING FIX.
Bella Salad Bowl
Paella Pan
RETAIL $110
RETAIL $225
Twist Cocktail Shaker SALE $89 RETAIL $145
924 Paseo de Peralta Santa Fe NM 87501 / P: 505.988.5528 104 W San Francisco St. Santa Fe NM 87501 / P: 505.988.3574 90 Cities of Gold Rd. Santa Fe NM 87506 / P: 505-455-2731
Daily headlines from santafenewmexican.com and Fridays from pasatiempomagazine.com.
SANTAFE NEWMEXICAN .COM/ NEWSLETTERS
You turn to us.
BODEGA
FEATURING Randle Johnson from The Hess Collection This is your opportunity to experience Wine & Chile Fiesta at The Club at Quail Run and meet the winemaker for an amazing food and wine pairing with the award-winning wines of The Hess Collection, Artezin and Bodega ColomĂŠ. Reservations are now being accepted for this exclusive September 25th dinner. Call 505-986-2200 today.
The Club at Quail Run offers dining, health club and golf memberships. Call today for more information or to schedule a tour.
3101 Old Pecos Trail quailrunsantafe.org *A credit card guarantee is required at time of reservation.
14
PASATIEMPO I July 25 - 31, 2014
The Premier Source Jewelry Fashion Rugs nadelbachphoto.com(c)
61 Old Santa Fe Trail | Santa Fe, NM 87501 505.983.9241 | maloufontheplaza.com
PASATIEMPOMAGAZINE.COM
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regiStratiON SuggeSted fOr all prOgramS. tO regiSter, pleaSe viSit OkeeffemuSeum.Org Or call 505.946.1039.
breakfast with o’keeffe MoNDaY
aUGUst 4
8:30–9:45 aM
Georgia o’keeffe’s artist Materials
Georgia O’Keeffe Museum, 217 Johnson Street Free with Museum Admission reservations required by Friday, August 1 Sponsored by Wells Fargo
Sunsets & Star gazing & Buffet Brunch Tr Trains include: ain Diam
- Buffet Style Brun ch or Three Course m eal - Gluten Free Optio ns - Vegetarian Optio ns - Dairy Free Optio ns - Desert Scenery - Southwestern Vis tas
lectUres aND PerforMaNces friDaY
aUGUst 8
5–7 PM
weDNesDaY
aUGUst 27
Admit One
Georgia O’Keeffe Museum Courtyard, 217 Johnson Street Free with Museum admission 12:30 PM
loo’k closer: art talk at lunchtime
Georgia O’Keeffe Museum, 217 Johnson Street Free with Museum admission
workshoPs friDaY
aUGUst 8
ing Eventn RPailwlayaisnprnoud to annountoceoffer:
ther ore Santa Fe Sou e! We now have even m ic rv se of al w rene orate Events
- Weddings rties - Bachelor Pa Parties - Bachelorette - Reunions
9:30 aM–3 PM
Meet at the Center for Museum resources, Stewart Udall Building, 725 Camino Lejo, Museum Hill $80. Members & Business Partners, $75 reservations required by August 5
Use code: NM714 for 10% off Train Rides . Visit us at: sfsr.com
6–8 PM
Call 1-855-730-2040
from her eyes to Your words: writing in the Galleries Museum education Annex, 123 Grant Avenue $8. Members & Business Partners, $5 satUrDaY
aUGUst 16
9 aM–4 PM
landscape Photography: from fundamentals to finesse
Led by Alan ross, former assistant to Ansel Adams. Meet at the education Annex, 123 Grant Avenue $135. Members and Business Partners, $125 enrollment is limited. registration required by August 12
W
W
Look at the
aUGUst 12
- Corp arter - Private Ch - Filming your event! - Ask about
*10% off available for brunch and sunset & stargazing trains all offers subject to change
Plein-air landscape Painting
tUesDaY
Turquoise Class
- Table Seating - Groups Welcom e - Vintage Cars - Military / Senior Discounts
Admit One
the sweet sound of aloha: hawaiian slack-key Guitar Performance
ond Class
- Lounge Seating - Priority Meal Se rvice - Modern Luxury Cars - Booth Seating - Exhibition Cookin g - Meet with the Ch ef - Unlimited Tea/Co ffee
Wheelwright Museum OF THE AMERICAN INDIAN
2o14 YoUth: art exhibitioN sUNDaY
aUGUst 10
3–5 PM
2014 Youth art exhibition opening reception: art and leadership Programs for Girls and for boys
exhibition of view through August 29, 10 AM–4 PM. Museum education Annex, 123 Grant Avenue Free. No reservations required
faMilY ProGraMs satUrDaY
aUGUst 2
9:30–11:30 aM
hawaiian Gold: a collage adventure
Meet at the Georgia O’Keeffe Museum, 217 Johnson Street Free for children 4–12 accompanied by an adult registration required
reaDers’ clUb tUesDaY
aUGUst 19
10–11:30 aM
Ghost ranch, by leslie Poling-kempes
Museum education Annex, 123 Grant Avenue. Free
Case Trading Post: Artist at Work Series July 26 Demonstration from 10:00 a.m. – 12:30 p.m.
217 JOHNSON St., SaNta fe
=
5O5.946.1OOO
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OkeeffemuSeum.Org
New HOliday HOurS: OpeN at 9 am 16
PASATIEMPO I July 25 - 31, 2014
Erik Fender San Ildefonso Pueblo Pottery
704 Camino Lejo • Museum Hill | 505-982-4636 | www.wheelwright.org
Funded by the FRIENDS of the Wheelwright
MIXED MEDIA
Full force: Zane Bennett’s IMPACTS! • Zane Bennett Contemporary presents an eclectic mix of pieces for IMPACTS! • , a selection of more than 50 works by contemporary Japanese artists. The exhibition is a collaboration with Tokyo-based Mizuma Art Gallery and features several of that gallery’s represented artists, including Amano Yoshitaka, Ikeda Manabu, Kaneko Tomiyuki, Kondoh Akino, and O Jun. The show features paintings, sculpture, prints, painted textiles, and mixed media, among other mediums. opens with a 5 p.m. preview recepIMPACTS! • tion on Friday, July 25. On Saturday, July 26, Zane Bennett hosts a 1:30 p.m. artist talk by exhibiting artist Ishii Toru. Toru’s unique textiles boast vibrant, abstracted imagery made using the traditional yuzen dyeing technique. Other events include a Japanese tea ceremony on Tuesday, Aug. 19, at 11 a.m. and 1:30 p.m.; screenings of Akino’s short films The Evening Traveling, Tentoumushi no Otomurai, and KiyaKiya on Wednesday, Aug. 20., at 1:30 p.m.; a talk with Manabu, Miwako Tezuka (director of the Japan Society Gallery), and Jordan Smith of California State University, Long Beach, on Thursday, Aug. 21, at 1 p.m.; and live painting with Kato Ai at 4 p.m. on Friday, Aug. 22. A 5 p.m. grand-opening reception follows. Events conclude on Saturday, Aug. 23, with a 1:30 p.m. talk on perspectives in contemporary Japanese art and a panel discussion with John Carpenter, the Metropolitan Museum of Art’s curator of Japanese art; Tezuka; Smith; and Mizuma Sueo, executive director of the Mizuma Art Gallery. All events are free to the public. Zane Bennett Contemporary Art is located at 435 S. Guadalupe St. Call 505-982-8111 for more information. — Michael Abatemarco Clockwise from top, Amano Yoshitaka: Candy Girls 5-36, 2009, automotive paint and acrylic on aluminum panel; Kimura Ryoko: Ryugu-Asian Odalisque (detail), 2013, Japanese pigments and gold leaf on silk; Kato Ai: Tsunokko emblem; go to school, 2010, acrylic on canvas
PASATIEMPOMAGAZINE.COM
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Explore santa fe’s best calendar on
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PASATIEMPO I July 25 - 31, 2014
STAR CODES Heather Roan Robbins This week’s mood is layered, like an ocean: on the surface we have
Friday, July 25: An emotional roller coaster pokes our tender places and calls for equanimity as the Cancer moon squares Uranus. We may be unusually self-protective, tender, and not really interested in sharing our interior process. Balance privacy and engagement; meetings over dinner can go gently, but currents deepen late tonight. Saturday, July 26: Emotional waves pick up as the Leo moon conjuncts Jupiter and the sun. That new Leo moon brings enthusiasm and fuel wherever we go, whether it’s a picnic or a war. Mars in Scorpio begins to clarify our passion, sharpen our temper, and hone our focus. Tonight, engage the world with panache. Remember: we’re writing the script.
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 !
!
!
Touch-up
Repair
Polishing
CALL BARRY METZGER
505-670-9019
OR VISIT OUR NEW LOCATION
1273-B Calle De Comercio, Santa Fe, NM 87507
www.thewoodcarespecialist.com
The Ryder Studio Classical Realist Art Training in Santa Fe Portrait Painting in Oil & Figure Drawing from Life
Sunday, July 27: We should pay attention to ourselves and then share the bounty of our heart. Socialize, shine, and share the limelight. Begin a new creative cycle. Fulfill responsibilities and renew reserves as the moon squares Saturn early in the evening. Feel the depths calling.
Ages 18 & up. All Levels. Beginners welcome Full and Part-time Study
Monday, July 28: The fleeting nature of existence is painfully obvious: How can we use this to keep priorities straight and treasure each moment as Venus opposes Pluto? Self-indulgence can help us understand our truth and take care of ourselves, but let’s see if we can expand beyond our personal perspective and truly hold hands with one another.
www.theryderstudio.com (505) 474-3369 Anthony Ryder www.tonyryder.com
“Julie” by Anthony Ryder
a summery, frothy, outgoing new moon in Leo, lifting our spirits and helping social interactions and arts festivals glide like sailboats across shining waves. Swirling beneath are feelings as big, deep, formidable, and blue as the Mariana Trench, triggered as feisty Mars enters brooding Scorpio. Life can feel like Shakespeare in the Park as the weekend progresses. Colors become more vivid as the extroverted new moon in Leo brings a fresh chapter for our creative expression and generous hearts, even as emotional arbiters Venus and Mars bring up our deeper work and underline valid concerns about global activity. Mars enters Scorpio (where it will be through mid-September), activating the deepest corners of the collective psyche; focusing our energy; clarifying our desires; increasing our independence, suspicion, and determination; and occasionally loaning us a chip on the shoulder and rapier-like wit. We may become better at holding boundaries and less interested in negotiation. Choose battles carefully. As Venus opposes Pluto, ruler of the underworld, we can become painfully aware of loss. Because our empathy is heightened, bitter headlines can leave us discouraged, ticked off, or more compassionate and caring. A beautiful afternoon can resonate with ephemeral poignancy. Reach out and exercise radical compassion, or reach in and find a wellspring of creative expression.
Tuesday, July 29: Chores and organization can help us move through surplus emotions and onto more solid ground. Midday, our opinions soften, but so does our certainty. Meditation and visualization help us find a more peaceful core as the moon trines Pluto tonight. Wednesday, July 30: Watch a subtle internal voice that lists things we’ve done wrong — it only points to sore places that need healing. Trust the past and change the future. People are open to gentle improvements as the moon sextiles Venus and Saturn early on. Later, puttering may not look efficient, but it gives our psyche a chance to process. Thursday, July 31: We suddenly need to share our opinions. The mood relaxes and offers a more hopeful light as mental Mercury enters exuberant Leo. Storytelling is great therapy and good social glue while keeping our interior world private. ◀ www.roanrobbins.com
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IN OTHER WORDS book reviews
Abroad by Katie Crouch, Macmillan, 304 pages In preparation for her first trip to Europe, The Portrait of a Lady’s Isabel Archer announces to Mrs. Touchett, her “crazy Aunt Lydia,” that she’d like to visit Florence. Isabel’s aunt tells her that if she’s very good and obedient, she’ll take her there. After this conditional decree, Henry James writes of Isabel, “Our young woman’s emotion deepened; she flushed a little and smiled at her aunt in silence. ‘Do everything you tell me? I don’t think I can promise that.’” The trope of a young foreigner abroad in a (sometimes desperate) quest for adventure and with the express goal of shedding innocence is at least as old as James and is a daydream of 20-year-olds everywhere. A trip to Europe in particular is an archetypal rite of passage. Few Americans of means reach age 30 without cramming quick-dry underwear into a handme-down backpack, with plans to drink Pilsner in Prague and run with the bulls in Pamplona. At the very least, many grow old wishing that they had. Katie Crouch’s new novel Abroad is the story of Tabitha, an Irish girl spending her third year of university abroad in a fictional Umbrian town called Grifonia. From the beginning, we know that Tabitha’s time in Italy will not end well, but Crouch keeps us guessing about the particulars, and the novel’s tone, foreboding and darkly beautiful, makes for a lush, transporting read. Abroad is loosely structured around the highly publicized 2007 murder of Meredith Kercher, a British student studying in the university town of 20
PASATIEMPO I July 25-31, 2014
Perugia. The incident is better known in this country when referred to by the name of the accused, eccentric Seattleite Amanda Knox, who spent almost four years in an Italian prison after being tried for Kercher’s murder, along with her boyfriend Raffaele Sollecito and acquaintance Rudy Guede. Though Knox was released in 2011 (and went on to defend her innocence in her 2013 memoir, Waiting to Be Heard), the case was retried in January of this year. Knox and Sollecito were found guilty, and British tabloids in particular are still hostile to Knox. For those familiar with Kercher’s murder, Abroad’s parallels to real life will be both apparent and disquieting. The novel is wonderfully plotted — Tabitha encounters history (Etruscan tombs, haunted castles) and the illicit pleasures of youth (casual sex, ubiquitous joints) for the first time. Abroad does not deal with the aftermath of Tabitha’s trip. Instead it imagines the heady days before the fall and what it is to be young, unencumbered, and reckless in an unfamiliar corner of the world. If Tabitha is a little indistinct as a protagonist, that’s partly because she is impressionable. She hopes to discover herself in Italy and leave behind the parts of her life she deems less than desirable (youngest child of divorced parents; at school in England on scholarship). To that end, Tabitha joins the “Brit Four,” a posh group of girls also studying with her university’s program. The clique has substantial, mysterious cash flow — enough for expensive handbags, dinners out, wine, and ball gowns. There’s Jenny, the group’s ringleader, who’s blonde, buxom, and tough; elegant, icy Luka, the daughter of a washed-up pop star; and fragile Anna, a penniless aristocrat. Tabitha also becomes close with her roommate, Claire, a beautiful, promiscuous American who’s a vague approximation of Knox. In Italy, Tabitha, Amanda Knox, and Isabel Archer are all vulnerable because they’re young women away from home with the audacity to not always do as they’re told. Each suffers a society uncomfortable with their burgeoning sexuality: Isabel, in spite of striving for marital and social independence, is deceived and manipulated into marrying the foul Gilbert Osmond; Knox’s rather ordinary sexual exploits were demonized in the press and warped into evidence of bizarre sex rituals; and Tabitha, well, you’ll just have to see. Crouch deftly balances the consequences of rash behavior with the possibility of discovery and selfdetermination. Were it not for a few fatal, seemingly inconsequential details, Abroad’s young women would have gotten away with their adventures in Italy and gradually transitioned to the banality of adult life. The appeal of a trip abroad is that it’s temporary — a chance to try on different identities without the burden of expectation. As Claire, the wild American, puts it to Tabitha, “Here, I can be anyone I ... feel like.” — Adele Oliveira
SUBTEXTS Bringing up Daddy You’ve heard it said by first-time parents and by the folks who advise first-time parents: The birth of a child will change your life. The nature of those changes, of course, depends on the circumstances. Editor and writer Nathan Deuel, who reads from Friday Was the Bomb: Five Years in the Middle East at 6 p.m. Tuesday, July 29, at Collected Works Bookstore and Coffeehouse, 202 Galisteo St., resisted some of those changes when his daughter was born in Riyadh, Saudi Arabia, in 2009. Deuel had followed his wife, Kelly McEvers, a foreign correspondent for National Public Radio, to the Middle East. Within a year, McEvers became NPR’s Baghdad bureau chief and Deuel became a full-time parent, retaining what he could of his previously ambitious and adventurous life while raising a child in Istanbul and Beirut. We’ve all read stories about balancing career and parenthood. Deuel’s is especially interesting, not only for its circumstances but for the insight he brings to it. A man who once walked some 2,000 miles from New York to New Orleans and who spent time at both The Village Voice and Rolling Stone, Deuel is accustomed to a certain kind of excitement. And while that excitement is tempered by his daughter’s presence, he still leads an exceptional life, encountering situations that might be familiar to all parents but are unique here because of the places where they happen. He arranges a passport for his Saudi-born daughter so she can be baptized in the United States. He gets a shave from a Turkish barber wielding a bonehandled straight-edge razor like a scimitar. Deuel’s genius is in making the commonplace relate to his life as a whole and the world at large. He enlists a Saudi army colonel to help him with the passport documents, handing over a fair amount of trust in the process. That shave occurs shortly after Deuel learns that his father has died from a tumor in his throat. Not so common: trying to keep his daughter asleep while a firefight rages for some seven hours beneath his Beirut apartment window. Deuel’s privileged position as an American is a source of discontent, and his take on having the secondary career in his relationship is particularly revealing. Daddy-stays-home stories might be common now, but can you think of another that plays out against the Arab Spring, the war in Iraq, and the revolution in Syria? — Bill Kohlhaase
Extensive Diamond and Colored Gem Collection Custom Designs by Native Performers in Wild West Shows: From Buffalo Bill to Euro Disney by Linda Scarangella McNenly, University of Oklahoma Press, 254 pages Depictions of Native American performers in Wild West shows in movies and on television convey mournful acceptance, irony, or resentment — particularly if the story is set in the late-19th or early-20th centuries, the heyday of these entertainments. But does the average viewer consider what the performance experience might have been for the Indians involved? Audiences might cry that Native American performers were exploited — stereotyped — and that their culture was commercialized. In Native Performers in Wild West Shows: From Buffalo Bill to Euro Disney, Linda Scarangella McNenly presents the Natives’ perspective. She targets their outlook by diving into accounts of Natives’ participation in those shows and by interviewing descendants of the performers and performers today. Besides reading accounts of the shows at the height of their popularity, she traveled to Euro Disney in Paris and to Buffalo Bill Days in Sheridan, Wyoming. Her conclusions upend misperceptions about the Natives’ performance experiences. For the most part these performers were proud of what they did. They were free of the reservation and rationing. They gained status for their skills in dancing, singing, and riding. They could provide for their families. Even more advantageously, the women sold beadwork when a family traveled together. The career of the Mohawk entertainer Princess White Deer (Esther Deer) epitomizes success gleaned from participation in Wild West shows. Renowned for her dancing style and ability, she eventually performed in the Ziegfeld Follies, in European theaters, and at a command performance for Czar Nicholas II. Eddie Cantor, Al Jolson, and Will Rogers were her friends. She owned a night club and a drugstore. Her house in Port Chester, New York, had gardens and was staffed with servants. At the outset of Wild West shows — like those of Buffalo Bill, Pawnee Bill, and the Miller Brothers — Native performers’ participation in these entertainments undermined the goals of the Office of Indian Affairs. Its policies dictated that Indians should pursue education and farming, effectively forcing assimilation and expunging Native culture. Joining a Wild West show, “wearing traditional clothing, dancing, and riding around like warriors only encouraged traditional ways.” Not only that, such a pursuit exposed the Native Americans to possible abandonment in Europe and “many vices such as alcohol and gambling.” McNenly’s chief concern is the dynamic between the shows’ managers and the performers. The managers represented the dominant culture, while the Native performers represented an underclass. The former upheld the stereotypes of stoicism and savagery in performances. How did the Native performers maintain their identity? How did they express that identity within the clichéd model? Despite the reigning show-business image that all North American Indians dressed like Plains Indians, McNenly argues, various tribes were able to subversively assert their own identities through their dances, songs, and dress — much as gangstas might rap in code or girls in school uniforms might personalize their appearance. Native Performers in Wild West Shows is a valuable piece of scholarship. McNenly explicates the methodologies that support her position. She should be congratulated for showcasing this aspect of Native American history and Native performances today. — Nancy Coggeshall
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TYPE A A column exploring the changing world of publishing and reading James McGrath Morris
Writing between the lines
F
or almost as long as there have been books, readers have underlined passages, dog-eared pages, and scribbled in margins. Historians consulting surviving copies of Books of Hours, devotional works first compiled in the 13th century, run across all kinds of marginalia. One woman even listed the contents of her linen closet. Of course, most such notations normally relate more directly to the reader’s interaction with the author’s work. In fact, despite admonitions from some quarters about marking up the pages of a book, over the years, many readers — among them the late Mortimer J. Adler, founder of the Great Books Foundation — have found it indispensable. “I contend, quite bluntly, that marking up a book is not an act of mutilation but of love,” he wrote in The Saturday Review of Literature in the summer of 1941. “First, it keeps you awake. (And I don’t mean merely conscious; I mean awake.) In the second place; reading, if it is active, is thinking, and thinking tends to express itself in words, spoken or written. The marked book is usually the thought-through book. Finally, writing helps you remember the thoughts you had, or the thoughts the author expressed.” E-books promise to radically alter that centuries-old habit — though it won’t be because one cannot underline or write in an e-book. Developers have already made sure that one can. Rather, e-books will change aspects of the practice by adding a social component to it, reducing or eliminating a reason for underlining, and quite possibly ending its utility to historians and biographers. Unlike with a paper book, underlining an e-book is not necessarily a private activity. Many readers opening an e-book on their Kindle, Nook, Kobo, or iPad are unaware that their behavior may be tracked. In many
cases what one highlights, bookmarks, and annotates, as well as one’s progress through the work, is reported back to the e-book provider and possibly to others, such as fellow e-book readers. It’s not easy to determine which companies are doing this. Those who wish to can peruse license agreements and privacy policies found in online e-book stores. “That in turn can mean reading thousands of words of legalese before you read the first line of a new book,” said Cindy Cohn and Parker Higgins, authors of An E-Book Buyer’s Guide to Privacy, published by the Electronic Frontier Foundation. Some major companies require that users grant them permission to obtain and store data from their e-book readers, including but not limited to bookmarks, highlights, and notations. According to the The Wall Street Journal, this trove of information revealed that Kobo readers took an average of seven hours to polish off the final installment in Suzanne Collins’ The Hunger Games and that 18,000 Kindle readers all highlighted the same Collins passage: “Because sometimes things happen to people and they’re not equipped to deal with them.” It’s unlikely there is any serious harm in sharing reading habits of this sort, especially in the aggregate, with publishers and booksellers. But it does change a very private act into a public one. And this has consequences. Andrei Codrescu, whose Romanian-accented voice can often be heard on National Public Radio, was disconcerted when he opened a new e-book. “So now you can add to the ease of downloading an e-book the end of the illusion that it is your book,” he told his listeners. “Conformism does come of age in the most private and peaceful activities — reading a book, one of the last solitary pleasures in a world full of prompts to behave. My Kindle, sugar-coated cyanide.”
Codrescu’s point, delivered with his usual dose of hyperbole, is that the intrusion of the predilection of others may prompt readers to question their own highlighting selections and to be influenced by the larger group. Just as bestseller lists sway buying decisions, the most popular electronic highlights may change an individual’s take on a literary work. The irony here is that the digitization of texts may also diminish the main reason for highlighting by permitting new ways of retrieving a noteworthy passage. Sophisticated search capabilities mean that finding a memorable quote may no longer require having highlighted it. But should the conformist intrusion not manifest itself and should readers simply continue marking e-books as they did when the works were on paper, an incontrovertible challenge remains for the world of literary archaeology. For years, researchers have studied the underlining and marginalia of historically significant figures, using the pencil marks to draw conclusions about the marker. They worry now that e-book collections — existing only as computer codes — won’t be preserved like book collections of the past. “It might be a shepherd writing in the margins about what a book means to him as he’s out tending his flock,” said Heather Jackson, a professor of English at the University of Toronto. “It might be a schoolgirl telling us how she feels. Or maybe it’s lovers who are exchanging their thoughts about what a book means to them.” If that is the case, something of great value will be lost. ◀ James McGrath Morris discusses “The Changing World of Publishing and Reading: An Author’s View of the Fast-Evolving Universe of the Written Word,” 7 p.m. Thursday, July 31, Great Hall, St. John’s College, 1160 Camino de Cruz Blanca, $7.50, ticketssantafe.org, 505-988-1234.
I contend, quite bluntly, that marking up a book is not an act of mutilation but of love. ... First, it keeps you awake. — Mortimer J. Adler
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PASATIEMPO I July 25-31, 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
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20 14 THROUGH AUGUST 23
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JULY 29; AUGUST 4, 9, 13, 19, 22
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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
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LISTEN UP James M.Keller
Santa Fe Desert Chorale
The season throws in some spice
T
he Santa Fe Chamber Music Festival sidled into its 42nd season this past week. Why any performing arts incentive would want to launch its season with a whimper rather than a bang is beyond my understanding, but that’s how SFCMF does things, and it seems doubtful that an organization so set in its ways is likely to change. The year’s opening work, which we heard at the New Mexico Museum of Art’s St. Francis Auditorium on July 21, was accordingly Schubert’s String Trio in B-flat major (D. 581), a 22-minute composition that displays the 20-year-old composer’s journeyman competence but not much inspiration. Violinist Jennifer Frautschi, violist Hsin-Yun Huang, and cellist Wilhelmina Smith delivered a colorless, often plodding reading in which each of the four movements left pretty much the same footprint. A dose of Gemütlichkeit might have saved
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PASATIEMPO I July 25-31, 2014
the day, but there was none; in fact, Frautschi’s harsh timbre ensured the opposite. Clarinetist Todd Levy and pianist Benjamin Hochman succeeded the threesome on the stage to purvey The Bearded Lady, a 1994 composition by English composer Julian Anderson. Although Anderson was fascinated early on by the musical implications of mathematics and acoustics, The Bearded Lady owes more to Stravinsky, its title referring to an outrageous character in that composer’s opera The Rake’s Progress. Programming it in proximity to the Schubert trio was instructive. I can’t say whether it is a better piece than the Schubert, but Levy and Hochman played it as if it were, and that made all the difference. It demanded technical and interpretative subtlety from both musicians. Their rendition included lovely sustained clarinet phrases (sometimes against fluttering piano figuration), a plethora of fragmentary gestures (some
at extreme ranges), and tightly coordinated trade-offs of material. Near the end Levy crept offstage, leaving Hochman to explore the possibilities of overtone resonances for some while until the clarinet’s tones wafted in from a distance at the close. After intermission, violinist William Preucil, violist Huang, cellist Mark Kosower, and pianist Alessio Bax offered a gripping performance of Brahms’ Piano Quartet in G minor (Op. 25). They took a large-scale approach, suggesting the score’s symphonic inclinations without neglecting the sensitivities of chamber music. Their interpretation of the opening movement seethed with tension, the more so as they held it on a tight leash. It was a Technicolor performance throughout; who will soon forget the hollowness of timbre that brought the first movement to its unsettled conclusion or the change of tone that set off the startling coda of the second? One looks forward to Preucil’s burnished
and impeccably crafted for the forces, Brahms having gained hands-on experience as a choral director. This was the first of four presentations of the program, through Aug. 1, all of which are given at First Presbyterian Church. The room’s dry acoustic is unforgiving in exposing weak points of individual timbre and sectional blend, neither of which could be overlooked. At loud dynamics, which is to say for most of this gung-ho evening, the choir’s altos and tenors dominated the balance. One might expect that at least Brahms’ more forested settings would bespeak quietude, but the group rarely retreated to anything milder than a mezzo forte and never got softer than mezzo piano. Achieving well-regulated choral balance at low volume is difficult, ’tis true, but if you program “In stiller Nacht” you have to go the distance. Most of the numbers were supported by piano accompaniment, played ably by Debra Ayers, who also offered two intermezzos from the composer’s Op. 119 pieces. The evening’s finest singing, however, arrived in an a-cappella rendition of “Waldesnacht du Wunderkühle,” in which Brahmsian sobriety and charm came across in well-poised proportion. On July 20, the Santa Fe Opera presented at its Stieren Hall a concert of chamber music by Huang Ruo, whose Dr. Sun Yat-sen receives its American stage premiere in the opera house this Saturday evening, July 26. Nobody in attendance left ignorant of that fact, as the composer repeatedly urged those assembled to purchase tickets to his opera. (I would have thought that anybody who chose to leave home on a sweltering Sunday afternoon to spend an hour listening to Huang Ruo’s chamber music must have already reserved a seat for the opera in question; still, the hard sell kept coming.) Two of the pieces featured the Del Sol String Quartet, a San Francisco Bay Area ensemble that thrives on the avant-garde. Their opening number, a 2009 composition titled Calligraffiti, invokes forms of artistic inscription that reflect Huang’s experience as a composer in China (calligraphy) and New York (graffiti). This translated into some 14 minutes that alternated between the quartet’s coordinated sawing of loud, dissonant chord clusters (New York) and delicate passages of sustained melodies built on microtonal patterns and much linear decoration (China). In an ensuing Elegy (2008), soprano Devon Guthrie (currently portraying Marzelline in Santa Fe Opera’s production of Fidelio) sang a pretty melody as a vocalise, beneath which the quartet played chords in minimalist repetitions not inherently unlike those in Calligraffiti, although now gentle instead of in-yourface. A recent piece called Flow (2013) and the early Yueh Fei: Chamber Concerto #1 for Eight Musicians (2000) involved the Del Sols (or members thereof) plus musicians from the Ensemble FIRE (Future In REverse), which Huang Ruo directs. The former work meandered tamely along folk-pop pathways (with nice pipa playing from Zhou Yi), but the Chamber Concerto, which the composer described as a breakthrough piece in his oeuvre, showed greater musical courage, providing each participant with virtuosic challenges and eliciting particularly impressive playing from James Shields on the bass clarinet. All in all, the afternoon suggested that Huang Ruo is a fecund composer whose musical fingerprint is not preordained in any given piece. ◀
Alessio Bax
Benjamin Hochman
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Lisa-Marie Mazzucco
tone each season, and here his sound blended admirably with that of Kosower — no surprise, since they respectively occupy the principal violin and cello chairs of the Cleveland Orchestra and are therefore old hands at working together. Bax molded his part with the care of a sculptor, and the foursome cooked up a vigorous finale that was infused with Magyar paprika. In the first of the festival’s noontime concerts (on July 22, also at the St. Francis Auditorium), Jon Nakamatsu offered an all-Schumann recital in which everything was firmly in hand and responsible in its musicianship but not ultimately charismatic or strongly individualistic. Liszt’s transcription of Schumann’s beloved song “Widmung” received a gracious reading, although one yearned for gradations of shading in the repeated-chord accompaniments. Schumann’s piano cycle Papillons (Op. 2) makes one marvel at every hearing that so early a work should be infused with such instantly identifiable language. It is a splendid achievement from a composer who was 18 when he began the set and 21 when he finished it. It does, however, present the bugbear of dense textures that would remain part of his language, and one might have preferred it if Nakamatsu had erred more often on the side of lightness and staccato. Especially pleasing was the way he re-voiced musical paragraphs when Schumann called for them to be repeated; the thick chords of the eighth section, for example, took on a quite different flavor the second time as the pianist cast a spotlight on an inner line instead of the melody he articulated in the first go-round. Carnaval, composed just a few years later, is the Schumann piano cycle everybody seems to love the most, and a listener may accordingly hunger for a personal imprint on so familiar a piece. Nakamatsu’s reading hewed to the mainstream, although he did endow the opening salvo with less forceful punctuation than we often hear, rendering the fanfare as if it were one long sentence — which is actually how it appears in the score. As in Papillons, he offered sensitively voiced lines and achieved a natural rhythmic flow. On the whole, he underplayed the emotional distance between the “heroic Florestan” and “dreamy Eusebius” movements (inspired by Schumann’s imaginary friends), yielding an interpretation that never achieved a sense of abandon in either direction. (The “Chiarina” movement is marked passionato, after all.) It was a rare delight to hear Carnaval directly after Papillons, as the “Florestan” movement of the former quotes the opening waltz of the latter. For an encore, Nakamatsu chased the rainbows of Chopin’s beloved Fantaisie-Impromptu (Op. posth. 66) — a logical choice if you recall that the most gorgeous movement in Carnaval is actually titled “Chopin.” The Santa Fe Desert Chorale’s season is also in swing. The first two of its programs, The New World: Music of the Americas and Spanish Mystics, look to be the sorts of ancient-to-modern grab-bag programs that are the group’s bread and butter, but on July 22 it introduced a program of singular focus, A Romantic Evening With Brahms. The all-Brahms concert, conducted by Joshua Habermann, involves 16 singers plus piano, and it ranges through 24 short pieces, mostly on amorous or Gypsy themes, that the composer penned for amateur vocal ensembles popular in the mid-19th century. None of the music is deep, but it is unquestionably pleasant
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Northern New Mexico Citizen’s Advisory Board Meeting The Northern New Mexico Citizens’ Advisory Board (NNMCAB) is a federally chartered organization that offers recommendations to the U.S. Department of Energy (DOE) regarding Environmental Monitoring, Remediation, and Waste Management activities at the Los Alamos National Laboratory (LANL). The meeting is open to the public and all interested parties are encouraged to attend.
July 30, 2014 1:00 p.m.—5:15 p.m. La Fonda on the Plaza, 100 E. San Francisco St., Santa Fe, New Mexico 87501
1:00 p.m. Approval of Agenda/Minutes From May 21, 2014 Board Meeting 1:10 p.m. Old Business 1:30 p.m. Update from Deputy Designated Federal Officer, Lee Bishop 2:30 p.m. Pueblo de San Ildefonso Environmental Issues, Governor Terry Aguilar 3:15 p.m. Update on Technical Area 21 David Rhodes, Department of Energy 4:45 p.m. Public Comment Period 5:15 p.m. Adjourn
Please Note: For more information about this meeting or the mission of the NNMCAB, Contact: Menice B. Santistevan, Executive Director @ 505.995.0393 or 800.218.5942 E-mail address: menice.santistevan@nnsa.doe.gov Visit the NNMCAB website at www.nnmcab.energy.gov , YouTube Channel (NNMCAB), or Facebook page (Nnmcab).
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PASATIEMPO I July 25-31, 2014
PASA TEMPOS
album reviews
TAYLOR McFERRIN Early Riser (Brainfeeder) If you see the imprint of California producer Flying Lotus’ Brainfeeder label on an album sleeve, you have an idea of what to expect: a wide range of time signatures, a healthy bit of experimentation, and a dash of Stevie Wonder’s influence. What you may not expect is the son of Bobby McFerrin, singer of 1988’s “Don’t Worry, Be Happy.” Bobby was never a one-hit wonder; that song was a fluke in a long career as a virtuoso and often-inventive jazz vocalist, and Bobby’s son Taylor has clearly inherited that musical curiosity. Opening with what sounds like a riff on Roy Ayers’ warm funk and continuing through dashes of downtempo electronica, clear-eyed soul, and shuffling jazz, Early Riser is a charmer of an album. The high-water marks involve guests — particularly the bubbling bass of Thundercat and strong turns by female vocalists Nai Palm, Emily King, and RYAT. The last contributes the best effort, singing with a voice that rips up love letters over the steady beat of “Place in My Heart.” The senior McFerrin makes an evocative appearance as well; Bobby hums and sings over birdsongs in “Invisible/ Visible,” while his son adds shakers and sprightly keyboards. It’s a wonderful, understated collaboration that sounds like the dawn of a new day. — Robert Ker VARIOUS ARTISTS The Sound of Siam Volume 2: Molam & Luk Thung From North-East Thailand 1970-1979 (Soundway Records) In late 2010, the release of The Sound of Siam: Leftfield Luk Thung, Jazz & Molam in Thailand 1964-1975 exposed listeners outside of Southeast Asia to the hypnotic Thai funk of the country’s rural northeast. Culled from 1960s and ’70s recordings, these addictive songs threaded acoustic folk music into the electric riffs of golden-age American soul and garage rock that streamed into the country over transistor radios. In the years since that disc’s release, this unlikely genre has developed a large American following due to its pitch-perfect mix of the foreign and the familiar. Over its 19 tracks, this album proves that the first release’s wild success was no fluke. “Mainaa Tam Pom Loey” by Panom Promma is a tour de force in which traditional Thai lutes and electric blues guitar licks conspire to create a hypnotic melody vaguely reminiscent of Jefferson Airplane’s “White Rabbit.” “Thepporn Petchubon” by Pa Gun Tor keeps Chi-Lites R&B horns rolling over riffs of the khene, a free-reed bamboo mouth organ common in Thai and Laotian folk music. Motown meets molam is an improbable formula for pop success, but the result sounds more natural than mashed up: another reminder that to sustain its vibrancy, folk music must grow new roots. — Casey Sanchez
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THANK YOU Santa Fe!
St. John’s College would like to extend our gratitude to the community and our generous sponsors who make Music on the Hill™ possible. Please patronize our sponsors throughout the year.
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PERFORMERS Bert Dalton’s Brazil Project Brian Wingard Jazz Saxophone Clairdee, with Dimitri Matheny Jazz Vocals and Flugelhorn
Annie Sellick Jazz Standards SuperSax New Mexico Manzanares Nuevo Latino
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St. John’s College | 1160 Camino Cruz Blanca | Santa Fe, New Mexico | 87505 | 505-984-6000 | www.sjc.edu
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PASATIEMPO I July 25 - 31, 2014
65 w. marcy st santa fe, nm 87501 505.986.1444 laurasheppherd.com •
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UNDERWRITERS
ON STAGE Puppy love: Sylvia
Bachanalia: Santa Fe Chamber Music Festival
A.R. Gurney’s play is a boy-meets-dog story where the girl at home becomes the odd man out. Greg, suffering through a midlife crisis, finds Sylvia in the park and takes her home to meet his partner, Kate. Kate doesn’t like Sylvia from the start, and the relationship between all three grows rocky as Greg becomes closer to the attractive talking dog. (The role in the original 1995 New York production was played by Sarah Jessica Parker.) Pet owners already know the answer to the play’s central question: Can a relationship survive the intrusion of a loving, devoted third party? Directed by Robert Benedetti, this first production from the New Mexico Actors Lab includes Tallis Rose and Jonathan Richards. It opens at the Santa Fe Playhouse (142 E. De Vargas St.) with a special preview at 7:30 p.m. on Thursday, July 31 ($10), followed by a gala opening with food and refreshments at 6:30 p.m. on Friday, Aug. 1 ($25; showtime is 7:30 p.m.). The play continues on Saturday, Aug. 2, at 7:30 p.m. and Sunday, Aug. 3, at 4 p.m., and then Thursdays through Sundays, Aug. 7-10 and Aug. 14-17. Tickets cost $20, $15 for seniors and students. For more information, call 505-988-4262 or visit www.santafeplayhouse.org. — B.K.
THIS WEEK
The Santa Fe Chamber Music Festival’s Bach Plus series begins with a recital by pianist Benjamin Hochman on Saturday, July 26, at 5 p.m. in the St. Francis Auditorium of the New Mexico Museum of Art, 107 W. Palace Ave. Bach is represented by the second and fourth of his keyboard partitas, works that were written in the 1720s and did much to establish his renown as a keyboard composer. Hochman interposes between the two partitas Luigi Dallapiccola’s Quaderno musicale di Annalibera, a dodecaphonic piece and a double-barreled Bach tribute; this 15-minute collection, written in 1952 as a present to Dallapiccola’s daughter on her eighth birthday, makes much use of the encoded musical motif B–A–C–H, and its overall title and conception recall Bach’s own Notebook for Anna Magdalena Bach. Also this week, pianist Alessio Bax offers a solo recital at noon on Tuesday, July 29, at the same venue. Anchoring his concert are Beethoven’s Sonata in A-flat major (Op. 110) and Musorgsky’s Pictures at an Exhibition. For tickets ($35-$45 for Hochman, $25 for Bax) call 505-982-1890 or 888-221-9836, ext. 102. —J.M.K.
It takes two: Daniela Mack and Alek Shrader
Ken Howard
Wife-and-husband singers Daniela Mack and Alek Shrader have leading parts at Santa Fe Opera this summer: mezzo-soprano Mack starred in the title role for the first five performances of Carmen, and tenor Shrader is settled in for the whole season as Ernesto in Don Pasquale. Performance Santa Fe puts them on the same stage for the opening recital in its 2014 Festival of Song series, which takes place at 4 p.m. on Thursday, July 31, at St. John’s United Methodist Church, 1200 Old Pecos Trail. Mack sings Falla’s Siete canciones populares españolas and Debussy’s Chansons de Bilitis; Shrader offers Falla’s Trois mélodies and a selection of Fauré songs; and the two join together for pieces by Rossini and Carlos Félix López Buchardo, after whom is named the music conservatory in Mack’s native Buenos Aires. Joseph Illick assists at the piano. Tickets ($45 general admission, $75 reserved seating) are available by calling 505-988-1234 or visiting www.performancesantafe. org or www.ticketssantafe.org. — J.M.K.
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FLAMENCO IN
S A N TA F E
Juan Siddi Flamenco; photo by Rosalie O’Connor
S
anta Fe becomes Flamenco Land every summer, with at least three different companies bringing performers from Spain and cities around the United States to spend a few months competing for tourist dollars. This intimate communion of song, dance, and music has long seemed a perfect fit in this city, with its historical link to the old country — Spain. And while there is no shortage of thundering guitars, wailing singers, or women in long, tight-fitting dresses stomping like machine-gun fire, is there enough room in the local economy for all that flamenco? With rivalry, at least in the theater, comes drama. Onstage, things can get a little crazy, with grimacing 30
PASATIEMPO I July 25-31, 2014
Michael Wade Simpson I The New Mexican dancers wearing hairpins, ribbons, and shawls that routinely fly out in all directions. Behind the scenes, the competition between groups can be just as intense. Posters around town have been known to disappear, perhaps torn off by competing troupes. Real drama this year includes one company that lost everything — costumes, studios, and offices — in a fire last December. There’s even drama in the absence of flamenco in this year’s Santa Fe Opera production of Carmen. In a “modernized” production with the setting moved from Spain to the U.S./Mexico border, Spanish dance has been replaced by a mechanical bull and a bullfighter offering Elvis-influenced gyrations. There is not one
second of flamenco to be found in the opera, which has often featured famous flamenco artists taking the stage, emoting with the same intensity as the mezzosoprano playing Carmen. Not this year. You can blame much of Santa Fe’s flamenco mania on María Benítez, the grande dame of the art form in Santa Fe. In earlier years, Benítez not only danced in Carmen productions at the Santa Fe Opera but also choreographed the work for New York City’s Metropolitan Opera in 1987 and 1996. A native of Taos, she left to study flamenco in Spain at age 18 and ended up dancing there professionally until returning to this country in 1966, along with her Spanish husband, Cecilio, who died last year.
María Benítez’s dynasty began with the founding of her Teatro Flamenco, one of the first U.S. flamenco troupes, which toured extensively from the 1970s until 2007, when Benítez retired from the stage. Despite all the travel, she always returned home to spend summers working in Santa Fe. She also founded a school here, the Institute for Spanish Arts, and later put together a performing company of young dancers, Flamenco’s Next Generation, from which several members have gone on to professionals careers. Juan Siddi, who appears with his company at the Lensic Performing Arts Center for four evenings throughout the summer, and Antonio Granjero and Estefania Ramirez, whose troupe, EntreFlamenco, is newly in residence at The Lodge at Santa Fe six nights a week through August (Siddi had The Lodge gig from 2008 to 2013), are Benítez protégés. “None of us would be here if it weren’t for María,” Granjero said. “She’s our advisor and friend.” For Siddi, a friendship with the directors of the Aspen Santa Fe Ballet, Jean-Philippe Malaty and Tom Mossbrucker, led to a unique opportunity. When Malaty heard that Siddi would no longer be at The Lodge, he and Mossbrucker dreamed up the idea of combining their two companies. “I needed a new challenge after 18 years,” Malaty joked. “Flamenco is an integral part of the culture here, and our goal is to become a better ambassador for Santa Fe as we travel the world. Besides, there have never been two different dance companies under one umbrella before.” Under an agreement announced in January, ASFB is taking over the business and management side of Siddi’s company, leaving him free to do what he does best — dance, teach, and create. “As an artist, being taken care of feels so good,” he said. “I feel respected. Someone sees who I am and what I do, what our work is. I feel very lucky.” Malaty helped book Siddi into the Lensic this summer and plans to build a complete summer touring schedule for the company in the future. With a program designed for spaces much larger than the bars and restaurants where many flamenco groups perform, Siddi’s group has expanded to 13 dancers and musicians. Lighting will be created by ASFB’s brilliant designer Seah Johnson, whose goal is not only to take advantage of the creative possibilities of the Lensic but also to maintain a sense of intimacy there, which is so crucial in flamenco. Malaty hopes that fans of the ballet will begin to support flamenco with equal fervor. If only things were as lucky for the Albuquerquebased dancers of the Yjastros company, which is affiliated with the National Institute of Flamenco. Yjastros’ headquarters burned down last December. This troupe, started in 1982 by Eva Encinias-Sandoval (who also founded the only degree-granting flamenco program in the country, at the University of New Mexico in 1976) and now run in part by her son, Joaquin, and daughter, Marisol, is not only a school but also the base for Albuquerque’s annual international flamenco festival. In the summer, NIF sends a contingent of dancers up the freeway for a residency at El Farol on Canyon Road. While the tablao at The Lodge is dark, the enclosed patio space at El Farol can be flooded with the glow of Santa Fe sunsets, and the tables where the audience enjoys tapas and drinks are practically onstage. It’s a great environment to witness flamenco at close range.
National Flamenco Institute
EntreFlamenco
Under an agreement announced in January, ASFB is taking over the business and management side of Siddi’s company, leaving him free to do what he does best — dance, teach, and create. “We’re actually beefing up our programs in response to the fire,” said Marisol Encinias. “It was the 27th anniversary of the flamenco festival (held in June) this year, and we did well. It was a big success.” One of the benefits to having some of the top flamenco artists in the world travel to Albuquerque for the festival is gaining access to their choreography. The program at El Farol, which runs through Aug. 24, includes works by José Galván, Sonia Olla, and Nino de los Reyes — all prominent flamenco artists from Spain. “It’s great to change up the choreography, to get a feeling for the flamenco happening right now in Madrid versus that in Jerez or Sevilla,” Encinias said. The costumes will also all be new, as one of the greatest losses in the fire was the group’s entire wardrobe collection, including vintage costumes once worn by Encinias’ grandmother. As for the new kids on the block, Granjero and Ramirez both danced for Benítez during her 20thanniversary performance tour in 1996 and then ran into each other 10 years ago in Spain. “I was only 19 when I first met Antonio,” Ramirez said. “But when I met him again in Sevilla, 10 years ago, there was a spark.” The two are married with an 8-year-old son, Alejandro. They plan to move to Santa Fe from San Antonio, where Granjero and Ramirez have been struggling to make a go of a flamenco school and company in a town that is predominantly Mexican American with a strong preference for Mexican folkloric dances. Granjero, who began dancing in Jerez de la Frontera, Spain, at age 10, describes his flamenco show as perhaps more traditional than that of the other groups
in town. “I don’t like to mix,” he said. “I stick to classic Spanish flamenco.” Joining Granjero and Ramirez onstage will be three female dancers who began at Benítez’s school. “We want to give some of the dancers María trained a chance to perform,” he said. Their musicians come directly from Spain. Jose Vega (Cádiz), Roberto Lorente (Madrid), and Francisco Orozco “El Yiyi” (Barcelona) add the authenticity that only comes, according to Ramirez, from growing up within the culture of flamenco. In terms of the competition, “All three groups are totally different, and the places we perform are also different spaces,” Granjero said. “We each have our niches, our different points of view. Personally, we hope not only to get tourists but María’s followers.” ◀
details ▼ Juan Siddi Flamenco Santa Fe 8 p.m. Sunday, July 27, and Aug. 3 & 9 Lensic Performing Arts Center, 211 W. San Francisco St. $25-$72, 505-988-1234, www.ticketssantafe.org ▼ EntreFlamenco 8 p.m. nightly (except Tuesdays) through August The Lodge at Santa Fe, 750 N. St. Francis Dr. $25-$45, discounts available, 505-988-1234, www.ticketssantafe.org ▼ National Institute of Flamenco Flamenco at El Farol, dinner show 6:30 p.m. nightly (except Wednesdays) through Aug. 24 El Farol, 808 Canyon Road $25 cover, 505-983-9912
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From Mexico to Peru to Santa Fe— how Spanish colonists found comfort and courage.
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PASATIEMPO I July 25 - 31, 2014
august 2014 8:30–10am
BREAKFAST with the CURATORS Breakfast with the Curators: Get a rare behind-the-scene peek
of Native American art with the Museum of Indian Arts & Culture’s annual Breakfast with the Curators. This series of four breakfasts paired with talks, tours, and artists presentations is an exciting opportunity to meet artists, curators, and scholars in an informal setting.
8.1.14 Estella Loretto (Jemez Pueblo), sculptor. She is one of the few Native American women working in monumental bronze sculpting. Loretto’s mentors include her mother, her grandmother, and most notably with Native American sculptor Allan Houser.
8.8.14 Lee Marmon (Laguna Pueblo), photographer. Marmon’s photographs are featured in
MIAC’s current exhibit, Native American Portraits: Points of Inquiry. He will share stories of early Southwestern photographers, highlights of his career as the first Pueblo photographer, and the changes in the native communities.
eight 1-hour classes
8.14.14 Maxine McBrinn, MIAC curator
of Turquoise, Water, Sky: The Stone and Its Meaning. This exhibition highlights the museum’s extensive collection of Southwestern turquoise jewelry and presents all aspects of the stone, from geology, mining and history, to questions of authenticity and value. Hundreds of necklaces, bracelets, belts, rings, earrings, silver boxes and other objects illustrate the stone’s use and its deep significance to the people of the region.
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For $
Regularly
79
$
8.15.14 Dallin Maybee (Northern Arapaho/ Seneca). Maybee was raised on the Cattaraugus Indian
Reservation in Western New York, home of the Seneca Nation of Indians. He is currently Interim Chief Operating Officer for the Southwestern Association of Indian Arts (SWAIA). In addition to being an award-winning artist, international performer and lecturer, Dallin has a Juris Doctorate from the Sandra Day O’Connor College of Law at ASU.
om Taos.c plurge
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You Save 50%!
$35 per person;
$30 for MNMF members. Price includes full breakfast and museum admission.
tickets:
Museum Hill | 710 Camino Lejo (off Old Santa Fe Trail) Santa Fe, NM 87505 | 505-476-1250 www.indianartsandculture.org nt
of Cultu r
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To re receive ceive thi s off er, vis visit it S Sp plur lu rge geTaos.com Taos.c om bef be for ore e midnigh t Ju Jullyy 30t 3 0t h and p urc ha se the Splu rge certifica te, wh ich can be r e dee me d for the abo v e offe r. T his adv ertis ement i s not a Splur ge certi fi c at e.
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Exclusively available at SplurgeTaos.com
Reservations are required and seating is limited. Purchase tickets in advance at MIAC gift shop or call 505-982-5057. All topics subject to change, please call to confirm.
p a rt m e
Full breakfast at the Museum Hill Café followed by programs at the Museum.
8.20.14 John Torres Nez (Navajo), Ph.D.
Nez is president of the Indigenous Fine Art Market (IFAM) created in April 2014, out of a positive movement by artists who wanted a voice in how their market is produced. Its inaugural year will include amazing artists from across North America. Nez’ background is in archaeology and museums, including as a MIAC curator. He is also a bead worker, flint napper, and jeweler.
De
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•
8:30–10:00
Ne
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James M. Keller
The New Mexican
Songs in the key of chinoiserie Dr. Sun Yat-sen Music by Huang Ruo. Libretto by Candace Mui-ngam Chong. Premiere: Oct. 13, 2011, Grand Theatre, Hong Kong. Sung in Mandarin.
H
uang Ruo’s opera Dr. Sun Yat-sen, which receives its American premiere at Santa Fe Opera on Saturday evening, July 26, marks the latest stop in a long tradition of operatic traffic that has flowed in both directions between China and the United States. It is the third opera the company will have produced by a composer born in China: in 2003 it offered the world premiere of Bright Sheng’s Madame Mao, which it had commissioned, and in 2007 it presented Tan Dun’s Tea: A Mirror of Soul. Both of these composers had followed a musical path that was characteristic of their generation. Coming of age during China’s Cultural Revolution (Sheng was born in 1955, Tan in 1957), they were sent to work in enterprises that brought them in touch with far-flung folk traditions, and they concentrated on studying music only when Deng Xiaoping decided to reopen the Chinese universities in 1977. Both are members of the so-called Class of ’77, the crème de la crème of China’s pent-up intellectual reserve who, after succeeding in university entrance exams conducted that year, began as freshmen in 1978 — Tan at the Central Conservatory of Music in Beijing, Sheng at the Shanghai Conservatory of Music. Both moved from there to advanced training in the United States, inevitably including among their mentors the Chinese American composer Chou Wen-chung, who immigrated to the United States in 1946, became a disciple of the avant-gardist Edgard Varèse, and from 1964 to 1991 taught composition at Columbia University to a host of emerging composers that also included such notables as Chen Yi, Zhou Long, and Ge Gan-ru. (Sheng, by the way, will be this summer’s composer-in-residence at Music From Angel Fire, which will program several of his chamber pieces from Aug. 20 through Aug. 23.) In a sense, Huang Ruo is not of their China. He was born on September 28, 1976, not quite three weeks after Mao Zedong died. For all intents and purposes, he entered the world at the moment the Cultural Revolution was extinguished. Spared the sort of “cultural reeducation” that was de rigueur during the preceding decade, he was able to study music as a child in a context that was less determined by ideology. He enrolled in the composition curriculum at the Shanghai Conservatory at the age of 12, and there he encountered the music of the Western classical tradition as a matter of course. He, too,
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PASATIEMPO I July 25-31, 2014
headed off to the United States for further study, taking his undergraduate degree at Oberlin and earning a doctorate at Juilliard. As he plunged into the swirl of contemporary composition, he drew with a sense of naturalness from a broad palette of influences, among which his personal cultural background was not necessarily — or at least not always — the most prominent. As a result, his generation of Chineseborn composers is achieving a deeper synthesis of Chinese and Western musical styles than seemed imaginable a mere generation before. For most European or American concertgoers, the emergence of Chinese composers seems a relatively recent phenomenon. Nonetheless, the musical rapprochement of China and the West extends further back than most of us might expect. The story begins with the importation of Western music into China, a history that was ably recounted, in much surprising detail, in the 2004 book Rhapsody in Red: How Western Classical Music Became Chinese (Algora Publishing) by wife-and-husband team Sheila Melvin and Jindong Cai. The process advanced in baby steps, but already by 1879 a Shanghai band was jointly sponsored continued on Page 36
Concert Hall of the Central Conservatory of Music, Beijing; top, an early portrait of Sun Yat-sen
Bright Sheng
Chen Yi
Zhou Long
Tan Dun
Huang Ruo
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Dr. Sun Yat-sen, continued from Page 34 by the local municipality and French expatriates. In 1919 an Italian pianist and conductor named Mario Paci led the first concerts of the Shanghai Municipal Council Public Band, later known as the Shanghai Municipal Orchestra, which he would oversee (with some bumps toward the end) until the middle of 1942. He introduced audiences to music by the European masters — Beethoven, Schumann, Wagner, and the rest — sometimes with the assistance of such top-flight touring virtuosos as violinists Fritz Kreisler and Jascha Heifetz, pianist Arthur Rubinstein, tenor John McCormack, and bass Fyodor Chaliapin. Eventually the ensemble evolved into the Shanghai Symphony Orchestra, which is today an ensemble of international repute. Melvin recently published an article on her blog, “The Great Flourishing,” detailing how Western opera made its way to China, drawing on a 1997 dissertation by Taiwanese musicologist Chun-Zen Huang. Although it was long accepted and often repeated that Western opera arrived in China with a 1956 production of La traviata at the China National Opera House, that factoid is distant indeed from the truth. English, French, Italian, and Russian opera troupes began visiting Shanghai in the 1870s. One of them, Elcia May’s Opera Company, presented an 1876 Shanghai season that comprised Offenbach’s The Grand Duchess of Gerolstein, Lecocq’s GirofléGirofla, and Webers’ Der Freischütz, with a chorus for the last cobbled together with the cooperation of resident German amateurs. During the next few years, numerous companies arrived, bearing standard operatic repertoire: Il trovatore, Rigoletto, Ernani, La fille du régiment, Il barbiere di Siviglia, Faust, and so on. Gilbert and Sullivan were unavoidable in the 1880s, in China just as everywhere else. “The Mikado premiered in London on March 14, 1885, and in Shanghai on October 15, 1885,” writes Melvin. “In one 1885 Gilbert and Sullivan production, the chorus was comprised of sailors from a British navy ship that happened to be in port.” In the early years, Western classical music in China — whether symphonic or operatic — was largely performed by foreigners for an audience of foreigners, but, writes Melvin, “Shanghai’s Chinese residents gradually became interested.” By 1927 the city boasted the National Conservatory of Music (which later became the Shanghai Conservatory of Music), founded by Leipzig-educated Chinese citizen Xiao Youmei. In 1937 the Shanghai Opera House presented a season of six standard European operas, produced by the house itself and, in the case of Rigoletto, including on its roster two Chinese singers, one being Wang Wenyu in the leading role of Gilda — by all appearances the first time Chinese vocalists had starred in Western operas. Western music had clearly built up a considerable following in China prior to disruptions in the second half of the 20th century, although it did not approach the extraordinary Chinese presence in European and American musical life today or the emphatic embrace of Western concert music among Chinese
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PASATIEMPO I July 25-31, 2014
audiences. More than a score of Western-style operas have now been written to librettos in Chinese, usually in Mandarin but sometimes employing regional linguistic forms. An important cross-cultural step arrived when Western-style operas in Chinese began to be performed in their original language in other countries. In 1992 Jin Xiang’s opera The Savage Land was given at the Kennedy Center in Washington, D.C., and later in that decade it was mounted in Saarbrücken and Vancouver, in every case in Chinese. More recent Chinese-language operatic exports include Guo Wenjing’s chamber opera Poet Li Bai, which had its world premiere at Central City Opera House in Colorado in 2007, and Xiao Bai’s opera Farewell My Concubine, which the China National Opera House brought to several American cities in 2008 — and now Dr. Sun Yat-sen in Santa Fe. European houses are easily as busy producing new Chinese works. As Chinese-language operas by Chinese-born composers gain increasing exposure on international stages, young opera singers labor to keep up with the demands of the repertoire. In 2011 Beijing-born bass Hao Jiang Tian, a mainstay of the Metropolitan Opera’s roster from 1991 through 2010, launched a program called I Sing Beijing that would enable Western singers to spend a summer in China studying Mandarin, with the goal of performing capably in that language. About 20 singers were accepted into the program, winnowed down from 200 applicants from North America, South America, and Europe. “The future of opera may be in China,” remarked Tian. For aficionados of an art form that struggles harder every year to lure in its traditional audience, his observation doesn’t sound far-fetched at all. ◀
Dr. Sun Yat-sen opens at Santa Fe Opera at 8:30 p.m. on Saturday, July 26, and continues with performances at 8:00 p.m. on Wednesday, July 30, and Aug. 8 and 14. Soprano Corinne Winters portrays Soong Ching-ling. Tenor Joseph Dennis is Dr. Sun Yat-sen. Baritone Chen Ye Yuan is Mr. Umeya. Carolyn Kuan conducts, and James Robinson is the director. Santa Fe Opera is seven miles north of Santa Fe on U.S. 84/285. Single ticket prices vary from performance to performance depending on demand. Prices start at $32; standing room is $15. Call 505-986-5900 or 800-280-4654 or visit www.santafeopera.org.
A five-cent Chinese Resistance die proof: Sun Yat-sen appears with Abraham Lincoln on a 1942 stamp.
Santa Fe Chamber Music Festival: Upcoming Concerts All concerts this week @ SFA: St. Francis Auditorium at the New Mexico Museum of Art, 107 W. Palace Ave.
MUSIC AT NOON noon @ SFA
BREAKING BACH
JUL 26
HAYDN, LIGETI, MENDELSSOHN
SUN + MON 6 PM @ SFA
Celebrated pianist Benjamin Hochman plays two sonically charged, dance filled Bach Partitas and Dallapiccola’s virtuosic Quaderno Musicale di Annalibera.
High-spirited trios by Haydn and Ligeti! And Mendelssohn’s rich, dramatic String Quintet No. 2 performed by violinists William Preucil and Jennifer Frautschi; violists Brett Dean and Hsin-Yun Huang; and cellist Mark Kosower. MONDAY CONCERT SPONSORED BY OMAHA STEAKS
Music Festival! Concerts continue through August 25. Saturday, July 26 at 5 pm, don’t miss
TUE JUL 29
ALESSIO BAX PIANO RECITAL Masterworks by Beethoven, Mussorgsky, and Rachmaninoff. “ Perhaps the most elegant of today’s young pianists.” — The New Yorker
THU JUL 31 ALL BRAHMS
ORION STRING QUARTET
JUL 31
THU 6 PM @ SFA
Pre-Concert Talk: 5 pm @ SFA The Orion String Quartet returns to perform the world premiere of Brett Dean’s String Quartet No. 2, “And once I played Ophelia” and Beethoven’s transcendent String Quartet No. 15 in A Minor.
ALL HANDEL
AUG 2
SAT 5 PM @ SFA
Amazing music performed by the world’s most celebrated chamber musicians. That’s the Santa Fe Chamber
JUL 27 + 28
SAT 5 PM @ SFA
SPONSORED BY THORNBURG INVESTMENT MANAGEMENT
Generously sponsored by the Edgar Foster Daniels Foundation
Star-studded Concerts Ahead!
The inspiring and incomparable Brahms Sonatas Nos. 1 and 2 for Cello and Piano performed by pianist Victor Santiago Asuncion and cellist Joseph Johnson.
Breaking Bach, pianist Benjamin Hochman’s masterful recital of magnificent Bach Partitas and more. Be moved by Mendelssohn’s emotional String Quintet No. 2 on Sunday, July 27 and Monday, July 28 with violinists William Preucil and Jennifer Frautschi; violists Brett Dean and Hsin-Yun Huang; and cellist Mark Kosower. And the dynamic, Grammy award-winning mezzosoprano Sasha Cooke performs one of Handel’s most celebrated cantatas, La Lucrezia, as part of our All Handel
YOUNG COMPOSERS STRING QUARTET PROJECT
World-renowned, Grammy award-winning mezzo-soprano Sasha Cooke performs one of Handel’s most passionate cantatas, La Lucrezia. Also his Piano Suite No. 5, “The Harmonious Blacksmith” and Flute Sonata in C Major.
concert Saturday, August 2 at 5! Be sure and select your Music at Noon seats now – tickets are going fast for Noon Concerts on Tuesday, July 29 and Thursday, July 31.
SPONSORED BY THORNBURG INVESTMENT MANAGEMENT
WED AUG 6 @ SFA 1 - 3 PM
NIGHT MUSIC
AUG 3 + 4
SUN + MON 6 PM @ SFA John Harbison’s magical Twilight Music. Beethoven’s “Moonlight” Sonata. Schoenberg’s beloved Verklärte Nacht. Artists include Philip Myers, Daniel Phillips, Ida Kavafian, Victor Santiago Asuncion, and Tara Helen O’Connor. SPONSORED BY THORNBURG INVESTMENT MANAGEMENT MONDAY CONCERT SPONSORED BY OMAHA STEAKS
YOUTH CONCERTS – FREE!
COMPOSER RYAN CHASE AND FLUX QUARTET
3 - 5 PM
MON JUL 28 10 AM @ SFA
COMPOSER TONIA KO AND FLUX QUARTET
MON AUG 4 10 AM @ SFA
These workshops are free and open to the public! American composer Ryan Chase’s honors include an ASCAP Morton Gould Young Composer Award, among many others. The Chicago Classical Revue describes composer Tonia Ko’s work as exploring “expansive, meditative calm.” The cutting-edge FLUX Quartet premieres new works by these exciting new artists on August 8!
Jennifer Frautschi, violin Hsin-Yun Huang, viola Wilhelmina Smith, cello
Tara Helen O’Connor, flute Victor Santiago Asuncion, piano
Marc Neikrug, Artistic Director
RESERVE YOUR SEATS NOW! 505.982.1890 SantaFeChamberMusic.com Ticket Office: NM Museum of Art, 107 West Palace Avenue
The Santa Fe Chamber Music Festival is funded in part by the National Endowment for the Arts, the City of Santa Fe Arts Commission and the 1% Lodgers’ Tax, and New Mexico Arts, a division of the Office of Cultural Affairs.
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NEW DIMENSIONS Dr. Sun Yat-sen composer Huang Ruo
Bill Kohlhaase
The New Mexican
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omposer Huang Ruo has waited nearly three years to hear one of the versions of his first opera, Dr. Sun Yat-sen. The original production, written for Western instrumentation and a handful of Chinese instruments, was set to open in Beijing at the National Centre for the Performing Arts in 2011 but a month before its premiere was indefinitely postponed by Communist Party officials for “logistical reasons.” By default, that made the October 2011 performance at the Hong Kong Cultural Centre’s Grand Theatre the opera’s premiere. That production, with Opera Hong Kong artistic director and tenor Warren Mok in the title role, was different than the one originally scheduled for Beijing. It was instrumented for a full Chinese orchestra. Huang, sitting at a table under a shade tree on the Santa Fe Opera campus during a break in rehearsal for the opera’s American premiere on Saturday, July 26, let his lunch go cold as he explained how he reacted to the opera’s cancellation. “Of course, I was very sad. To this moment I’m still sad about what happened. The Hong Kong performance did take place, so I was able to see the opera at last, and that brought me great comfort. From the beginning to the end, I never thought this would be an easy journey.” That journey has continued to be difficult. With only three weeks to go before the Santa Fe opening, Mok, an early champion of the opera and again cast as the lead, withdrew. The reason, according to the opera’s press release, was “prior commitments.” (The role will be taken over by Joseph Dennis, a second-year member of the company’s apprentice program.) “What is on the press release is what I also know as well,” Huang said when asked if he had insight into Mok’s departure. 38
PASATIEMPO I July 25-31, 2014
“I respect both his decision and the Santa Fe Opera’s decision. I don’t want to speculate. I’m just a composer trying to do some good.” He acknowledged that Mok’s leaving has left a challenge. “But I’m happy to inform you that the new tenor is doing very well, and I have been coaching him in Chinese, also Cantonese. He has a beautiful, beautiful, attractive voice.” Dr. Sun Yat-sen was Opera Hong Kong’s first commissioned production, and Mok was integral to its fruition. “[Mok] had this great will to bring about an opera, and I spent time talking to him about the different possibilities. At first we said, let’s create an opera in Cantonese. But the challenges were great. Number one, it’s hard to have people sing in the language, and number two, not
many people would be able to understand the language. Hong Kong is in the Cantonese region, so we thought it would be important to have a subject that is related to the region as well. So I proposed to him about having Sun Yat-sen as the subject, and he was very supportive of that and went wholeheartedly into producing it.” Sun, a turn-of-the-century Chinese revolutionary, helped lead the breakaway from hundreds of years of Chinese feudal history. “He is a very well-known figure for all Chinese people, and he was considered the founding father of modern China. A lot of movies and books have been written about him, but this is the first opera. I chose to tell a very personal story instead of just recounting his political achievements. [Politics] was not
my main focus because to me what makes a great opera story is the personal story, the universal personal story.” That story revolves around Sun’s marriage to Soong Ching-ling, daughter of the influential and progressive Chinese businessman Charlie Soong, an act complicated by their ages (Ching-ling is significantly younger), Sun’s relationship with Ching-ling’s father, and the fact that Sun is already married. Ching-ling’s wedding gown becomes a symbol of hope and possibility. “The idea,” said Huang, “came from one of Sun’s famous sayings: ‘Because of love, then comes revolution.’ To him, his political drive, his political belief, all came from his love — his love for the people, his love for his loved ones, his love for the country. He was a very passionate person. Without all that love to drive him around, he would not have been so consistently active.” The libretto, written by Hong Kong-based playwright Candace Mui-ngam Chong, is almost entirely in
out what’s going on, while listening to the voices and watching the staging. And then I realized that I was too distracted. So I turned my attention to focus only on the singer and ignored the [subtitles] and just tried to grasp what was going on from that. I could still get 80 percent of the story. That lesson taught me one thing. You know, a good opera should lead the audience to the drama — will inform them of the story and let them know the expression, know the feeling, know the action, even without understanding word by word what’s going on. The orchestration should be able to inform the drama as well as its words.” Even in its Western instrumentation edition, Dr. Sun Yat-sen uses a handful of Chinese instruments, including the pipa (lute), dizi (bamboo flutes) of various sizes, the sheng (mouth organ), and the guqin, an ancient type of zither. Huang’s enthusiasm for combining instruments from different traditions comes from an experience he had as a young student at the Shanghai
Mandarin. “To create music sung by Western operatictrained voices based on this language was not an easy task,” said Huang. “If I write in English, I will make the music adapt more to the language, to English. But when I write in Chinese, the music should fit the language well also. Whenever I write, I always ask, Does this music serve those words well? Does this music serve the drama well? Could people still feel the drama without totally understanding what is being sung?” These questions come from a realization he had when attending his first opera. “I went to see [Camille SaintSaëns’] Samson and Delilah, and I could not understand any words at all because I don’t speak French. So I was looking at the titles up and down while trying to figure
Conservatory of Music. “I still remember this very well. I was in a practice room, and there was a violinist playing Paganini — a very showy piece, an étude or something — in the next room. And on the other side of me someone was on a two-string traditional Chinese instrument, also playing the same piece but in a different key. So I had this very strange Charles Ives moment, different musical events happening at the same time.” He learned from the musician playing the two-string instrument that there wasn’t enough repertoire for traditional Chinese instruments, so the instructor had given him Western pieces to practice. “So I began to think, you know, I’m a composer, and these are lovely instruments. They have great, long traditions. Some
even went further back than the Western instruments. Why can’t I do something about this, not only writing music for them specifically but to also create new repertoire with the mixed ensemble in mind, so that I could do my duty to preserve the instruments and the tradition?” He likes the results. “It’s the color and the spirit of the sound. When I mix the instruments together, when they all play together, it has this very gorgeous color. It’s almost like how you would integrate red and blue together to come up with a new color.” Huang’s music not only combines instrumental traditions but embraces a number of musical styles as well. His concert of chamber pieces, performed at Stieren Orchestra Hall at the opera on Sunday, July 20, revealed new-music sensibilities, including patterns of minimalism, folk and other melodic touches, and an unusual use of voices. He calls this approach dimensionalism. It’s “a way to perceive music and also a way to create music. Whenever I hear sound — not just music but sound — I hear dimensions, I hear shape, I almost see the music in dimensions, in a concrete form. There’s a pitch. Its duration is the length; the width is the dynamic; the range is the height. So you could actually describe music in space. And when sound travels, it has an interaction with silence. Silence is actually music as well. So when there’s a rest, it doesn’t mean “let’s have a drink” or something. Music is still going on. In that sense, the larger form of time is the fourth dimension.” The concept itself is multidimensional, suggesting more than just tonal measurements. “In the larger part, dimensionalism also means when you have different colors, different sounds, different inspirations, sounds that came from different cultural backgrounds, different periods — when they all sound together. In its way, it creates a piece that has multiple dimensions, not just one.” Huang, who lives in New York City, is currently working on a new opera, a joint commission between Charleston’s Spoleto Festival USA and New York’s Lincoln Center for the Performing Arts. But he’s most interested in hearing the complete Dr. Sun Yat-sen with Western instrumentation performed before an audience. “The other day I was sitting in the rehearsal hall hearing the orchestra play through the entire piece, the Western orchestra, and that was the moment that I finally saw my baby being born.” He has larger goals as well. “One of my purposes for doing this production in Santa Fe is to show exactly what the opera is about, to really see it in the best perspective, in the hopes that people can see what it is I’ve created. For my part, I’m confident that this opera can be seen someday in mainland China — or anywhere in the world.” ◀
Composer Huang Ruo rehearses with musicians; opposite page, left to right, Rick Shinozaki, Charlton Lee, and Huang Ruo; photos Ken Howard, courtesy Santa Fe Opera
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And their learning comes easy Michael Wade Simpson For The New Mexican
T
he 2014 season at Santa Fe Opera may be remembered as the year of the understudy. First there was Shelley Jackson, a second-year apprentice, stepping in as Norina/Sofronia, the female lead in Don Pasquale. Laura Tatulescu, the soprano originally cast in the role, was suffering from severe allergies and had to drop out of the production. Then Joseph Dennis, a strapping blond 29-year-old tenor from Texas (his identical twin, Joshua, plays Jaquino this summer in Fidelio), found out that he would be taking over the title role in Dr. Sun Yat-sen; Warren Mok, the original tenor, who not only sings but founded and directs Opera Hong Kong, stated that he had been called back to Asia for work-related issues. “On opening night (of Don Pasquale), I was unnaturally calm and focused,” said Jackson, “in crisis-management mode. The second time, they pulled me out of a chorus rehearsal to tell me. I wasn’t as rested, but I think I actually did better. It was the first time I had ever done an entire role in a large house. I’ve been doing opera a long time scholastically, but this part is major — Norina is long and all-encompassing.” Jackson’s previous leading roles include Violetta in La traviata in a 200-seat house at the Academy of Vocal Arts in Philadelphia, where she went to school. “I knew that Santa Fe seats 2,000 and has a certain acoustic, but I needed to learn and judge vocally — and in terms of acting, body movement, even energy — what was reading.” Going into the performances, after a furiously concentrated rehearsal period, Jackson enjoyed support from everyone: fellow performers, the conductor, the director, even the tech apprentices, who were rooting for her backstage. The soprano says she told herself, Either you can be a student about this and try to do everything perfectly, or you can take the opportunity and run with it. Reaction was positive, including thunderous applause on opening night, but that wasn’t the end of it. “Laurent Philippe, my longtime coach, wrote five pages of notes about my performance.” Julia Faulkner, one of the visiting professionals hired to work with the apprentice singers as part of their summer training, offered more individual coaching. “At one rehearsal, the Italian coach, Corradina Caporello, was speaking in Italian, and the director, Laurent Pelly, was speaking to me in French, and I just had to stop and say, I’m in a nervous state here. I can do two languages, including English, but not three. I don’t really speak French. That
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PASATIEMPO I July 25-31, 2014
Opera understudies take center stage 48-hour rehearsal period was like two years of acting and vocal classes in two days. I like rehearsing a lot. That kind of intense rehearsal is as much fun as being onstage. I like pressure — I’m very type A. Laurent discussed my physical movement after the first performance. I tend to be fluid, graceful, and sometimes goofy onstage. He wanted Sophia Loren. I went to school with Zach Nelson [who plays Dr. Malatesta], and my first major duet is with him. The whole time, I was just looking into his eyes. Later, near the end of the opera, I wasn’t sure my voice was going to make it. Alek [Shrader, who plays her love interest, Ernesto] was giving me this look, as if he were saying, Hold on!” Brenda Rae, the soprano lead in this season’s double-feature production of The Impresario and Le rossignol, will take over as Norina in Don Pasquale for four performances beginning on Tuesday, July 29. Jackson, who assumed the part on June 28 (opening night) and again on July 9, stars twice more in Don Pasquale in Santa Fe — on Aug. 19 and 22. “You learn something new every time,” she observed. For Joseph Dennis, the challenges of Dr. Sun Yat-sen go way beyond convincing the audience he’s a Chinese revolutionary. “The language is difficult, and the music is very 21st century. Just one or the other would be challenging, but this is ... difficult. I’ve been studying the role for months, and for the majority of that time I’ve been terrified. The orchestra doesn’t play with you — you can’t get notes or rhythms from them. Some of the music is written to sound improvised, but if you don’t sing it exactly right, it doesn’t work. The more I study, though, the more I begin to hear patterns. This opera has some of the most beautiful melodies I’ve ever heard — like those in La bohème.” Dennis, a second-year apprentice, was given the responsibility to cover the role back in October.
Shelley Jackson; opposite page, Joseph Dennis and Huang Ruo, composer of Dr. Sun Yat-sen; photos Ken Howard, courtesy Santa Fe Opera
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Patio.Dining He had lived in China in 2003, teaching English in Wuhan, Beijing, and Shanghai. “Mainly I remember swearwords, but I think it did help out some with my ear and with speech patterns. In the Chinese language one word or syllable can mean eight different things. I have to remember which one syllable to emphasize. There is still a little delay in my inner translator, a lag time between what I’m singing and what I understand that I’m saying, dramatically.” The tenor had an opportunity to discuss the lead role with his predecessor, Mok, before the latter left Santa Fe. “We talked about the difficult parts and how he worked through them.” This particular role is written with very high and very low passages as well as extended periods in the difficult middle range of the voice — the passaggio — which, according to Dennis, is “right where you crack.” Mok and Dennis also discussed the importance of diction, of how to speak “proper Beijing Chinese.” Dennis said that the composer (Huang Ruo), conductor (Carolyn Kuan), and Mok all speak slightly different dialects and have different accents, but the standard is the Mandarin used in Beijing. As for the role’s acting demands, Dennis noted that Sun Yat-sen’s Western education allowed him to straddle two worlds. The challenge was to decide how Eastern and how Western to portray the man in his personal life. “I’ve lost sleep over that one,” the performer confessed. “He’s like China’s George Washington. What would I think if I went to an opera where a Chinese guy with a funny accent was playing George Washington? I’m trying to get the diction down.” Having his identical twin in Santa Fe during this experience has also been invaluable. “He was the one who got me started singing opera. We have the same voice. We give each other lessons, and that way we can hear [in each other] what the audience hears and trust what it is we’re feeling. I want Josh to understudy the role now because the more I teach him, the more I learn.” ◀
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"Tres Artistas"
July 24th-August 3rd Reception: Friday, July 25th 5-7pm Santos Barbosa, artist demonstration: :ursday July 24th 11am-4pm Francisco Rodriguez
Santos Barbosa
JACK DUNN
One Man Show Reception: Friday, July 25, 5-7pm
640 CANYON ROAD, SANTA FE, NM acostastrong.com
Zulia Gotay de Anderson
Jane Hamilton Fine Art 200 Canyon Rd Suite D Santa Fe NM 87501 janehamiltonfineart.com 520.465.2655 janehamiltonfineart@gmail.com
"Pedernal on a Happy Day" / 10x10 / oil on panel
FUJITSUK A SHOSE I COSMOS July 25 – August 17 Artist Opening Friday, July 25 5 – 7pm Bamboo Demonstration Sunday, July 27 2 – 3:30pm
1601 Paseo de Peralta Santa Fe 505.984.1387 taimodern.com
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PASATIEMPO I July 25 - 31, 2014
JJ a m e s S u r l s ames Surls
Wa d e Wi l s o n A r t w e l c o m e s Fl a t b e d Pr e s s o f Au s t i n , Te x a s fo r a fi n e p r i n t trunk show featuring the prints of James Surls along with other Flatbed stars. Wa d e Wi l s o n A r t w e l c o m e s Fl a t b e d Pr e s s o f Au s t i n , Te x a s fo r a fi n e p r i n t i d a yalong . . . . . . . . with . . . . . . . .other . . . . . . . . .Flatbed 1 1 a m - stars. 7pm J u l y 2show 5 t h featuring - J u l y 2 7the t h prints , 2 0 1 4of JamesFr trunk Surls Saturday ..................... 11am - 5 p m Fr July 25th - July 27th, 2014 S uindda ay y. . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. . 11 12 ap m m -- 75 pp m m Saturday ..................... 11am - 5 p m Sunday ........................ 12pm - 5pm
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Saturday, July 26th • 8 am to 5 pm | Sunday, July 27th • 9 am to 5 pm
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Michael Abatemarco I The New Mexican
BEAUTIFUL DREAMER
W
Top, Tom Chambers: Pretty as Me, 2013, archival pigment print; bottom, Dirt Road Dogs, 2008, archival pigment print
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PASATIEMPO I July 25-31, 2014
hen an otherwise mundane or realistic setting in a photograph contains an odd or startling element, it is considered a work of magic realism. It is within that genre that Tom Chambers constructs his haunting and poetic photomontages. A graphic designer as well as a photographer, he makes use of Photoshop when constructing the images, though all the elements used in his pieces are his original photography. “I started working in this particular genre back when Photoshop came out,” he told Pasatiempo. “The company I worked for got the software in the late 1980s. Everyone was playing with it, and I started using vacation shots and putting in extra elements. I could see it was the perfect medium for something like magic realism.” Reverie, an exhibition of Chambers’ photography, opens Friday at Photo-eye Gallery. The show includes works primarily from his Animal Visions and Illumination series. The former is a group of images juxtaposing shots of young women, many of them of Chambers’ daughter, with wild animals. The artist’s contrasting of rich, saturated colors and muted tones along with his allusions to Renaissance painting has resulted in a compelling body of work that feels highly atmospheric and dreamlike yet somehow familiar. The pieces recall the work of 20th-century realist painter Andrew Wyeth, marking an interesting transition from Photo-eye’s previous
TOM CHAMBERS show Richard Tuschman — Hopper Meditations, a body of work directly inspired by the paintings of Edward Hopper. In Animal Visions, Chambers’ compositions can startle because of the danger represented by the animals and the contrasting innocence of his human subjects. “If there’s an animal and child together, the child is somewhat vulnerable,” he said. “That will grab your attention quickly. It’s not about trying to be scary, but the juxtaposition is kind of unsettling.” While this is true in images such as Edge of a Dream, where a girl walks along the top of a stone wall while a white Bengal tiger calmly strolls down the road beneath her, other works captivate because of the empathy the imagery engenders. The female figure in Daybreakers, for instance, acts protectively, almost motherly, as she leads a group of fawns across a misty landscape. Similarly, The Goatherd shows
a surreal montage of a seated young woman reading as goats gather round her like children at story time. Most of the animal photos were shot live at zoos in and around the Richmond, Virginia, area, where Chambers lives. “There’s a couple of zoos close to here,” he said. “There’s the Metro Richmond Zoo south of town. There’s also a petting zoo in town and the National Zoo in Washington, D.C., which is pretty incredible. There are some where I’ve shot the animals in the Virginia Museum of Natural History — of course, they’re dead. I tried to contact a taxidermist this week, but they’re not too into my going into their studio and moving the animals outside, and I have to move them outside to get the right kind of light.” The lighting is crucial when working in photomontage because the final compositions are made up of imagery from several different photographs and the process is betrayed if the lighting doesn’t match up. “All the elements have to be lit with the same type of light and from the same direction. Otherwise, it looks really fake. Also, the intensity of the light is important. I tend to shoot everything on overcast days so everything will match up pretty well. When you shoot on sunny days, the light is much more harsh. It’s better to shoot under diffuse light,” explained Chambers. “I work a couple of different ways putting images together. I sometimes come up with an idea and sketch it out real small, like thumbnail size. Then I go out and shoot all the elements and put them together in Photoshop. Sometimes the idea totally transforms as I’m working. Then, sometimes I’ll have a background shot from a trip I took and I’ll come up with ideas to place elements into the background.” One such trip resulted in Chambers’ Illumination series. The photos were shot in regions throughout Italy, and the resulting montages return to the theme of children and youth. The most striking example is Late for Dinner. That composition, which depicts a child running up a narrow pathway toward an ancient village at the top of a steep mist-shrouded hill, recalls Wyeth’s numerous paintings of solitary figures in pastoral settings, particularly his iconic Christina’s World (1948). The village on the hill in Chambers’ photomontage is Civita di Bagnoregio, a town about 75 miles north of Rome. “You’re not allowed to drive there. You have to park at the bottom of the hill and walk up that pathway. It was established around 500 B.C., but most of the buildings are from the 12th century. People still live there. I took a lot of pictures up there, but looking up at the town from the bottom of the hill is pretty spectacular.” In addition to the two series on view in Reverie, Photo-eye has works available from other series, including Entropic Kingdom, a group of images that subtly underscores the fragile relationship between humans and other animals and our species’ impact on natural environments. Entropic Kingdom, Chambers’ first monograph, was published by Modernbook Editions in 2012. Another available series is Marwari, a powerful group of images that shows Marwari horses, a rare breed from India, at play. The shots were taken in the water off the coast of Martha’s Vineyard. Again, Chambers juxtaposes his subject animals with shots of children, who lend an angelic presence to the resulting montages. But there’s something more to the artist’s motif of pairing children and animals — something innately magical yet seemingly real that is perhaps best summed up in Barry De Vorzon and Perry Botkin Jr.’s lyrics to the theme song for the 1971 film Bless the Beasts & Children: “Bless the beasts and the children/For the world can never be/The world they see.” ◀
details ▼ Tom Chambers: Reverie ▼ Opening reception 5 p.m. Friday, July 25; exhibit through Sept. 13
Daybreakers, 2013, archival pigment print; top, Edge of a Dream, 2013, archival pigment print; all images courtesy Photo-eye Gallery
▼ Photo-eye Gallery, 541 S. Guadalupe St., 505-988-5152
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ART IN
REVIEW Painting the Divine: Images of Mary in the New World, New Mexico History Museum, 505-476-5200; through March 29, 2015 Painting the Divine: Images of Mary in the New World features more than 40 paintings and a few sculptures from 17th- and 18th-century Mexico and Peru as well as works from New Mexico. Curated by Josef Díaz, the exhibition conveys how Spanish colonial society interacted with Mary’s image and how religion factored into migration to the New World. The exhibition gallery, painted the same sumptuous saturated blue as Mary’s mantle, culminates in a small room of modern depictions of Mary by such artists as Ray Abeyta, Ramón José López, and Marion Martínez. There is a distinctive hallowed feeling to the space, as if you can breathe a little more deeply after leaving the hubbub of the Plaza behind — not entirely unlike the sensation of wandering into St. Patrick’s Cathedral in New York City to escape a blazing July afternoon. The works on display in the museum are detailed, ornate, even mystical. But context is everything. If you’re Catholic, you’ll no doubt respond differently to these images and their symbolism than someone raised with no religion at all, and a religiousart scholar is likely to glean a different story from the work than museumgoers interested only in the aesthetic experience of looking at art. Paul and David Mutschlecner, a father and son from Los Alamos viewing the exhibition on a Saturday afternoon, both commented on the everyday look of Mary in many of the paintings. Paul compared her to someone you’d meet on the street and wondered if the artists used local models. “She’s not like the Italian Madonna — not so beatific. This presents more doorways into the Divine,” said David, who identified as a Catholic. “She’s like someone Juan Diego would know,” he added, referencing the story of the Virgin Mary appearing, in 1531, on the outskirts of Mexico City to a peasant named Juan Diego — a vision that became known as Our Lady of Guadalupe. “It fits into the simplicity of Mary. She would be someone who would be working at the fiveand-dime, just like any of us.” Questions will pop up for viewers unfamiliar with Catholic imagery. For instance, why does Mary often stand on a sliver of moon? Some paintings by unidentified 18th-century Mexican artists, such as Our Lady of the Rosary With Souls in Purgatory and Our Lady of the Apocalypse, seem to offer clues. The conflict between good and evil is ever-present, with goodness always the path toward redemption. Mariam Cohen, who teaches courses in religious art at Arizona State University, was touring the exhibition with her husband, Barry Schnur, and Juan Correa: Our Lady of the Angels, 1692-1706, oil on canvas, Archdiocese of Santa Fe and Saint Anthony’s Catholic Church, Pecos; opposite page, José Aragón: Our Lady of San Juan de los Lagos, circa 1825, oil on canvas, collection of the New Mexico History Museum; photos Blair Clark
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PASATIEMPO I July 25-31, 2014
Special Trainings Offering CEUs for Counselors, Therapists, & Social Workers
Retreat on Contemplative Practice and Rituals in Service to the Dying (aug. 7 - 10)
Techniques for professional and family care-givers. 18.75 CNEs Frank Ostaseski and Roshi Joan Halifax, PhD
Social Resilience Model Level I (aug. 29 - 31) Level II (oct. 24 - 26) Neurobiologically-oriented trainings to build leadership and resilience to traumatic events Laurie Leitch, PhD and Loree Sutton, MD
santa fe, new mexico 505-986-8518 www.upaya.org registrar@upaya.org
Seeing new patients in our Santa Fe office! Appointments scheduled through Los Alamos office: 662-4351 Most insurance accepted! (not contracted with Tricare) her aunt Donna Cunningham, from Albuquerque. “Mary is the feminine Divine in a patriarchal religion,” said Cohen, who converted to Judaism 30 years ago for Schnur, who, in turn, said his faith and practice have deepened over the years due to his wife’s conversion. “As Marion theology has developed, she gets closer to divinity. God and Jesus are so far above us, but we know about a mother who suffers. She is relatable; she intercedes; she has gone through human experiences.” Cohen explained that Mary stands on the moon to signify that she is the Queen of Heaven. Jason Tapia is the security supervisor for the museum. He grew up in Pecos, going to church at El Macho (St. Anthony’s Catholic Church). Our Lady of the Angels, painted by Juan Correa (1646-1716) around 1700, hung there for many years. “This painting is a tradition in my family. I remember seeing it since I was like 8 years old,” he said. He compared the museum gallery to a church. “The beauty of it brings you to peace within. You can meditate, do a little praying. I think everyone should see it.” In the contemporary room, Marion Martínez’s Queen of Heaven (2010) renders the Virgin from computer circuit boards, CDs, and other modern materials. Close-by is Ramón José López’s Nuestra Señora de Guadalupe (1994), which is painted on buffalo hide. The works highlight the way artists have always used what is at hand to create and show devotion. “For Martínez, creating the Virgin out of remnants of technology is no less pious than sculpting her from wood or painting her on canvas,” Tey Marianna Nunn writes in an essay in the exhibition catalog. Nunn, visual arts director at the National Hispanic Cultural Center, curated the 2001 Cyber Arte: Tradition Meets Technology exhibition at the Museum of International Folk Art. The show became controversial due to the inclusion of Alma López’s Our Lady, which depicts the Virgin of Guadalupe in a floral bikini. On his way out, David Mutschlecner stopped to contemplate Alfredo Arreguin’s Nuestra Señora de la Selva (1989). Mary and her child are in a jungle, surrounded by animals. The surface of the painting looks almost like a tapestry. “It’s like the pattern of creation,” Mutschlecner said. “What a wonderful way to end a show.” — Jennifer Levin
Elmoreindianart.com
839 Paseo de Peralta, Suite M • Santa Fe, NM 87501 • 505-995-9677
PASATIEMPOMAGAZINE.COM
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ART IN
REVIEW Jim Vogel: Cante Jondo, Blue Rain Gallery, 130-C Lincoln Ave., 505-954-9902, exhibit through July 31, 2014
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Top, Jim Vogel: La Resurrección, 2014, oil on canvas panel with hand-carved and gold-leafed frame Left, ¡Ole!, 2014, oil on canvas panel with antique New Mexico trunk frame Bottom, Sueños de la Primavera (Dreams of Spring), 2014, oil on canvas panel with hand-carved, painted, and copper-foiled frame
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PASATIEMPO I July 25-31, 2014
homas Hart Benton, that famous painter of proletariat America, was born in Missouri in the 19th century to a family of prominent regional politicians and lawyers. Maybe it was rebellion that sent a teenage Benton all the way to Paris, where he dabbled in Cubism and ruminated on color theory with Stanton Macdonald-Wright and Diego Rivera. Nevertheless, Benton returned to the States and eventually settled in the decidedly less-exotic Midwest. He was inspired by the ordinariness of his environs, once describing them as “the most complete denial of aesthetic sensibility that has probably ever been known.” It wasn’t a totally cynical statement; he ultimately championed the struggles and challenges, even the tedium, of working-class life. New Mexico resident Jim Vogel makes his home north of Santa Fe in the pretty but remote little town of Dixon. His surroundings are not exactly quotidian, but perhaps his rural homeland invokes a patriotism like Benton’s; surely his outsize, almost cartoonish oil paintings reference the latter visually. Cante Jondo, or “Deep Song,” is the poetic name of Vogel’s latest body of work. In it, he examines New Mexico’s subcultures with characteristically dramatic color and his trademark elaborately handmade frames. This small group of new paintings (there are eight) expands on Vogel’s long preoccupation with exaggerated figuration, manifested in lively depictions of people with big hands who respond to their surroundings with demonstrative emotion. In ¡Olé! a dancing couple is framed in an antique New Mexico trunk, its opened spine dividing the composition into two panels. On the left is a man with a serious, determined face. Though his feet and huge hands appear in riotous motion, his eyes are fixed on the woman to his left, whose red skirt billows around her heeled feet, which stomp the dirt. Behind each dancer are a much older man and woman, hypnotized by an unseen rhythm. Combined, the characters create a sense of movement that’s palpable and self-aware. Vogel’s populist sensibilities are more pronounced in works like the innocuously named Sueños de la Primavera (Dreams of Spring). A woman in a swirling white dress hovers protectively near a man who sits against a tree, his face obscured by a brimmed hat, his big hand clutching a bottle. The painting’s hand-carved wood frame is embellished with glimmering copper leaf, which elevates the humanity and poignancy of the scene it borders. Nuestra Señora de la Gente Errante is like a retablo, a Latin American devotional painting of Catholic saints and holy personages. Here, the señora is pictured before striped green curtains and supporting a small child. Her tiered turquoise skirt, layered chain necklaces, and gleaming gold rings make her look like a fortuneteller or a curandera. Once, when Thomas Hart Benton’s paintings were slammed by a critic for being too loud and not in good taste, the artist replied, “They represent the United States, which is also loud and not in ‘good taste.’ ” Perhaps this sort of thinking-person’s patriotism applies to the work of Vogel, whose paintings represent his corner of the United States with beauty, wit, and compassion. — Iris McLister
ASPEN SANTA FE BALLET presents
Juan Siddi
SANTA FE
PRESENTING SPONSOR
July 27 | 8:00pm Discover the rich, authentic, and passionate world of Juan Siddi Flamenco Santa Fe, recipient of the Santa Fe Mayor’s Award and rave reviews from international press. The ensemble of 13 dancers and musicians deliver a no-holds-barred theatrical experience. Experience the thrill of flamenco at its finest! “...a must see.” – NBC New York
COMING UP: JUAN SIDDI FLAMENCO August 3 & 9 ASPEN SANTA FE BALLET August 30
Make it a weekend.
• Fri/Sat/Sun Home Delivery • Pasatiempo Magazine (Fri) • Unlimited Online Access Get it all for just pasatiempomagazine.com
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$ 24
SEE EXTRAORDINARY DANCE AT Tickets: 505-988-1234 or online at www.juansiddiflamencosantafe.com
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CORPORATE SPONSORS
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MEDIA SPONSORS
Family Foundation
Partially funded by the City of Santa Fe Arts Commission and the 1% Lodgers Tax, and made possible in part by New Mexico Arts, a Division of the Department of Cultural Affairs, and the National Endowment for the Arts.
PHOTO: MORGAN SMITH
PASATIEMPOMAGAZINE.COM
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Michael Abatemarco I The New Mexican
PAGEANTRY ON THE PLAZA Spanish Market & Contemporar y Hispanic Market
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Clockwise from top, Cleo Romero: pendant chandelier, 2014, tin; Anita Rodriguez: Quantum Curandero,, 1994, acrylic on kiln-dried sugar pine (nicho carved by Roberto Lavadie); Nicolás Madrid: Mesilla cross, 2013, tin
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PASATIEMPO I July 25-31, 2014
lthough Spanish Market was initially a grassroots effort that began in 1926, it wasn’t until 1965, under the auspices of the Spanish Colonial Arts Society, that it became an annual event. Now in its 63rd season, the market once again presents an array of works in a variety of media that reflect ongoing interest in colonial-era arts and crafts. Artisans display their creations in a number of categories, including hide painting, retablos, woodcarving, altar screens, painted and unpainted bultos, ceramics, weaving, basketry, tinwork, leatherwork, and straw appliqué, to name a few. The common thread is that these are all traditional arts developed between the 16th and early 19th centuries. Some, such as bone carving, are considered revival arts, while others, such as bulto carving and retablo painting, have been produced continuously for centuries. The Spanish Colonial Arts Society — founded in 1925 as the Society for the Revival of Spanish Arts and in 1929 officially becoming the organization we know today — has been instrumental not just in preserving the art of the colonial era in New Mexico (many examples are permanently housed in Santa Fe’s Museum of Spanish Colonial Art) but also in promoting techniques of the market’s artists themselves. At Spanish Market, first-, second-, and third-place awards are given for each medium’s category. Other honors include the E. Boyd Memorial Award (named for Elizabeth Boyd White, former curator of the Spanish Colonial Arts Society’s collection), Best of Show, the Mixed-Media Award, the Hispanic Heritage Award, and the Florence Dibell Bartlett Award (named for the founder of the Museum of International Folk Art). The market weekend begins with a two-part preview at the Santa Fe Community Convention Center (201 W. Marcy St.) on Friday, July 25: first, there’s a collectors’ hour from 6 to 7 p.m. Admission is $60 for this earliest opportunity to purchase works by award-winning market artists. Afterward, from 7 to 9 p.m., admission to the public preview is $30, with discounts available. Tickets can be purchased through the Spanish Colonial Arts Society by calling 505-982-2226, ext. 109, or visiting www.spanishcolonial.org. The weekend market, free to the public, is officially open on the Santa Fe Plaza on Saturday and Sunday,
July 26 and 27, from 8 a.m. to 5 p.m. Saturday’s highlights include a 10 a.m. greeting and proclamation by Mayor Javier Gonzales and a 2 p.m. performance by Los Matachines de El Rancho, a Native American historical dance-drama troupe. Other performances feature traditional Hispanic dance, children’s folk music, and more between 11 a.m. and 4:30 p.m. At 8 a.m. on Sunday, a market Mass at the Cathedral Basilica of St. Francis of Assisi (131 Cathedral Place) starts things off, followed by a 9 a.m. mariachi procession from the cathedral to the Plaza bandstand, where at 9:15 a.m. Archbishop Michael Sheehan offers a blessing. Until 4:30 p.m., attendees can enjoy a selection of live entertainment, including flamenco dances by members of María Benítez’ Institute for Spanish Arts at 11 a.m. and Albuquerque singer Ana Maria’s traditional New Mexican music at 1 p.m. For a complete list of market events, visit www.spanishcolonial.org. In recent years the market has included the category Innovations Within Tradition, for artists who use updated, contemporary themes within a traditional format. For fans of more modern works, Contemporary Hispanic Market offers 134 booths along Lincoln Ave., adjacent to Spanish Market. Now in its 28th year, the contemporary market presents pieces in categories as diverse as painting, photography, printmaking, sculpture, jewelry, and ceramics. Contemporary Hispanic Market award winners are showcased during a free preview event, also at the convention center, which begins at 5:30 p.m. on Friday, July 25. Admission to Contemporary Hispanic Market is free. It runs from 8 a.m. to 5 p.m. on Saturday and Sunday, July 26 and 27. ◀
details ▼ Spanish Market Collectors’ preview 6 p.m., Friday, July 25 ($60), public preview 7 p.m. Friday, July 25 ($30), Santa Fe Community Convention Center, 201 W. Marcy St., 505-982-2226, ext. 109, or www.spanishcolonial.org Weekend market 8 a.m.-5 p.m. Saturday and Sunday, July 26 and 27, Santa Fe Plaza, no charge ▼ Contemporary Hispanic Market Preview 5:30 p.m., Friday, July 25, Santa Fe Community Convention Center, 201 W. Marcy St., no charge Weekend market 8 a.m.-5 p.m. Saturday and Sunday, July 26 and 27, Lincoln Ave. between Palace Ave. and Marcy St., no charge
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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
70’S & 80’S RETRO THURSDAY DJ OoNa Hosts
FRIDAY, JULY 25TH • MOTLEY 2 Mötley Crüe trIBUte
HIP HOP SATURDAY
July 19 through August 10, 2014
lIVe DJ
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
JULY 12, 19 & 26
HARLEY DAVIDSON
win
StREEt gLIDE
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We’ll be giving aWay three harley Street gliDeS in JUly hourly Drawings on Saturday, July 12, 19 & 26 from 6pm to 10pm. See lightning rewards Club desk for complete contest rules and details.
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all rights reserved
© copyright 2014
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Paul Weideman I The New Mexican
LORD
OF THE
RINGS
j ewe l e r r eye s u l i b a r r i
“What’s made all of this fun for me is the history,” said Ulibarri. He pointed out that his family businesses sit right on the Camino Real, the old trade route on which Agua Fría Street was aligned. His own history goes back to grandfather Ernest Ulibarri, who moved to Agua Fria from the Tierra Amarilla Land Grant in 1950, and great-grandfather Octaviano Ulibarri, from Las Nutrias.
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he little building beside a gravel yard used to be a construction shack, but for the last six years it has been the Spanish Trails International headquarters and shop. Jeweler Reyes Ulibarri, the proprietor, sells rings, earrings, brooches, necklaces, bracelets, watchbands, and other stone-inlaid silver and gold pieces, but you can also find shields, swords, engraved pocket-knives, and shelves full of tiles, mugs, flasks, and T-shirts adorned with accurately drawn family coats of arms. A glass case in the shop, located on the grounds of Ulibarri Landscaping Materials, 2805 Agua Fría St., is full of interesting art and historical items. Among them are a variety of statuettes of knights from the Middle Ages. Nearby stands a miniature Spanish knight on horseback in full armor, manufactured in the city of Toledo, Spain. “I used to import these by the container-load,” said Ulibarri.
He began the business at the Villa Linda Mall in 1990. During his 14 years there, his inventory included replica armor and weaponry imported from Spain and works by dozens of local artists. Artwork in his current shop includes a line of ornate crosses based on cholla branches, fashioned by Maria Padilla. “In the 3,500-square-foot store I had at the mall, half my pieces were by artists in New Mexico in the Spanish colonial period and their descendants and half were replica items imported from Spain. After Villa Linda, I was on Fifth Street, behind Empire Builders Supply, for five years. Then I came here at my dad’s invitation in 2008.” His father, Alfonso R. Ulibarri, who started the landscaping business, died in June at age 75. Reyes Ulibarri began learning silversmithing and goldsmithing in 1985. “I apprenticed under Bevis Tsadiasi at Zuni. Most of my silversmithing is selftaught, but his skill in turquoise inlay opened up a
whole new world for me. What we are best known for today are wedding, anniversary, and engagement rings.” Many of Ulibarri’s clients work with him to design custom jewelry. He sometimes melts down customers’ old gold and silver to provide heirloom material for new pieces. One of his distinctive rings, which he designed after a visit to Spain, is made to look like a small crown. It’s inlaid with green opal from Mintabie, Australia, and with purple African sugilite. Another of his favorites is a necklace inspired by a Hopi prophecy about a blue star that will catalyze change in the world. The 17-carat blue topaz, set in lava rock, hangs from a bead necklace made by his daughter Sarah. Ulibarri and his wife, Veronica, have four children and two grandchildren. One son, Samuel, is a literary artist with a degree in history from the University of New Mexico. The youngest son, Solomon, is career U.S. Army. The couple’s oldest daughter, Sonia, is a canvas artist and, like her sister, a beadwork artist and jewelry designer; the two also have a line of natural body-care products and cosmetics. The stacks of tiles bearing coats of arms for dozens of Hispanic surnames are products of Sonia’s 20002001 trip to Spain. “We sent her to Toral in the province of León to study canvas art for a year,” her father said. “She was an acrylic painter from 5 years of age. We have home-schooled our four kids, and she grew up with an ability to just tear away from the academic teaching and paint. “She was fascinated with heraldry, which is very much alive in León. It’s called la cuna de los reyes (the cradle of the kings), because so many of Spain’s kings were born there. She came back and began to paint the heraldic symbols, the coats of arms.” The business invested in an emulsion-transfer machine to make tiles based on her heraldry paintings. When customers buy a tile, they get a page of information about the crest, written by Samuel Ulibarri. “Each province has its archival library where you can find these heráldicas that document the crests for the surnames. As a result of her studies there, Sonia is one of the few people in the United States who can interpret the symbols on the crests.” As examples, he
Family photo showing Reyes Ulibarri (right) with his father, Alfonso R. Ulibarri, and grandfather Ernest Ulibarri of Tierra Amarilla
gestured to the devices on a Castillo coat of arms — a silver three-towered castle, a tree, a fleur-de-lis, and two greyhounds — and he added, “This surname originated in Cantabria, which was one of the Celtic kingdoms of northern Spain.” That’s Basque country. “Yeah, Ulibarri is a Basque surname. The little town of Ulibarri is in Álava Province. I am a member of the Basque Club of New Mexico. Juan de Oñate [appointed the first governor of New Mexico in 1595] was a fellow Basque.” “What’s made all of this fun for me is the history.” He pointed out that his family businesses sit right on the Camino Real, the old trade route on which Agua Fría Street was aligned. His own history goes back to grandfather Ernest Ulibarri, who moved to Agua Fría from the Tierra Amarilla Land Grant in 1950, and greatgrandfather Octaviano Ulibarri, from Las Nutrias. Reyes’ great-uncle was Sabine Ulibarri, a poet, author, and University of New Mexico professor of Hispanic language, culture, and literature. Leaning on the front of the Spanish Trails International shop are several examples of the owner’s graphic stonework, including headstones. Ulibarri recently made one for a friend and another of Santa Fe’s unique residents: Nadine Sultana d’Osman HanDawson, a great-granddaughter of Ottoman caliph Sultan Abdulhamid II. Like most of the items in the store, a framed print of the Edmund Leighton painting The Accolade (sitting on a shelf right next to a miniature Lord of the Rings-brand sword) serves as a launch point for a
culture-related discussion. “That print was one of our best-selling items in the store at the mall. Notice that the queen has flaming-red hair, like people from Ireland, Scotland, and Galicia in the north of Spain, which was named by Caesar Gallicus after the Gaelictongued people who dwelt there in the first century. There are lots of words that are used around this area that actually are of Celtic origin.” I asked Ulibarri if I could buy a suit of armor from him. “Not anymore. Back in the mid-1990s I was an importer of replica armor and swords from Spain, but not anymore.” What if somebody wants a conquistador helmet? “I tell ’em to get it online. Google it. When the internet really kicked in and started affecting small businesses, maybe 2002, I discontinued that.” “I have clients all over the country who visit me, and they send their kids and their nephews and nieces. It keeps me as busy as I want to be. Of course, when we were in the shopping mall, I had six employees and we worked seven days a week.” Internet competition was just one reason for downsizing from the 3,500 square feet at Villa Linda. “Traffic at the mall dropped to less than 40 percent of what it used to be before 9/11 and all the casinos opening. I told them [the mall’s managers], You can’t charge high rents in bad times, but they didn’t listen. We also had to cut back a lot in the recent downturn, when landscaping diminished along with real estate. “The funny thing is,” he said, “I never thought I would be getting jewelry traffic in a landscaping business.” ◀ PASATIEMPOMAGAZINE.COM
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VIAJES PINTORESCOS Y ARQUEOLÓGICOS Khristaan D. Villela The Morley Collection of Spanish colonial art anta Feans who are interested in the arts of the Spanish colonial era, from the early 1500s through the 1820s, have enjoyed a rich offering of museum exhibitions thus far in 2014. Earlier this year, the Albuquerque Museum of Art and History hosted the Brooklyn Museum show Behind Closed Doors: Art in the Spanish American Home, 1492-1898. In late June, Painting the Divine: Images of Mary in the New World opened at the New Mexico History Museum and Palace of the Governors. And the Museum of Spanish Colonial Art just debuted Secrets of the Symbols: The Hidden Language in Spanish Colonial Art. As July winds down, we look forward to Spanish Market (July 26-27), the great celebration of New Mexico’s continuing engagement with Spanish colonial and 19th-century village arts such as bulto sculpture, retablo painting, filigree jewelry, straw appliqué, colcha embroidery, and weaving. In addition to these special events, Santa Fe’s museums, cultural institutions, and Roman Catholic churches have deep holdings of Spanish colonial works, made both south of the U.S.-Mexico border and in New Mexico. One of the lesser-known Santa Fe collections of Spanish colonial objects was amassed by Maya archaeologist Sylvanus G. Morley, beginning about a century ago, and was donated to the Museum of New Mexico in 1945. The Morley Collection consists of about 100 works, made mostly in what is now Mexico and Guatemala, and encompasses mediums as diverse as painting, religious sculptures, silver, illuminated manuscripts, textiles, and furniture. Another component of the 1945 Morley gift is his fine Mesoamerican research library, which still can be consulted in the library at the Laboratory of Anthropology, part of the Museum of Indian Arts & Culture. The rest of the collection is split between the Museum of International Folk Art and the New Mexico History Museum/Palace of the Governors. A large table from Guatemala is on loan to the Governor’s Offices, and an impressive gilded altarpiece was a gift to Amelia White and is now in the director’s office at the School for Advanced Research, formerly the School of American Research. As an archaeologist for the Carnegie Institution of Washington from 1914 until his death in Santa Fe in 1948, Morley spent about half of every year in Mexico and Central America. The early years were spent on expeditions through the rain forests of northern Guatemala in search of ancient Maya monuments with hieroglyphic inscriptions. This work led to Morley’s great books, The Inscriptions at Copán (1920) and The Inscriptions of Petén (19371938). Between 1923 and 1940, Morley directed the Carnegie Institution’s archaeological excavation at the ruins of Chichén Itzá, in Yucatán, Mexico. His long residence in Latin America offered many
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opportunities to acquire Spanish colonial artworks and furniture. But he never hit pay dirt like he did in Guatemala City at Christmas in 1917. Morley was in Central America at the time on a two-year assignment as a spy for the U.S. Office of Naval Intelligence. As Charles H. Harris and Louis R. Sadler recount in The Archaeologist Was a Spy: Sylvanus G. Morley and the Office of Naval Intelligence (University of New Mexico Press, 2009), the United States had just entered World War I, and there was much suspicion that the Germans would try to establish submarine bases in Mexico and Central America. Germany was keenly interested in Mexico, and we cannot forget the famous Zimmermann Telegram of January 16, 1917, which promised Mexico the return of the American Southwest if it declared war on the United States. The intent was to occupy the United States with war in its backyard, thus preventing its entry into the European theater. So Morley and other Americans, including his old friend curator Herbert J. Spinden, undercover as archaeologists and artists, traveled some 1,200 miles of Mexican and Central American coastline. Morley never saw a U-boat and never found good evidence of a single active German plot. But as Harris and Sadler point out, he established an intelligence network that was of great use to the United States after the war, when it sought to increase its influence in the region. While Morley was in Guatemala City for Christmas, the area was struck by a devastating series of earthquakes. There was great loss of life, and many of the continued on Page 60
Top, altarpiece in El Delirio dining room, School for American Research; courtesy SAR, AC18:418:35a Bottom, Pietro Longhi party at El Delirio, August 27, 1949, School for American Research; courtesy SAR, AC18:418:43a Opposite page, top, records of the School for Advanced Research, White Estate, August 1972; photo David Noble, Roll 1.2:32 Opposite page, bottom, Sylvanus Griswold Morley, 1883-1948, courtesy the Palace
of the Governors Photo Archives (MNM/DCA), Negative No. 010316 Opposite page, right, Our Lady of Sorrows (Nuestra Se単ora de Dolores), circa 1700-1725, Guatemala; gift of Virginia Morley Brooks, in honor of her father, Dr. Sylvanus G. Morley, to the Museum of International Folk Art; courtesy of the museum, A10.1956.10; photo Blair Clark
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Viajes, continued from Page 58 city’s historic buildings were either destroyed or badly damaged. As Morley recounted in an article published in 1918 in Natural History, some of the most ornate Spanish colonial religious establishments, like the convent of La Merced, were nearly leveled. Morley recalled much later, in an issue of El Palacio, that religious authorities in Guatemala decided to raise funds to rebuild their structures by selling surplus art and furnishings. Voilà — the archaeologist not only was a spy but now had a collection of Spanish colonial art. After the war, Morley went back to full-time archaeology. We know little about the collection until summer 1926, when, according to letters in the Edgar L. Hewett Papers in the Angélico Chávez History Library (at the New Mexico History Museum), Morley was headed to Santa Fe for the season and was to be preceded in town by 10 crates of Spanish colonial art and furniture shipped from Guatemala to New Orleans on a United Fruit Company steamer. The fruit company had been helping Morley and Maya archaeology from the 1910s, when it allowed Hewett and SAR to excavate the ruins of Quiriguá, on one of its banana plantations in eastern Guatemala. United Fruit allowed Carnegie Institution archaeologists to travel for free to and from Mexico and Central America and also shipped tons of matériel for archaeological projects. Close connections between United Fruit and the U.S. intelligence community were forged during Morley’s time in the Office of Naval Intelligence, and the banana company was closely tied to the CIA’s overthrow of the Guatemalan government in 1954. Writing on May 5, 1926, to Lansing Bloom, assistant director of SAR and the Museum of New Mexico, Morley reminded Bloom of Hewett’s promise that he could store his furniture in three rooms at the eastern end of the Palace of the Governors. He continued, “The furniture is lovely stuff, and I know with your love of the Southwest that you will enjoy it. I expect to spend the entire summer in Santa Fe and probably well on into the Fall. I have apparently quite recovered from the dysentery but am alarmingly low in weight – 112 lbs, clothes and all.” Morley did spend the summer of 1926 in Santa Fe. He lectured at Hewett’s summer school of archaeology and also participated in a mock Maya virgin sacrifice at the dedication of a swimming pool at the home of Amelia White, a property that later was given to SAR. Later that summer, Morley and Herbert Spinden organized an ancient Maya-themed parade float called The Yucatantrums for the Santa Fe Fiesta Historical/ Hysterical Parade. By the mid-1940s, Morley and his second wife, Frances, were living half the year in Mérida, Yucatán, and the balance in Santa Fe, in a home they purchased and renovated at 451 Arroyo Tenorio. In 1945 the Morleys decided to make a gift of their Spanish colonial art, furniture, and silver, as well as their scientific library, to the State of New Mexico. An exhibition of about 150 Spanish colonial silver objects from the Morley Collection opened at the Laboratory of Anthropology on July 8, 1945, The New Mexican reported. With about 100 more works from the
N.B. Field Collection (now at the University of New Mexico Art Museum), as well as loans from other Santa Feans, the exhibition was believed to be the largest of its kind ever mounted in the United States. The Morley silver consists of many plates, mugs, candlesticks, and spoons, as well as church-related objects like incense burners. According to accession records still held by the Museum of International Folk Art, much of the collection dates to the late 1700s and early 1800s. Many of the works feature assayers’ marks and hallmarks, like a large “M” used in Mexico City and an image of Santiago (or James, patron saint of Guatemala during the Spanish colonial era) on horseback above the Guatemalan volcanoes Agua and Fuego.
A second exhibition was planned for Morley’s collection of Spanish colonial religious art and furniture, to be held in the Ecclesiastical Room at the east end of the Palace of the Governors. The Fiesta edition of The New Mexican, published on Aug. 31, 1945, noted that Governor John Dempsey had accepted the Morley gifts the previous day and that the exhibition was now open to the public. The same paper noted that with the surrender of the Japanese and the end of World War II, Will Shuster was finally able to get explosives and fireworks for the annual burning of Zozobra. The Sept. 1945 issue of El Palacio was entirely devoted to the Morley gifts, and in addition to the text of speeches given by Dempsey, Hewett, and Archbishop Edwin V. Byrne, it printed an article by Morley about his collections. Among the highlights are a large choir book, measuring 33 by 22 inches, from the Church of Our Mother of Mercy (La Merced), headquarters of the Mercedarian monks in Guatemala. Many of the 27 pages of parchment are illuminated with gold. They include music and words for the offices of Lauds and Vespers, prayers the monks recited morning and evening. Another significant object is a crucifix Morley bought in Mexico City, with Christ’s body carved of a single ivory tusk weighing more than 10 pounds. While Morley thought the work was made in the Philippines, museum records, possibly written by curator E. Boyd, ascribe the ivory to Goa, a Portuguese colony in western India and an important center of ivory carvings of Catholic themes. It is likely that the sculpture was imported to Mexico on the famous Manila trade galleons that connected Spanish colonies in the Far East with Spain’s American territories and thence with Europe. Morley’s article was followed by a contribution by Archbishop Byrne on symbolism in the Roman Catholic Church, presumably necessary for better understanding by El Palacio’s mainly Protestant readership. The archbishop discusses the basics of Catholic belief and ritual and how works in the Morley Collection, such as many priestly garments, were originally used. Museum records show that in the years since 1945, many objects in the Morley Collection have been exhibited, often at the Palace of the Governors, in displays dedicated to faith in the Spanish colonial world. The only work from the Morley Collection currently on display at a Santa Fe museum is a broadsword at the New Mexico History Museum/Palace of the Governors. ◀
Top to bottom, crucifix, undated, Philippines or Goa, A10.1956.1; Mercedarian Antiphonary, mid-17th century, Guatemala City, Guatemala, A10.1956.21; both, gift of Virginia Morley Brooks, in honor of her father, Dr. Sylvanus G. Morley, to the Museum of International Folk Art; photos Blair Clark, courtesy of the museum
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PASATIEMPO I July 25-31, 2014
The Changing World of Publishing and Reading James McGrath Morris
“Erudite, funny, print loving but digital savvy, Morris is navigating the fast evolving universe of the written word-and giving us fascinating glimpses of its future” -Hampton Sides
July 31 at 7 pm in the Great Hall at St. Johns College Tickets are $7.50 and available through tickets Santa Fe
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Michael Abatemarco I The New Mexican
to frame the fearful symmetry MARK SPENCER
Spencer, are included in Reformations, an exhibition at Nüart Gallery. Part of the fascination they hold involves Spencer’s technique. Dynamic swaths of color capture the motion of dizzying eddies, but they aren’t the result of the gestural brushwork of action painting. Spencer’s creations often take months to take shape, composed in stages with a detailed sense of realism. His works have a smooth, uniform surface. Blended edges lend the overall compositions a softness that is at odds with the often violent imagery. Spencer’s paintings have a narrative quality, but the stories they tell are open-ended. Vernal Equinox, a recent large-scale painting of a man and a woman traversing a windswept, snowy landscape, lacks the bold, energetic movement of the Whirlwind Paintings but not their feeling and power. The couple seems to struggle against the wind. The man carries a bundled lamb cradled protectively in his arms. The woman carries a bundle too. It could be a child, but the face cannot be read from the brief glimpse seen through
a thin opening in the blanket. They rise from an outcropping of rock, the sea behind them. The image could represent life’s efforts at seasonal renewal, the role of the parent in protecting the innocent, or the struggle of the young for survival in a harsh, merciless existence. “One of the major themes is emergence, and another is couples,” Spencer told Pasatiempo. “Many of the monotypes are configurations of couples. I’m not concerned with the meaning of it. There’s always meaning there if you perceive it. My work always ends up being about a spiritual evolution, if you will. These pictures are sort of like moments of passage through barriers like the ego prisons we make for ourselves.” The meeting point of land, air, and sea is also a consideration in Spencer’s art, and his abstracted dramas often unfold on a kind of psychic landscape where nature threatens to overwhelm the figures. They have a feeling of allegory, particularly in more continued on Page 64
Mark Spencer: Expulsion of Doubt, 2007, oil on panel; opposite page,
T
here’s something archetypal and visionary in the paintings and monotypes of Mark Spencer. Elemental forces — whirlwinds of dust, cloud, color, and flame — encircle figures on the landscape, perhaps obliterating them, perhaps serving as the setting from which they emerge, gods or demons struggling to become manifest. Even his most abstract paintings are alive with energetic movement and hints of figuration amid the chaos, but the strangely abstracted and surreal shapes seldom resolve themselves into definite forms. These works, dubbed Whirlwind Paintings by PASATIEMPOMAGAZINE.COM
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“Holding your “Holding your hand through the hand through the entire process” entire process” • Over 20 Years Experience
Mark Spencer, continued from Page 63
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Prometheus, 2012, oil on panel
representational works such as Vernal Equinox, and have the timeless aspect of myth. “That’s a function of my interest in history, which is a history of mythologies,” he said. The man and woman in that painting could be the animated spirits of Adam and Eve, cast from Eden, still wandering in search of refuge across the dreamscape of the human soul. The artist is able to capture a mood in his compositions without having to situate the action at a particular moment or event in time. “All those things live in my brain. I do thumbnail sketches, and they often become these paintings. Really, I see action, and I see groups of figures and stuff going on, and that will develop. In the process of that evolution, I realize what the thing is about.” Despite the sweeping, gestural curves of motion and abstraction in most of the exhibited works, Spencer’s pieces recall the lush, light-filled paintings of J.M.W. Turner more readily than the paintings of Abstract Expressionism. “In a lot of ways I work similar to him. I would divine these things going on with him, and in fact his work is rather abstract.” Spencer’s History of God feels both Turneresque and reminiscent of the work of William Blake. In it, a hulking figure stands before a maelstrom of heat and flame — a cauldron of explosive activity. It can be read as either a moment of creation or one of dissolution. Vague shapes appear here and there in the circle of swirling flame: objects coming into being, or meeting some preordained end in an event of cosmic proportions. Beside the godlike figure is that of a statuesque woman, perhaps a Greek marble or a classical nude. Inherent in the composition, as in many of Spencer’s paintings, is a sense of duality, expressed as male/female and also as a tumultuous storm revolving around a fixed point. Spencer’s art suggests primeval forces locked in eternal conflict, the earliest drama repeating itself in an endless round. The imagery is at once familiar and alien. “It’s not usually the stuff that people want to look at,” he said. “People don’t want to see. They want to believe that their vision of the world is the vision of the world. My work, just by its nature, calls that into question.” ◀
details ▼ Mark Spencer: Reformations ▼ Exhibit through Aug. 3 ▼ Nüart Gallery, 670 Canyon Road, 505-988-3888
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PASATIEMPO I July 25-31, 2014
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PASATIEMPO I July 25 - 31, 2014
E D S A N D O VA L July 25 – August 9, 2014 During Spanish Market Weekend Artist’s Reception: Friday, July 25th 5 – 7 pm
130 Lincoln Avenue, Suite C Santa Fe, New Mexico 87501 505.954.9902 www.blueraingallery.com
Santa Fe Spring (detail) Oil on canvas, 40” h x 30” w
Coreen Cordova Spanish Market Trunk Show In attendance July 25, 26, 27 Also featuring new designs/handmade originals from designers Elisa Cavaletti, Missani le Collezioni, Double D Ranchwear, Lane Boots, Lucchese Boots, Karen Wilkinson, Anna Konya, Kippy’s, Chan Luu, True Religion, and our private in house label, Maverick’s of Santa Fe Designs.
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MOVING IMAGES film reviews Rêve gauche Laurel Gladden I For The New Mexican Yves Saint Laurent, fashion biopic, rated R, in French with subtitles, Center for Contemporary Arts, 1.5 chiles “It is meticulous and boring.” That’s what one reviewer said about an early collection by iconic designer Yves Saint Laurent, and I can’t think of a better way to describe this precise and moody but lifeless and sluggish film from director Jalil Lespert. It’s the first of two biopics focusing on the designer to be released this year and the only one authorized by his estate. While it captures many of the details of Saint Laurent’s career, it doesn’t dig deep or offer any insight. It feels like a fashion show rather than a depiction of an actual life. The film opens in the late 1950s, at the beginning of Saint Laurent’s career, just before he took over the house of Dior at age 21. It then flashes forward to introduce a flimsy framing device: Pierre Bergé (Guillaume Gallienne), saddled with a disappointing voice-over. Bergé was Saint Laurent’s partner in life until 1976 and in business until the designer’s death in 2008. Over the years, he and Saint Laurent collected numerous pieces of art, and Bergé is packing them up for sale at auction. I assumed this scene was intended to further the notion that fashion, like painting and sculpture, is “real art.” But that idea is rarely revisited. Saint Laurent is better known for his influence on the fashion landscape than for the details of his private life — his mental illness, his sexual dalliances, his drug and alcohol abuse. Lespert offers us
The many sides of Yves Saint Laurent: Pierre Niney
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PASATIEMPO I July 25-31, 2014
Beautiful but dumb: Pierre Niney and Charlotte Le Bon
a rare look at these — we see Saint Laurent flirt, fall in and out of love, have more than one breakdown, and attend coke-fueled orgies. We never learn what bearing, if any, these things had on his career. Pierre Niney — gawky, stooped, and angular — is a dead ringer for the designer. More than mere imitation, he’s an embodiment of the man and his mannerisms, but his performance is so chilly that we never really get a clue about what inspired Saint Laurent, personally or professionally.
Lespert affords us brief, superficial glimpses of some of the important characters in Saint Laurent’s life — Loulou de la Falaise (Laura Smet) and Betty Catroux (Marie de Villepin), for example — but they’re sketchily depicted, and it’s hard to tell what impact they had on his work. Others, most notably Catherine Deneuve, are nowhere to be found. Though we’re told over and over that Bergé was the love of Saint Laurent’s life, we aren’t given a sense of what the two saw in each other. Saint Laurent in particular comes across as vain, selfish, and petulant, and after a while you begin to wonder why Bergé hung around for so long. Naturally, the costume design — a combination of loaned original pieces and reproductions by Madeline Fontaine — delivers the necessary fashion porn. Oddly, though, the collections that receive the most screen time are the designer’s earliest (hardly his most innovative) and the opulent, exotic Ballets Russes collection of the 1970s. One of Saint Laurent’s most groundbreaking designs, Le Smoking, is given short shrift in one strange, low-lit scene. And the creation of the famed Mondrian dress is relegated to a brief, Hollywood-esque montage scene. The film ends rather abruptly as the romantic relationship between Saint Laurent and Bergé comes to what feels like an inevitable end. This leaves the final three decades of the designer’s career unexplored — and left me feeling bored and disappointed. Much like a couture collection, Yves Saint Laurent is lovely to look at, but I wish it had been half as innovative as the designer whose life it depicts. The film suffers because it just skims the surface — albeit a chic one. ◀
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Friday July 25 11:30a - Yves St. Laurent* 1:00p - Roger Ebert: Life Itself 2:00p - Closed Curtain* 3:30p - Yves St. Laurent 4:15p - Venus in Fur* 5:45p - A Hard Day’s Night 6:30p - Roger Ebert: Life Itself* 7:45p - Snowpiercer 8:45p - Venus in Fur*
Sat-Sun July 26-27 11:00a - Auteurs: Wild Strawberries 11:30a - Yves St. Laurent* 1:00p - Roger Ebert: Life Itself 2:00p - Closed Curtain* 3:30p - Yves St. Laurent 4:15p - Venus in Fur* 5:45p - A Hard Day’s Night 6:30p - Roger Ebert: Life Itself* 7:45p - Snowpiercer 8:45p - Venus in Fur*
Monday July 28 12:15p - Roger Ebert: Life Itself 1:30p - Venus in Fur* 2:45p - Yves St. Laurent 3:45p - Venus in Fur* 5:30p - Auteurs: Wild Strawberries 6:00p - Roger Ebert: Life Itself* 7:30p - Snowpiercer 8:30p - Yves St. Laurent*
Tuesday July 29 12:15p - Roger Ebert: Life Itself 1:30p - Venus in Fur* 2:45p - Yves St. Laurent 3:45p - Venus in Fur* 5:00p - A Hard Day’s Night 6:00p - Roger Ebert: Life Itself* 7:00p - Sephardic Film Fest: Tinghir-Jerusalem 8:30p - Yves St. Laurent*
Wednesday July 30 12:15p - Roger Ebert: Life Itself 1:30p - Venus in Fur* 2:45p - Yves St. Laurent 3:45p - Venus in Fur* 5:00p - A Hard Day’s Night 6:00p - Roger Ebert: Life Itself* 7:30p - Snowpiercer 8:30p - Yves St. Laurent*
Thursday July 31 12:15p - Roger Ebert: Life Itself 1:30p - Venus in Fur* 2:45p - Yves St. Laurent 3:45p - Venus in Fur* 5:00p - A Hard Day’s Night 6:00p - Roger Ebert: Life Itself* 7:00p - Sephardic Film Fest: El Gusto 8:30p - Yves St. Laurent*
COMING SOON to CCA:
• AUTEURS: Andrei Rublev • Whitey: US vs. James Bulger • Linklater’s BOYHOOD • A Five Star Life • Land Ho! & more... PASATIEMPOMAGAZINE.COM
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MOVING IMAGES film reviews Come with me to the Casbah Jonathan Richards I For The New Mexican El Gusto, documentary, not rated, in French with subtitles, Center for Contemporary Arts, 3 chiles A young woman, Algerian-born and living in Ireland, visits her native country. While wandering around the Casbah, she goes into a tiny cluttered furniture shop to look at a mirror. She spots some old, fading photographs of musicians and asks the proprietor, Mohamed Ferkioui, about them. Soon the mirror is forgotten, as the old man takes her on a trip down memory lane to the time, more than half a century earlier, when he and his friends played and lived for music. The music that made the soundtrack of their lives was chaabi, which “makes you forget misery, hunger, thirst.” The woman is Safinez Bousbia, a filmmaker, and as she listens to Ferkioui’s stories of his former musician-friends and how they were forced apart and scattered who knew where, she knows that this is a film she has to make. She sets out to track down Ferkioui’s old orchestra mates and see if she can organize a reunion. The father of chaabi was a man called El Anka, a musical legend in the Casbah in the 1940s and ’50s. The music he created was a music of the people. (Chaab means “people” in Arabic.) It’s described as “a cocktail” of existing Berber music, religious chants, and the Andalusian tradition. Andalusian classical music, El Anka explains in an old film clip, was upperclass music, music for snobs. Chaabi was the music of the streets, embedded in the smoke and lime of the walls of the Casbah. El Anka started a conservatory for chaabi music, and it quickly overflowed with young musicians, including those who made up the group in Ferkioui’s old photographs. Bousbia went to the school, which is still running, searched its records, and over a period of years was able to track down many of the surviving members of the group, now living in Marseille, Paris, and Algiers. The men were Muslims and Jews, and in the mid-century period
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PASATIEMPO I July 25-31, 2014
Oud player Rachid Berkani
between “the German War” and Algeria’s War of Independence, they lived and played chaabi together in the Casbah without a hint of religious or racial strife. There was harmony and a sense of community. The Jews and Arabs were closer to each other in culture and in language than they were to the tonier European Christians on the other side of town. They loved music; and loving music, they loved each other. They would meet in cafés and basements — anywhere they could find enough space to get out their instruments, open a few bottles, and play. Most of the chaabi musicians came from poor backgrounds, and in Bousbia’s interviews they reminisce about how they came to be drawn to music and about the first instruments they had when they were kids — homemade devices fashioned from frying pans or olive oil cans with wooden necks attached. And then came the day the music died. In 1954 the Algerian War of Independence broke out. When it was over, in 1962, the music venues — the bars, brothels, and clubs — were shut down. The Jews were expelled from Algiers and fled to France, leaving everything behind. In France they didn’t have it much better. They were scorned as Pieds-Noirs. But they found their way and settled into new lives, some finding work as musicians, although none could make a living at it. Bousbia does a wonderful job weaving together the stories of the old musicians, the history of the music, and the history of the region. I would have liked to have seen a little more of the sleuthing and the
tracking down of these men and their reactions in the moment when she told them what she was up to. But she captures their nostalgia and their fond memories, and she keeps herself discreetly out of the picture for the most part. The camerawork, by Núria Roldos, is gorgeous as it prowls the streets of the Casbah, bathes the old musicians in a reflective light, and soars above the city of Algiers. The editing, by Françoise Bonnot (who won an Oscar in 1970 for Z), is excellent. Bousbia also paints a persuasive picture of what life in this region could be like when people are focused on something they love, not on divisions and hatred. For the most part, the chaabi musicians did not have much in the way of worldly goods, but they had their music and their shared passion, and being Arab or Jew didn’t drive them apart. They went to one another’s mosques and synagogues, played for one another’s weddings and circumcisions and parties. It took Bousbia over half a decade, but she was finally able to round up the surviving musicians, rehearse them in their separate locations, and bring them together for a concert in Marseille. The smiles on the faces of these guys as they meet and reminisce, and as they get out their instruments and let the music take them back, are irresistibly infectious. The music is wonderful. The movie has been much compared to The Buena Vista Social Club, and musically, it’s an apt comparison. Like the Buena Vista group, the El Gusto orchestra has remained together, touring and recording, under the direction of El Anka’s son. ◀
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Sneak Preview Cormac McCarthy’s CHILD OF GOD A Film by James Franco
Manon Lescaut Live Simulcast Q and A with (Royal Opera House, London) James Franco Sunday 11:00 am Tuesday at 7:00 SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com
Bargain Matinees Monday through Friday (First Show ONLY) All Seats $8.00 PASATIEMPOMAGAZINE.COM
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— compiled by Robert Ker
the venerable Wilfrid Brambell) wants him to give up the music business and get a real job. But The Beatles just want to play music, and so they do. Richard Lester directed with an eye toward the comical, and the result remains a gem. Rated G. 87 minutes. Center for Contemporary Arts, Santa Fe. (Robert Nott) HERCULES Dwayne “The Rock” Johnson returns to effects-heavy fantasy and gets back into beefcake mode to play the great hero Hercules. His 12 labors are behind him, but he’s called back into action to defeat an evil warlock, vast armies, and mythical beasts. Ian McShane and John Hurt costar. Brett Ratner (Rush Hour) directs. Rated PG-13. 98 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) LUCY Scarlett Johansson teams up with French action director Luc Besson to run rampant in the streets of Taiwan. She plays Lucy, who works as a drug mule until an experimental drug leaks into her body and unleashes her full potential. What does she use it for? Revenge, of course. Morgan Freeman also stars. Rated R. 90 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) Dwayne “The Rock” Johnson and his beefy entourage in Hercules, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week 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; DreamCatcher, Española. (Not reviewed) CHILD OF GOD the New York Film Critics Series continues with a sneak look at the upcoming adaptation of Cormac McCarthy’s 1973 novel about a loner named Lester Ballard (Scott Haze). A simulcast interview with filmmaker and star James Franco follows. 7 p.m. Tuesday, July 29, only. Rated R. 104 minutes. The Screen, Santa Fe. (Not reviewed) CLOSED CURTAIN In 2010 Iranian director Jafar Panahi was banned from filmmaking until the year 2030 by his government. In 2011 he collaborated with Mojtaba Mirtahmasb on This Is Not a Film, a documentary about his predicament. Here, he joins filmmaker Kambuzia Partovi to tell a drama about two people
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who hide in a house to avoid police detection. Not rated. 106 minutes. In Persian with subtitles. Center for Contemporary Arts, Santa Fe. (Not reviewed) EL GUSTO Chaabi is the street music of Algiers, an infectious blend of styles that flourished in the middle of the last century, before the Algerian War of Independence. Director Safinez Bousbia was able to track down and reunite scattered chaabi musicians, bringing them together for a concert in Marseille. She weaves together the stories of the old musicians and the history of the music and the region. Not rated. 88 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) See review, Page 70. THE FLUFFY MOVIE This concert 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) A HARD DAY’S NIGHT This 1964 madcap musical comedy revolves around a day in the life of The Beatles. There’s not much plot: Paul’s grandfather (played by
A MAN MOST WANTED One of Philip Seymour Hoffman’s final performances is in this adaptation of a novel by John le Carré. He plays Günther Bachmann, a Hamburg man who helps spies infiltrate terrorist cells and engages in a battle of wits to recruit new immigrant Issa Karpov (Grigoriy Dobrygin). Rated R. 121 minutes. Regal DeVargas, Santa Fe. (Not reviewed) PERFORMANCE AT THE SCREEN The series of high-definition screenings from afar continues with a showing of Puccini’s Manon Lescaut from London’s Royal Opera House. Jonas Kauffman and Christopher Maltman star. 11 a.m. Sunday, June 27, only. Call for running time. The Screen, Santa Fe. (Not reviewed) A SUMMER’S TALE In the third of his Four Seasons cycle (the only one never to receive U.S. distribution), the great Eric Rohmer explores, as he so often did, the rhythms of young love, with its agonies, awkwardness, and ethical dilemmas. Gaspard (Melvil Poupaud), a student and musician, arrives on holiday at a Bretagne beach town where he has made a vague plan to rendezvous with Lena (Aurelia Nolin), who may or may not show up. He meets a friendly waitress, Margot (Amanda Langlet, Pauline at the Beach) and the more sensually inclined Solene (Gwenaëlle Simon). Gaspard bobs between them like a cork on the tide, unable to make up his mind. There’s a lot of talk, and just as much unsaid. It’s Rohmer. Not rated. 113 minutes. In French with subtitles. The Screen, Santa Fe. ( Jonathan Richards)
VIDEO GAMES: THE MOVIE Since their earliest days as tools to train computer programmers, video games have grown from the simple, pixilated blips in the likes of Pong to elaborate games with byzantine story lines, dedicated teams of artists, and scenes that play out in real time. Narrated by Zach Braff, this movie is a mostly chronological account of video games’ rise in popularity, resulting in the multibillion-dollar industry we know today. Mixed into the history of the games and consoles used for interfacing are glimpses into the subculture of gamers. Not rated. 105 minutes. Jean Cocteau Cinema, Santa Fe. (Michael Abatemarco) WISH I WAS HERE Filmmaker and star Zach Braff directs his first film since 2004’s Garden State, and it’s this partly Kickstarter-funded comedy that 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) YVES SAINT LAURENT “It is meticulous and boring.” That’s what one reviewer said about an early collection by iconic designer Yves Saint Laurent, and I can’t think of a better way to describe this precise and moody but lifeless film from director Jalil Lespert. Saint Laurent (Pierre Niney) is better known for his fashion influence than for the details of his private life — mental illness, sexual dalliances, and drug and alcohol abuse. Lespert offers us a rare look at these as well as some of the important characters in Saint Laurent’s life, but we never learn what bearing they had on his career. The costume design — a combination of original pieces and reproductions — is pure fashion porn, though some of the most innovative designs are given short shrift. Rated R. 106 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. (Laurel Gladden) See review, Page 68
now in theaters BEGIN AGAIN John Carney, director of 2006’s Once, returns with another music-themed romantic comedy. Mark Ruffalo plays a former record-label executive who comes across a beautiful young singer (Keira Knightley) and suggests they make sweet music — and, inevitably, magic — together. Singers and rappers such as Adam Levine, Mos Def, and Cee Lo Green help fill out the cast. Rated R. 104 minutes. Regal DeVargas, Santa Fe. (Not reviewed)
CHEF This movie is the latest offering from writer-director Jon Favreau (Elf ). He plays Carl Casper, an L.A. chef with a successful restaurant and a failed marriage. Carl gets into a war of words with a critic (Oliver Platt); loses his job; and with the help of his ex-wife (Sofia Vergara), her ex (Robert Downey Jr.), and an amiable line cook ( John Leguizamo) heads to Miami with his son (Emjay Anthony), hoping to start over. Chef is part food porn, part tale of self-discovery, part fatherson bonding story, and part road-trip movie — with nary a conflict or villain in sight. It will remind you to appreciate the simple things in life — particularly a good Cubano sandwich. Rated R. 114 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) DAWN OF THE PLANET OF THE APES 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. Through one gripping scene after another — and some unconvincing leaps in certain characters’ motivations — 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. Dawn is not as memorable as Rise, but this is the best and most thoughtful blockbuster franchise going right now. Rated PG-13. 130 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) EARTH TO ECHO This family-oriented sci-fi film evokes a low-budget, early-career Steven Spielberg, right down to the gangs of bicycle-riding youngsters and wonder-filled special effects in suburbia. The plot may also sound familiar: the kids involved find an E.T. named Echo (a little robot-looking thing) and help it phone home. Rated PG. 91 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) THE GRAND BUDAPEST HOTEL It is truly a joy to witness the work of Wes Anderson, who devotes such attention to his creative vision that he crafts his own singular world. Here, he tells a tale of an Eastern European hotel manager (Ralph Fiennes) who is willed a priceless painting by a former lover (Tilda Swinton). This angers a relative (Adrien Brody), who feels he should be the true heir. Anderson adds suspense worthy of Hitchcock or Carol Reed to his impeccably designed “dollhouse” aesthetic. Willem Dafoe, Jeff Goldblum, Edward Norton, Jude Law, and
Lucy
Harvey Keitel co-star. Rated R. 100 minutes. Regal DeVargas, Santa Fe. (Robert Ker) HOW TO TRAIN YOUR DRAGON 2 In this sequel to the 2010 animated adventure, Hiccup (voiced by Jay Baruchel) and Toothless — his wonderful, expressive, doglike dragon — return to explore the vast horizons of their Viking kingdom. They come into trouble in the form of would-be world-conqueror Drago (Djimon Hounsou), which leads to enough action to bloat the running time. The animation is spectacular, and Cate Blanchett (as Hiccup’s mother) helps flesh out one of the strongest female characters in a nonFrozen animated film in years. Rated PG. 102 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) LIFE ITSELF Helmed by Hoop Dreams director Steve James, this film is as moving and revealing a documentary as you could expect to see about film critic Roger Ebert. Drawing heavily from Ebert’s autobiography, James paints a complete portrait of the man, detailing his early years in journalism, his contentious relationship with former rival then partner Gene Siskel, and his influence on cinema. Ebert emerges as something of a man of the people, even if he was sometimes difficult to get along with. The film goes back and continued on Page 74 PASATIEMPOMAGAZINE.COM
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forth from the distant past to Ebert’s final years, when a long battle with cancer left him without the ability speak but, fortunately for us, not without the ability to write. Bring tissues. Rated R. 115 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) 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 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) OBVIOUS CHILD Aspiring 20something comedienne Donna ( Jenny Slate) works at the Unoppressive Non-Imperialist bookstore and performs raunchy confessional-style stand-up at a local club. After her boyfriend dumps her and she finds out she’s going to lose her job, she drowns her sorrows in booze and has a drunken one-night stand. A few weeks later, she realizes she’s pregnant and decides to get an abortion. While a romantic comedy whose plot hinges on that political hot-button issue certainly sounds divisive, director Gillian Robespierre presents the contentious issue as something ultimately human — a common, unfortunate fact of life for many women — and she finds humor in it. Obvious Child isn’t about abortion — it’s about Donna. Rated R. 84 minutes. The Screen, Santa Fe. (Laurel Gladden) PERSECUTED The latest heavy-handed right-wing movie is both pro-Christian and antigovernment, so it’s like a two-for-one special. James Remar plays John Luther, a preacher who stands in the way of sweeping “religion reform” in the United States, so the government frames him for murder and forces him to fight to clear his name. Rated PG-13. 91 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) PLANES: FIRE AND RESCUE This summer’s annual Pixar film is not quite a Pixar film but rather a Disney sequel to its own Pixar spinoff. The world of Cars gave birth to 2013’s Planes, and this follow-
spicy bland
medium
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Read Pasa Pics online at www.santafenewmexican.com/pasatiempo
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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 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) 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 is 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. (Guess which day the film centers on.) 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; DreamCatcher, Española. (Not reviewed) SNOWPIERCER Chris Evans (Captain America in those Marvel films) plays a dude in a future world, where global warming has wiped out most of mankind and the few remaining survivors choo-choo Earth aboard a train. A class system evolves with the rich people (led by Tilda Swinton) up front and the poor people out back, until the downtrodden start talking about a revolution. Rated R. 126 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed) TAMMY Melissa McCarthy has established herself as the current queen of comedy with smash hits like Bridesmaids and The Heat. Her latest is this dark comedy about a woman who loses her job, learns of her husband’s infidelity, and takes to crime with her rough-and-tumble grandma. Susan Sarandon co-stars. Rated R. 96 minutes. 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 over-the-top action sequence to the next. The movie is loud, dumb, exploitative of both female and male
bodies, often unfunny, and distractingly jingoistic, 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 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) 22 JUMP STREET You know it’s summer at the cinema when you get a sequel to an adaptation of a TV show. But this one has a lot going for it: 2012’s 21 Jump Street was an underrated comedy, and filmmakers Phil Lord and Christopher Miller are fresh off the success of The Lego Movie. Jonah Hill and Channing Tatum return as the undercover-cop odd couple, who have moved on from pretending to be high school students to trying to blend in with the college crowd. Rated R. 112 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) VENUS IN FUR In his adaptation of David Ives’ hit play, Roman Polanski moves the action to Paris and puts it in the hands of two wonderful French actors, Emmanuelle Seigner (Polanski’s wife) and Matthieu Amalric (a Polanski look-alike). The story is about an actress auditioning for the writer-director of a play based on Venus in Furs, Leopold von Sacher-Masoch’s notorious 1870 erotic novella that gave its author’s name to the word masochism. This is a story about role-playing, gender politics, sexual perversity, and the pleasure of pain, and its quicksilver changes keep the audience on its toes. Not rated. 96 minutes. In French with subtitles. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards)
other screenings Center for Contemporary Arts, 505-982-1338 The Auteurs series presents Wild Strawberries (1957), the Sephardic Film Festival presents Tinghir-Jerusalem. Jean Cocteau Cinema, 505-466-5528 Back to the Future Part III (1990), Persona (1966), Premature, Smiles of a Summer Night (1955). Regal Stadium 14, 505-424-6296 Get on Up, Guardians of the Galaxy in 3-D and 2-D, Monty Python and the Holy Grail (1975). Santa Fe Railyard 7:30 p.m. Saturday, July 26: Elemental. Hosted by New Energy Economy. ◀
WHAT’S SHOWING
KEIRA MARK KNIGHTLEY RUFFALO
Call theaters or check websites to confirm screening times. CCA CINEMATHEQUE AND SCREENING ROOM 1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Closed Curtain (NR) Fri. to Sun. 2 p.m. El Gusto (NR) Thurs. 7 p.m. A Hard Day’s Night (G) Fri. to Sun. 5:45 p.m. Tue. to Thurs. 5 p.m. Life Itself (R) Fri. to Sun. 1 p.m., 6:30 p.m. Mon. to Thurs. 12:15 p.m., 6 p.m. Snowpiercer (R) Fri. to Sun. 7:45 p.m. Mon. 7:30 p.m. Wed. 7:30 p.m. Tinghir-Jerusalem (NR) Tue. 7 p.m. Venus in Fur (NR) Fri. to Sun. 4:15 p.m., 8:45 p.m. Mon. to Thurs. 1:30 p.m., 3:45 p.m. Wild Strawberries (NR) Sat. and Sun. 11 a.m. Mon. 5:30 p.m. Yves Saint Laurent (R) Fri. to Sun. 11:30 a.m., 3:30 p.m. Mon. to Thurs. 2:45 p.m., 8:30 p.m. JEAN COCTEAU CINEMA 418 Montezuma Avenue, 505-466-5528 Back to the Future: Part III (PG) Fri. 3:50 p.m., 8:30 p.m. Sat. 4:10 p.m., 8:30 p.m. Wed. and Thurs. 4:10 p.m. Persona (NR) Sun. 2 p.m. Thurs. 2 p.m. Premature (R) Fri. and Sat. 11 p.m. Thurs. 8:30 p.m. Santa Fe Forward (NR) Tue. 6:10 p.m. Smiles of a Summer Night (NR) Sat. 2 p.m. Wed. 2 p.m. Video Games:The Movie (NR) Fri. 6:10 p.m. Sat. 6:20 p.m. Sun. 4:10 p.m. Thurs. 6:20 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., 7:35 p.m., 10 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:35 p.m. Begin Again (R) Fri. and Sat. 1:20 p.m., 4:20 p.m., 7:30 p.m., 10 p.m. Sun. to Thurs. 1:20 p.m., 4:20 p.m., 7:30 p.m. Chef (R) Fri. and Sat. 1:10 p.m., 4:10 p.m., 7:20 p.m., 9:55 p.m. Sun. to Thurs. 1:10 p.m., 4:10 p.m., 7:20 p.m. The Grand Budapest Hotel (R) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10:05 p.m. Sun. to Thurs. 1:40 p.m., 4:40 p.m., 7:40 p.m. A Most Wanted Man (R) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:45 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m. Wish I Was Here (R) Fri. and Sat. 1:15 p.m., 4 p.m., 7:10 p.m., 9:50 p.m. Sun. to Thurs. 1:15 p.m., 4 p.m., 7:10 p.m. REGAL STADIUM 14 3474 Zafarano Drive, 505-424-6296, www.fandango.com 22 Jump Street (R) Fri. and Sat. 11:45 a.m., 2:20 p.m., 4:50 p.m., 7:45 p.m., 10:20 p.m. Sun. 11:25 a.m., 4:50 p.m., 7:45 p.m., 10:20 p.m. Mon. and Tue. 11:45 a.m., 2:20 p.m., 4:50 p.m., 7:45 p.m., 10:20 p.m. Wed. 11:25 a.m., 4:25 p.m., 9:30 p.m. Dawn of the Planet of the Apes (PG-13) Fri. to Wed. 1:10 p.m., 4:25 p.m., 7:25 p.m., 10:25 p.m. Dawn of the Planet of the Apes 3D (PG-13) Fri. to Wed. 12:40 p.m., 3:50 p.m., 7:05 p.m., 10:10 p.m. Earth to Echo (PG) Fri. to Wed. 11:35 a.m., 2:05 p.m., 4:40 p.m., 7:15 p.m., 9:45 p.m. The Fluffy Movie (PG-13) Fri. to Wed. 11:40 a.m., 2:10 p.m., 4:55 p.m., 7:40 p.m., 10:20 p.m. Get On Up (PG-13) Thurs. 8 p.m., 10 p.m. Guardians of the Galaxy (PG-13) Thurs. 7:15 p.m., 10:05 p.m. Guardians of the Galaxy 3D (PG-13) Thurs. 7 p.m., 9:50 p.m. Hercules (PG-13) Fri. to Wed. 2:15 p.m., 10:05 p.m. Hercules 3D (PG-13) Fri. to Wed. 11:30 a.m., 4:45 p.m., 7:20 p.m.
How to Train Your Dragon 2 (PG) Fri. to Wed. 11 a.m., 1:30 p.m., 4 p.m., 7:15 p.m. Lucy (R) Fri. to Wed. 12:25 p.m., 2:50 p.m., 5:10 p.m., 7:30 p.m., 9:50 p.m. Maleficent (PG) Fri. to Wed. 11:50 a.m., 2:35 p.m., 5:05 p.m., 7:35 p.m., 10:10 p.m. Monty Python and the Holy Grail (PG) Sun. 2 p.m. Wed. 2 p.m., 7 p.m. CFS Persecuted (PG-13) Fri. to Wed. 9:35 p.m. Planes: Fire & Rescue (PG) Fri. to Wed. 2:55 p.m., 5:15 p.m., 7:10 p.m., 9:30 p.m. Planes: Fire & Rescue 3D (PG) Fri. to Wed. 12:35 p.m. The Purge:Anarchy (R) Fri. to Wed. 1:05 p.m., 4 p.m., 7 p.m., 9:55 p.m. SexTape (R) Fri. to Wed. 11:15 a.m., 1:50 p.m., 4:20 p.m., 7:35 p.m., 10:10 p.m. Tammy (R) Fri. to Wed. 11:15 a.m., 1:40 p.m., 4:10 p.m., 7:10 p.m., 9:45 p.m. Transformers:Age of Extinction (PG-13) Fri. to Wed. 11:20 a.m., 3 p.m., 6:40 p.m. Transformers:Age of Extinction 3D (PG-13) Fri. to Wed. 10:05 p.m. THE SCREEN Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Child of God (R) Tues. 7 p.m. Obvious Child (R) Fri. to Thurs. 5 p.m. The Royal Opera House: Manon Lescaut (NR) Sun. 11 a.m. A Summer’sTale (G) Fri. and Sat. 12 p.m., 2:30 p.m., 7 p.m. Sun. and Mon. 2:30 p.m., 7 p.m. Tue. 2:30 p.m. Wed. and Thurs. 2:30 p.m., 7 p.m. MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA) 15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com And So It Goes (PG-13) Fri. 4:40 p.m., 7:20 p.m., 9:45 p.m. Sat. 2:10 p.m., 4:40 p.m., 7:20 p.m., 9:45 p.m. Sun. 2:10 p.m., 4:40 p.m., 7:20 p.m. Mon. to Thurs. 4:40 p.m., 7:20 p.m. 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. Hercules (PG-13) Fri. 4:35 p.m., 7:05 p.m., 9:55 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:05 p.m., 9:55 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. Hercules 3D (PG-13) Fri. 4:35 p.m., 7:05 p.m., 9:55 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:05 p.m., 9:55 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. Lucy (R) 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. Planes: Fire & Rescue (PG) 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. The Purge:Anarchy (R) Fri. 4:45 p.m., 7:15 p.m., 9:35 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:15 p.m., 9:35 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:15 p.m. Mon. to Thurs. 4:45 p.m., 7:15 p.m. SexTape (R) Fri. 5 p.m., 7:35 p.m., 9:45 p.m. Sat. 2:30 p.m., 5 p.m., 7:35 p.m., 9:45 p.m. Sun. 2:30 p.m., 5 p.m., 7:35 p.m. Mon. to Thurs. 5 p.m., 7:35 p.m. Tammy (R) Fri. 4:55 p.m., 7:30 p.m., 9:40 p.m. Sat. 2:25 p.m., 4:55 p.m., 7:30 p.m., 9:40 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. Transformers:Age of Extinction (PG-13) Fri. 6:45 p.m. Sat. and Sun. 1:50 p.m., 6:45 p.m. Mon. to Thurs. 6:45 p.m.
WRITTEN AND DIRECTED BY JOHN CARNEY, THE DIRECTOR OF ‘ONCE’
NOW PLAYING AT THEATERS EVERYWHERE CHECK DIRECTORIES FOR SHOWTIMES • NO PASSES ACCEPTED
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RESTAURANT REVIEW Bill Kohlhaase I The New Mexican
Every dog has his day Loyal Hound 730 St. Michael’s Drive, 505-471-0440, www.loyalhoundpub.com 11 a.m.-9 p.m. Mondays-Thursdays, 11 a.m.-10 p.m. Fridays-Saturdays, closed Sundays Takeout available Vegetarian options Handicapped accessible Noise level: moderate Beer and wine Credit cards, no checks
]
The Short Order Loyal Hound puts the gastro in gastropub with its emphasis on well-thought-out, well-prepared foods meant to be enjoyed with good beer and wine. Some dishes, like the Sriracha-marinated fried chicken, are variations on old favorites, while others, like braised-bison short-rib nachos, take old favorites a step further. Fried items, whether olives or fish, are all consistently good, and if you can’t find a draft beer or a wine on tap that goes well with just about anything on the menu, I guess you’re more picky than I am. Recommended: fish and chips, fried olives, the Wil-Burger, and the bologna sandwich.
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 July 25-31, 2014
Gastropub fare has gone wild in the decades since someone dreamed up that term. Far from its English cold-lunch-ofsteak-and-kidney-pie roots, humble bar food has undergone some bold redesigns lately, often even supplanted by the fad gastronomy of recent years: bison meatloaf, say, or arugula salad. Loyal Hound — a self-proclaimed pub in the still-somewhat-hidden St. Michael’s Drive site of the late, lamented Hidden Chicken — leans toward the bison side. Loyal Hound doesn’t look the part of a pub. In the entry room, there’s a bar with a shiny corrugated-steel base; a few stools there have a direct view of the kitchen. These may be the best seats in the house. From here you descend into a series of simple dining rooms, some with dog-themed memorabilia. The lowest level includes a couch for those who like to get cozy. The menu’s not large or especially ambitious, but it is varied enough to present tough decisions. You don’t have to drink to enjoy the food at Loyal Hound, but some dishes, especially the fried ones, almost can’t be imagined without beer. The unexpected fried Castelvetrano olives, their gritty little coats sizzled perfectly, give a thrill as those perfect, sweet green fruits burst sharply when your teeth reach the middle. Laid next to the pile of olives is a fragrant flash-fried sprig of rosemary and a spread of roasted Marcona almonds — a nice nutty contrast that’ll keep you sipping your Scrimshaw Pilsner. A plate of deviled eggs, their yolks whipped firm, their whites fresh-flavored and toothsome, took to a sprinkling of jalapeños, as did a follow-up quaff of Abita Turbodog’s dark brown ale, a Louisiana product with a nuttiness that rivals Guinness’. Some items — burgers, nachos, fries — take the “bar food” label and give it a twist. No chile on the fries here. Instead, they’re topped with sautéed mushrooms and Gruyère, flourishes a food-friendly glass of Grüner Veltliner from California’s Zocker winery nicely complements. A pile of crisp, thin tortilla chips strewn with melted cheddar and Oaxaca cheese and generously topped with tender meat from braised bison short ribs is greater than the sum of its admittedly already-great parts. Rich and creamy macaroni and cheese is even better with slightly smoky bacon crumbles. Boneless fried chicken is given a soak in buttermilk and Sriracha, leaving it succulent and hinting at the hot sauce’s distinctive flavor. The biscuit it comes with, momentarily grilled, is dense. The slaw is all about the cabbage, which is lightly tossed with a sweet vinegar dressing flavored with fennel. The breading on the fish and chips is impressively thin and reminiscent of a hush puppy. Loyal Hound braises as well as it fries. We wondered about adding bison to a green salad but found it a delight, the fat of the not-quite-lean meat blending seductively with the balsamic vinaigrette. A variation on the classic chicken and waffles is a heap of braised pork in barbecue sauce on top of a Belgian waffle. The juices soak in, making each bite
equal to one of the best sandwiches you’ve ever eaten. The accompanying slaw was creamy and sweet. The Wil-Burger is a juicy and richly flavored blend of beef and pork. It’s topped with strongly scented Taleggio cheese and a cherry-red-onion compote that adds a bit of tartness and sweetness. A bologna sandwich — yes, that’s right — reminded us of the ones we grew up on and those we’ve occasionally made ourselves at home after a night of drinking. Thick slabs of grilled mortadella, an assertive mustard, lettuce, and surprisingly good pickled tomato — all on marbled rye — created a lowbrow treat of the highest order. The beer selection is as eclectic as the food. A dining companion pointed out that there aren’t any local brews among those on draft, the closest thing being Durango Brewing Company’s Hop Hugger IPA. Some of the wines offered by the glass are on tap, and our server claimed a freshness — even a greenness — to wines served this way. We weren’t familiar with the Trenza cabernet sauvignon, so we couldn’t compare it with the bottled version, but it was delicious with the braised meats. The service at Loyal Hound may not be as refined as at Santa Fe’s upscale restaurants, but it’s efficient, friendly, and even chummy. After a meal here, at least you’ll know where your loyalties lie. ◀
Lunch for two at Loyal Hound: Fried olives and almonds .......................................... $ 6.00 Green salad ................................................................ $ 8.00 add bison short ribs ............................................. $ 4.00 Fish and chips ........................................................... $ 12.00 Wil-Burger with fries ................................................. $ 14.00 TOTAL ....................................................................... $ 44.00 (before tax and tip) Dinner for four, another visit: Scrimshaw Pilsner ..................................................... $ 6.50 Abita Turbodog dark brown ale ................................. $ 5.00 Trenza cabernet sauvignon on tap ............................. $ 9.00 Deviled eggs .............................................................. $ 5.00 Coconut shrimp ........................................................ $ 10.00 Macaroni and cheese with bacon .............................. $ 7.00 Bison short-rib nachos .............................................. $ 11.00 White bean, chicken, and green chile soup ............... $ 8.00 Bologna sandwich ..................................................... $ 9.00 Braised pork and waffles ........................................... $ 11.00 Beignets ..................................................................... $ 6.00 TOTAL ....................................................................... $ 87.50 (before tax and tip)
IndIan
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S wa i a o FFi ci a l g u i D e 2013 a rTi S TS D i r ec To ry & B ooT h loc aTo r M a p
the fashiOn issue
Virgil Ortiz (COChiti pueblO)
2 01 3 T he Sa n Ta F e n e w M e x i c a n s a n t a f e n e w m e x i c a n .c o m
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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
July 25-31, 2014
CALENDAR COMPILED BY PAMELA BEACH
FRIDAY 7/25
Photo-eye Gallery
541 S. Guadalupe St., 505-988-5152 Reverie, work by photographer Tom Chambers, reception 5-7 p.m., through Sept. 13. (See story, Page 48)
Gallery & Museum Openings Art Exchange Gallery
60 E. San Francisco St., second floor, 505-603-4485 Paintings by Mike Mahon, reception 4-6 p.m., through July.
A Sea Gallery
407 S. Guadalupe St., 505-988-9140 Portraits by painter David Rogers, reception 5-7 p.m., through Aug. 15.
Axle Contemporary
505-670-5854 or 505-670-7612, axleart.com Five Santa Fe Collage Artists, including Kathamann and John Voorhees, reception 5-7 p.m., look for the mobile gallery parked outside the Farmers Market shade structure, 1607 Paseo de Peralta, visit the website for locations through Aug. 17.
Sorrel Sky Gallery
125 W. Palace Ave., 505-501-6555 South by Southwest, paintings by Billy Schenck, reception 5-7:30 p.m.
Tai Modern
Blue Rain gallery
1601-B Paseo de Peralta, 505-984-1387 Cosmos, bamboo art by Fujitsuka Shosei, reception 5-7 p.m., through Aug. 17.
130-C Lincoln ave., 505-954-9902 Paintings by Ed Sandoval, reception 5-7 p.m., through Aug. 9.
Tansey Contemporary
David Richard Gallery
652 Canyon Rd., 505-995-8513 People, Places, and Things, ceramic sculpture by Sheryl Zacharia, reception 5-7 p.m., through Aug. 19.
544 S. Guadalupe St., 505-983-9555 Gregory Botts: Selections From the Madrid Group, abstract landscapes, reception 5-7 p.m., through Aug. 23.
Ventana Fine Art
Evoke Contemporary
400 Canyon Rd., 505-883-8815 Into Tomorrow, paintings by John Axton and Jennifer Davenport, reception 5-7 p.m., through Aug. 6.
550 S. Guadalupe St., 505-995-9902 Bultos and retablos by Nicholas Herrera, reception and book signing 5-7 p.m.
Eye on the Mountain Art Gallery
Wheelhouse Art
614 Agua Fría St., 928-308-0319 Grand opening, featuring painter Dewey Nelson, reception 5-9 p.m.
418 Montezuma Ave., 505-919-9553 Ursus Adaptation, mixed-media paintings by Carol Rose Brown and sculpture by Becky Pinnick, reception 6-8 p.m., through Aug. 24.
Gallerie 520
520 Canyon Rd. Le Papillons et les Choses qui Volent, group show of butterfly-themed works, reception 5-7 p.m., through Aug. 8.
Gallery 822
822 Canyon Rd., 505-989-1700 New paintings by Jami Tobey, reception 5-8 p.m.
Giacobbe-Fritz Fine Art
702 Canyon Rd., 505-986-1156 Horse-themed show of paintings by Britt Freda and sculpture by Siri Hollander, reception 5-7 p.m., through Aug. 10.
Green River Pottery
1710 Lena St., Lena Street Lofts, 505-614-6952 New stoneware by Theo Helmstadter, reception 4-7 p.m.; open house 9 a.m.-5 p.m. Saturday and Sunday.
Heidi Loewen Porcelain Gallery
315 Johnson St., 505-988-2225 Form in Motion, curled-porcelain sculpture by Loewen, reception 5-7:30 p.m., through Aug. 15.
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PASATIEMPO I July 25-31, 2014
William & Joseph Gallery Evoke Contemporary shows works by santero Nicholas Herrera, 550 S. Guadalupe St.;
Henington Fine Arts
802 Canyon Rd., 505-577-8339 Beauties & the Beasts, paintings by Tamara Rymer and David DeVary, reception 5-8 p.m.
Hillside Gallery
Karan Ruhlen Gallery
225 Canyon Rd., 505-820-0807 Wax Duet, encaustic paintings by Ellen Koment and Mary Long, reception 5-7 p.m., through Aug. 10.
727 Canyon Rd., 505-982-9404 Ms. Marasmius & Beetlewood, work by glass artist Laura L. Goodwin; works on paper by Larry Evans; reception 5-7 p.m., through July.
William Siegal Gallery
540 S. Guadalupe St., 505-820-3300 Balandrán, 18th- and 19th-century Aymara ponchos from the Giles W. Mead and Parry Mead-Murray collection; Water, Floods, and Gauges, screen prints by Ilona Pachler; reception 5-7 p.m., through Aug. 26.
86 Old Las Vegas Highway, 505-982-9944 Feast for the Eyes, etched glass by Ruth Dobbins and jewelry by Anne McGovern, reception 5-8 p.m.
Manitou Gallery
Hunter Kirkland Contemporary
Matthews Gallery
669 Canyon Rd., 505-992-2882 POV: New Paintings by Jamie Chase, figurative work, reception 5-7 p.m., through Aug. 8.
435 S. Guadalupe St., 505-982-8111 Impacts!, group show with works by Japanese artists, reception 5-7 p.m., artist talk by Ishii Toru 1:30 p.m. Saturday.
Meyer Gallery
Opera
200-B Canyon Rd., 505-984-2111 Works by painter Michael Madzo and sculptor Ted Gall, reception 5-7 p.m., through Aug. 10.
Jane Hamilton Fine Art
200-D Canyon Rd., 520-465-2655 Tres Artistas, works by Zulia Gotay de Anderson, Santos Barbosa, and Francisco Rodriquez, reception 5-7 p.m., through Aug. 3.
225 Canyon Rd., 505-986-9833 Paintings by Jeff Cochran, reception 5-7:30 p.m.
225 Canyon Rd., 505-983-1434 Paintings by Daniel Gerhartz, reception 5-7 p.m., through July.
Zane Bennett Contemporary
Fidelio
Santa Fe Opera, 301 Opera Dr., 505-986-5900 Soprano Alex Penda sings Leonore and tenor Paul Groves portrays Florestan in Stephen Wadsworth's production of Beethoven's drama; opening at 8:30 p.m., tickets begin at $32, standing room $15.
David Richard Gallery shows paintings by Gregory Botts, 544 S. Guadalupe St.
Classical Music Santa Fe Desert Chorale
Cathedral Basilica of St. Francis of Assisi, 107 Cathedral Place The New World: Music of the Americas, music of Barber and Joseph Jennings, 8 p.m., $12-$65, desertchorale.org, 505-988-2282, season schedule available online. Free preconcert lecture by Philip H. Knight, 6:30 p.m.
TGIF organ recital
First Presbyterian Church of Santa Fe, 208 Grant Ave., 505-982-8544, Ext. 16. Larry Palmer plays music by Saint-Saëns, Held, Bach, and Hampton, 5:30-6 p.m., donations welcome.
In Concert Classical Meets Flamenco
Garrett's Desert Inn, 311 Old Santa Fe Trail Classical guitarist David Wescott Yard and vocalist Mito de Soto, 7 p.m. Fridays through Aug. 15, $10 in advance, $15 at the door, 505-204-5443.
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: Jerry Becker Trio, no charge.
Music and Poetry of Spain
Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, 505-983-5022 Poet Alvaro Cardona-Hine and pianist Charles Blanchard, 7-8:30 p.m., $15 at the door.
Ninth Annual New Mexico Jazz Festival
The Lensic Terri Lyne Carrington's Mosaic Project, 7:30 p.m., $20-$50, 505-988-1234, ticketssantafe.org.
Theater/Dance Antonio Granjero and EntreFlamenco
María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco dance troupe, with Estefania Ramirez, 8 p.m., $25-$45, 505-988-1234, ticketssantafe.org, nightly performances, except Tuesdays, through August. (See story, Page 30)
As You Like It
Monte del Sol Charter School, 4157 Walking Rain Rd. Santa Fe Shakespeare Society presents the comedy, outdoors at 6 p.m. Fridays-Sundays, through Aug. 3, $5-$20 sliding scale, 505-490-6271, sfshakespeare.org.
Good People
Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 Ironweed Productions presents David LindsayAbaire’s drama, 7:30 p.m., $20, discounts available, final weekend.
Into the Woods
Armory for the Arts, 1050 Old Pecos Trail Santa Fe Performing Arts Teen Ensemble presents the musical, 7 p.m., $8, 505-984-1370, final weekend.
Shrek! The Musical
James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Pandemonium Productions' student-production (ages 7-17), 7 p.m., $10, ages 11 and under $8, 505-982-3327, final weekend.
Books/Talks The Future Belongs to Those Who Prepare For It
Senate Chambers, Old State Capitol Building, 407 Galisteo St., second floor, 505-690-5845 Architect José Zelaya discusses the fresco, moved from Houston to the Artesia Library, by the late Santa Fe artist Peter Hurd, 3 p.m., no charge.
Georgia O'Keeffe Museum Readers' Club Museum Education Annex, 123 Grant Ave., 505-946-1039 The discussion series continues with three readings from O'Keeffe's book collection, 10 a.m., no charge.
IAIA Writers Festival
IAIA Auditorium, 83 Avan Nu Po Rd. Institute of American Indian Arts offers free readings by Ramona Ausubel, Geoff Harris, and Chip Livingston, 6 p.m., visit iaia.edu for writers' biographies.
Historic-garden restoration
El Zaguán, 545 Canyon Rd. Tour the grounds and learn about the Santa Fe La Tienda Performance Space, 7 Caliente Rd., Master Gardener Association plans, 5-7 p.m., Eldorado Student showcase presented by Eldorado Children's no charge. Theatre & Teen Players, 4 p.m., $5 suggested donation at the door, 435-640-4444.
Anything Can Happen … If You Let It
Richard Haddaway
Op. Cit. Books, 500 Montezuma Ave., Sanbusco Center, 505-428-0321 The author discusses and signs copies of A Little Something, 5 p.m.
Events Contemporary Hispanic Market preview
Santa Fe Community Convention Center, 201 W. Marcy St. Free preview of artists' works 5:30 p.m.; weekend market 8 a.m.-5 p.m. Saturday and Sunday. (see Story, Page 54)
Santa Fe Opera Ranch Tours
La Fiesta Lounge at La Fonda
Country-dance band Buffalo Nickel, 8 p.m.-close, no cover.
La Posada de Santa Fe Resort and Spa
Nacha Mendez Quartet, 6:30 p.m., no cover.
Palace Restaurant & Saloon
Reggae/hip-hop band Boomroots Collective, 10 p.m., call for cover.
Pranzo Italian Grill
Pianist John Rangel and vocalist Barbara Bentree, 6-9 p.m., call for cover.
Second Street Brewery
Busy & The Crazy 88s, hipster pop, 6 p.m.,
Santa Fe Opera, 301 Opera Dr., 505-986-5900 Extended tours of the grounds with a meet-theartist component 10 a.m., tour $12, combined backstage tour $20, santfeopera.org, final tour on Aug. 22.
Hot Club of Santa Fe, Gypsy jazz, 7 p.m., no cover.
Spanish Market previews
Swiss Bakery Pastries and Bistro
Santa Fe Community Convention Center, 201 W. Marcy St. ¡Viva la Prevista!, preview of works by and meet Spanish Market artists, 6-9 p.m.; Collectors' Hour preview, 6-7 p.m., $60; public preview 7-9 p.m., $30, hosted by the Spanish Colonial Arts Society, call 505-982-2226, Ext. 109, for advance tickets. (See story, Page 54)
no cover.
Second Street Brewery at the Railyard
Guitarist Wayne Wesley Johnson, on the patio, 7-10 p.m., no cover.
Tiny’s
Brazilian-jazz guitarist Marc Yaxley, 5:30-8:30 p.m.; six-piece dance band J.J. & The Hooligans, 8:30 p.m.-close; no cover.
Vanessie
Nightlife
Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.
Bishops Lodge
SATURDAY 7/26
Café Café
Gallery Zipp
(See Page 80 for addresses) Jazz guitarist Pat Malone, 6-9 p.m., no cover.
Trio Los Primos, 6 p.m., no cover.
Cowgirl BBQ
One-man band Crosby Tyler, 5-7:30 p.m.; all-star Americana band The Santa Fe Revue, 8:30 p.m., no cover.
¡Chispa! at El Mesón
Gallery & Museum Openings North on Interstate 25 to Exit 297, go under the freeway and turn right at the gate (keypad # 5366), and continue to the end of the road, 505-757-6428 Used, group show of recycled work, receptions 11 a.m.-4 p.m. today and Sunday, through Aug. 15.
Pop Gallery
Three Faces of Jazz, featuring guest saxophonist Arlen Asher, 7:30-10:30 p.m., no cover.
125 Lincoln Ave., Suite 111, 505-820-0788 Paintings by Daniel Martin Díaz, reception 6 p.m.
Duel Brewing
Opera
Bluegrass band Greg Butera & Friends, 8-11 p.m., no cover.
El Farol
Rock band Fun Adixx, 9 p.m., call for cover.
El Paseo Bar & Grill
Rock/blues/funk band Dusk, 9 p.m., call for cover.
Opening Night: Dr. Sun Yat-sen
Santa Fe Opera, 301 Opera Dr., 505-986-5900 Composer Huang Ruo and librettist Candace Mui-ngam Chong's historical opera, 8:30 p.m., tickets begin at $32, standing room $15. (See stories, Pages 34-41)
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Books/Talks
42nd Annual Santa Fe Chamber Music Festival Ninth Annual New Mexico Jazz Festival St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Benjamin Hochman: piano recital, music of Bach and Dallapiccola, 5 p.m., $10-$45, 505-982-1890, santafechambermusic.com.
Santa Fe Desert Chorale
First Presbyterian Church of Santa Fe, 208 Grant Ave. A Romantic Evening With Brahms, with pianist Debra Ayers, 8 p.m., $20-$55, desertchorale.org, 505-988-2282, season schedule available online. Free preconcert lecture by Philip H. Knight, 6:30 p.m.
In Concert Ninth Annual New Mexico Jazz Festival The Lensic Jack DeJohnette Trio, with Ravi Coltrane on saxophone, Matt Garrison on bass, and DeJohnette on drums, 7:30 p.m., $20-$50, 505-988-1234, ticketssantafe.org.
Southside Santa Fe Bandstand
3466 Zafarano Dr. Busy & The Crazy 88, theatrical hipster pop, 7-8 p.m.; Manzanares, with Max and the Maxpack, 8:15-9:45 p.m.; no charge, visit santafebandstand.org for the summer series schedule.
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. (See story, Page 30)
As You Like It
The Lensic Meet the Artists: poet A.B. Spellman and percussionist Jack DeJohnette, 2-4 p.m., no charge.
Christine E. Mackenzie
Op. Cit. Books, 500 Montezuma Ave., Sanbusco Center, 505-428-0321 The author discusses and signs copies of Liza Bennett Visits Utopia, 3 p.m.
Events
Armory for the Arts, 1050 Old Pecos Trail Santa Fe Performing Arts Teen Ensemble presents the musical, 7 p.m., $8, 505-984-1370, final weekend.
The Phantom Tollbooth
Armory for the Arts, 1050 Old Pecos Trail Santa Fe Performing Arts' City Different Players (ages 7-12) presents its adaptation of Norton Juster's novel, 2 p.m., $8, 505-984-1370, sfperformingarts.org, final weekend.
Saltanah Dancers
Teatro Paraguas Studio, 3205 Calle Marie Kisses From Cairo Oriental Showcase, featuring Luna of Cairo, bellydancing, 7:30 p.m., $15, saltanahstudios.com.
Shrek! The Musical
James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Pandemonium Productions' student-production (ages 7-17), 7 p.m., $10, ages 11 and under $8, 505-982-3327, final weekend.
Steve Sabo
San Francisco Street Bar & Grill, 50 E. San Francisco St. Stand-up comedian, 10:30 p.m., $10 at the door.
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PASATIEMPO I July 25-31, 2014
Shadeh
Pranzo Italian Grill
Jazz (off the Plaza): Cristianne Miranda & Friends, 7:30 p.m.-close, no cover.
Gary Vigil, on the patio, 2 p.m., no cover; rock band Fun Adixx, 10 p.m., call for cover.
Reggae/hip-hop band Boomroots Collective, 10 p.m., call for cover.
Second Street Brewery
DJ Flo Fader, 9 p.m.-4 a.m., no cover.
Swiss Bakery Pastries and Bistro Tiny’s
Blues band The Barb Wires, 6-9 p.m., no cover.
Showcase karaoke, with Nanci and Cyndy, 8:30 p.m.-close, no cover.
Second Street Brewery at the Railyard
Vanessie
Bill Hearne Trio, classic country, 7-10 p.m., no cover.
Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.
Contemporary Hispanic Market
Lincoln avenue between E. Palace avenue and Marcy street 8 a.m.-5 p.m. today and Sunday, no charge. (see Story, Page 54)
Contra dance
Odd Fellows Hall, 1125 Cerrillos Rd., New England folk dance with music by Bo y Yo and calls by Kris Jensen, beginner classes 7 p.m., dance 7:30 p.m., $9, students $5, 505-820-3535.
¡Fandango y Fajitas!
750 Camino Lejo, Museum Hill Informal dinner and dance under the big top, 6-10 p.m., $60, hosted by the Spanish Colonial Arts Society, call 505-982-2226, Ext. 109, for advance tickets.
Mortenson Silver & Saddles National Day of the Cowboy
Mortenson Arena, 96 Bonanza Creek Rd., 505-424-9330 National Day of the Cowboy events include an all-ages kids horse show, arena polo, live music, and Hawkins' chuckwagon lunch, 10 a.m.-5 p.m.; The Horse Shelter presents Gimme Shelter, a trainers' rally for rescued horses competition, followed by a horse auction 3 p.m.; thehorseshelter.org, 505-471-6179.
Monte del Sol Charter School, 4157 Walking Rain Rd. Santa Fe Shakespeare Society presents the comedy, Traditional Spanish Market outdoors at 6 p.m. Fridays-Sundays, through Aug. 3, $5-$20 sliding scale, 505-490-6271, sfshakespeare.org. The Plaza Heritage market with more than 250 artists, Good People 8 a.m.-5 p.m. today and Sunday, no charge, Santa Fe Playhouse, 142 E. De Vargas St., continues Sunday. (See story, Page 54) 505-988-4262 Nightlife Ironweed Productions presents David LindsayAbaire’s drama, 7:30 p.m., $20, discounts available, (See addresses to the left) final weekend.
Into the Woods
Palace Restaurant and Saloon
Café Café
Guitarist Ramon Bermudez, 6:30 p.m., no cover.
¡Chispa! at El Mesón
Asher Barreras Quartet, Latin and classic jazz, 7:30-10:30 p.m., no cover.
Cowgirl BBQ
Bluegrass/nugrass band Mystic Lizard, 2-5 p.m.; Sean Healen Band, rock, 8:30 p.m.-close; no cover.
Del Charro
Mariachi Teotihuacan, with Stephen Montoya, Jaime Martinez, and Daniel Martinez, 2-9 p.m., no cover.
Duel Brewing
Indie-rock band Hotel Radio, 8 p.m., no cover.
El Farol
The Gruve, soul, 9 p.m., call for cover.
La Fiesta Lounge at La Fonda
Country-dance band Buffalo Nickel, 8 p.m.-close, no cover.
La Posada de Santa Fe Resort and Spa Pat Malone Jazz Trio, 6-9 p.m., no cover.
Mine Shaft Tavern
Country band Half Broke Horses, on the deck, 3-7 p.m.; Greenfield, rock, 8 p.m., call for cover.
Check with venues
for updates and sp
ec
ial events 317 Aztec Lo 317 Aztec St., 505-8 dge Lounge 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 Lo unge 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 Sk ylight 38-2047 Hotel Santa Fe 139 W. San Francisc o St. 1501 Paseo de Peral Sweetwater Harve ta, 505-982-1200 st Kitchen Iconik Coffee Roas 1512-B Pacheco St., ters 505-795-7383 1600 Lena St., 505-4 Swiss Bakery Pastr 28-0996 ies and Bistro Jean Cocteau Cinem 401 S. Guadalupe St. a , 505-988-5500 418 Montezuma Av Taberna La Boca e., 505-466-5528 Junction 125 Lincoln Ave., 50 5-988-7102 530 S. Guadalupe St. Tiny’s , 505-988-7222 La Boca 1005 St. Francis Drive , Suite 117, 72 W. Marcy St., 505-9 505-983-9817 82-3433 La Casa Sena Canti The Underground na at Evangelo’s 25 E. Palace Ave., 50 200 W. San Francisc 5-988-9232 o St. La Fiesta Lounge at Upper Crust Pizza La 100 E. San Francisco Fonda 32 9 Old Santa Fe Trail, St., 505-982-5511 505-982-0000 La Posada de Santa Fe Resort and Spa Vanessie 330 E. Palace Ave., 50 434 W. San Francisc 5-986-0000 o St., 505-982-9966 Lensic Performing Zia Dinner Arts Center 211 W. San Francisc o St., 505-988-1234 326 S. Guadalupe St., 505-988-7008
C L U B S, R O O M S, V E N U ES
Classical Music
Traditional Spanish Market
The Plaza Heritage market with more than 250 artists, 8 a.m.-5 p.m., no charge. (See story, Page 54)
Nightlife
(See Page 80 for addresses)
Cowgirl BBQ
All-star Americana band The Santa Fe Revue, noon-3 p.m.; Americana/prog-folk band Blue Moon Prairie, 8 p.m.; no cover.
El Farol
Events
Evangelo’s
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.
Tone and Company jam band, 8:30 p.m., call for cover.
Mine Shaft Tavern
Blues band The Barbwires, 3-7 p.m.; Tom Crane, blues and rock, on the deck 3-7 p.m.
Second Street Brewery at the Railyard
MONDAY 7/28
(See Page 80 for addresses)
Opera Carmen
Armory for the Arts, 1050 Old Pecos Trail Santa Fe Performing Arts Teen Ensemble 42nd Annual Santa Fe Chamber Music Festival presents the musical, 7 p.m., $8, 505-984-1370. St. Francis Auditorium, New Mexico Museum of Art, Juan Siddi Flamenco Santa Fe 107 W. Palace Ave. The Lensic Music of Haydn, Mendelssohn, and Ligeti, Dance ensemble, 8 p.m., ticketssantafe.org, 6 p.m.; performers include violinists Jennifer 505-988-1234, encores Aug. 3 and 9, visit Frautschi and William Preucil, cellists Mark aspensantafeballet.com for more information. Kosower and Wilhelmina Smith, and pianists (See story, Page 30) Victor Santiago Asuncion and Alessio Bax, $10-$75, 505-982-1890, santafechambermusic.com., The Phantom Tollbooth Armory for the Arts, 1050 Old Pecos Trail Monday encore. Santa Fe Performing Arts City Different In Concert Players (ages 7-12) presents its adaptation of Norton Juster's novel, 2 p.m., $8, Kandukuri Benny Prasad 505-984-1370, sfperformingarts.org. Light at Mission Viejo, 4601 Mission Bend, 505-982-2080 Shrek! The Musical Western-influenced music of India, 7 p.m., James A. Little Theater, New Mexico School donations welcome, for information contact for the Deaf, 1060 Cerrillos Rd. Sangre de Cristo Arts & Culture, 505-471-5872. Pandemonium Productions' student-production (ages 7-17), 2 p.m., $10, ages 11 and under $8, Theater/Dance 505-982-3327.
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.
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.
Good People
Santa Fe Playhouse, 142 E. De Vargas St., 505-988-4262 Ironweed Productions presents David LindsayAbaire’s drama, 4 p.m., $20, discounts available.
Books/Talks Journey Santa Fe presents
Collected Works Bookstore, 202 Galisteo St., 505-988-4226. Medical journalist Katie Singer discusses her book The Electronic Silent Spring, 11 a.m., journeysantafe.com.
Trio of Poets
Peters Projects, 1011 Paseo de Peralta Readings and signings by John Knoll, Padma Thornlyre, and John Macker, 7 p.m., call 505-690-0150 for information.
Events Contemporary Hispanic Market
Lincoln avenue between E. Palace avenue and Marcy street 8 a.m.-5 p.m. today and Sunday, no charge. (see Story, Page 54)
Swing dance
Pianist Doug Montgomery, 6:30 p.m., call for cover.
Vanessie
Classical Music
Santa Fe Opera Backstage Tours
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.
Bluesman Alex Maryol, 1-4 p.m., no cover.
Into the Woods
Southwest Seminars lecture
Hot Texas Swing Band, 5 p.m., no cover. Chanteuse Nacha Mendez, 7:30 p.m., call for cover.
SUNDAY 7/27
Santa Fe Prep auditorium, 1101 Camino de Cruz Blanca, 505-983-1400, Ext. 111 Instructor presentations with Andrew Southam, Elizabeth Opalenik, Jennifer Spelman, Seth Resnick, Phil Toledano, and Tony Corbell, 8-9:30 p.m., no charge. Hotel Santa Fe, 1501 Paseo de Peralta The Amazing Mexican Journey of Cabeza de Vaca, by Ohio State professor Daniel T. Reff, 6 p.m., $12 at the door, southwestseminars.org, 505-466-2775.
Duel Brewing
Peters Project shows works on paper by James Lee Byars, 1011 Paseo de Peralta.
Santa Fe Photographic Workshops
Santa Fe Opera, 301 Opera Dr., 505-986-5900 In this Stephen Lawless production, Bizet's tragedy unrolls in the U.S.-Mexican borderlands a half century ago, with black-and-white film integrating with live stage action to enhance the period feel. Ana María Martínez is Carmen, Joyce El-Khoury sings Micaëla, Roberto De Biasio portrays Don José. 8 p.m., tickets begin at $32, standing room $15.
Classical Music 42nd Annual Santa Fe Chamber Music Festival St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. 10 a.m., free youth concert, violinist Jennifer Frautschi, violist Hsin-Yun Huang, and cellist Wilhelmina Smith; 6 p.m. concert, music of Haydn, Mendelssohn, and Ligeti; performers include hornist Eric Ruske and violists Brett Dean and Huang, $10-$75, santafechambermusic.com, 505-982-1890.
In Concert Santa Fe Bandstand
The Plaza Youth dance troupe Flamenco's Next Generation, noon; jazz ensemble Ryan Finn Big Band, 6:30 p.m.; jazz trumpeter J.Q. Whitcomb, 7:45 p.m.; no charge, santafebandstand.org.
Theater/Dance Antonio Granjero and EntreFlamenco
María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco dance troupe, with Estefania Ramirez, 8 p.m., $25-$45, 505-988-1234, ticketssantafe.org, nightly performances, except Tuesdays, through August. (See story, Page 30)
Books/Talks Brainpower & Brownbags lecture
Meem Community Room, New Mexico History Museum, enter through the Washington avenue doors, 505-476-5200 The monthly series continues with The Life and Misfortunes of Tom Horn, by Arkansas State University professor emeritus Larry Beall, noon, bring your lunch.
Nightlife
Cowgirl BBQ
Karaoke with Michele Leidig, 8 p.m., no cover.
El Farol
Monday blues with the Tiho Dimitrov Band, 8:30 p.m., call for cover.
La Fiesta Lounge at La Fonda
Bill Hearne Trio, 7:30-11 p.m., no cover.
Upper Crust Pizza
Troubadour Gerry Carthy, 6-9 p.m., no cover.
Vanessie
Pianist Doug Montgomery, 6:30 p.m., call for cover.
TUESDAY 7/29 Opera Don Pasquale
Santa Fe Opera, 301 Opera Dr., 505-986-5900 Soprano Brenda Rae and remarkable tenor Alek Shrader are 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 stylishly in the orchestra pit. 8 p.m., tickets begin at $32, standing room $15.
Classical Music 42nd Annual Santa Fe Chamber Music Festival St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Alessio Bax: piano recital, music of Beethoven, Rachmaninoff, and Musorgsky, noon, $25, 505-982-1890, santafechambermusic.com.
Santa Fe Desert Chorale
Loretto Chapel, 207 Old Santa Fe Trail Spanish Mystics, featuring guitarist and lutenist Richard Savino and percussionist Angela Gabriel, 8 p.m., $20-$60, 505-988-2282, desertchorale.org; season schedule available online. Free preconcert lecture by Philip H. Knight, 6:30 p.m.
In Concert Santa Fe Bandstand
The Plaza Bluegrass/nugrass band Frank Solivan & Dirty Kitchen, 6-7 p.m.; bluegrass singer/songwriter Peter Rowan, 7:15-8:45 p.m.; no charge.
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Books/Talks
In Concert
Nathan Deuel
Santa Fe Bandstand
Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The author discusses Friday Was the Bomb: Five Years in the Middle East, 6 p.m. (See Subtexts, Page 20)
The Plaza Clan Tynker Family Circus, noon-1 p.m.; Mariachi Nuevo Sonido, 6-7 p.m.; reggae/cumbia/rock band Radio la Chusma, 7:15-8:45 p.m., no charge, visit santafebandstand.org for the summer series schedule.
Events
Theater/Dance
Arts Alive!
Antonio Granjero and EntreFlamenco
Museum of International Folk Art, 706 Camino Lejo, Museum Hill, 505-476-1200 Hands-on art activities for the whole family; Brasil & Arte Popular, 10 a.m.-2 p.m., repeats on Thursday, by museum admission.
Behind Adobe Walls Home and Garden Tour
Buses depart from Hotel Santa Fe, 1501 Paseo de Peralta 75th annual tour of private residences and gardens, sponsored by the Santa Fe Garden Club, 12:15-4:45 p.m., $75, $22 optional lunch, contact Westwind Travel, 505-984-0022, thesantafegardenclub.org.
North African Sephardic Festival
Center for Contemporary Arts, 1050 Old Pecos Trail Muslim filmmaker Kamal Hachkar's documentary Tinghir-Jerusalem, Echoes of the Mellah kicks off the festival, $12 in advance, $15 at the door; The Jews of Northern Morocco, exhibit of photographs by Peter Svarzbein, presented by Santa Fe Jewish Film Festival, 505-216-0672, santafejff.org, concludes Aug. 3.
Santa Fe Opera Backstage Tours
Santa Fe Opera, 301 Opera Dr., 505-986-5900 Behind-the-scenes tours including production and front-of-house areas are offered MondaysSaturdays through Aug. 22, 9 a.m., $10; seniors $8; no charge for ages 22 and under.
Nightlife
(See Page 80 for addresses)
¡Chispa! at El Mesón
Argentine Tango Milonga, 7:30-11 p.m., call for cover.
Cowgirl BBQ
Austin-based Americana band Lonesome Heroes, 8 p.m., no cover.
Duel Brewing
Río, bossa nova, 7-10 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, 7:30-11 p.m., no cover.
Second Street Brewery at the Railyard
Open-song night, with Ben Wright, 7 p.m., no cover.
Tiny’s
Singer/songwriters open-mic, 7-11 p.m., no cover.
Vanessie
Pianists Doug Montgomery (6-8 p.m.) and Bob Finnie (8-11 p.m.), call for cover.
WEDNESDAY 7/30
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. (See story, Page 30)
Books/Talks Judy Chicago: Feminist Icon and Iconoclast
New Mexico Museum of Art, 107 W. Palace Ave., 505-476-5068 Scholar Lois Rudnick discusses the artist's breakthrough project The Dinner Party and her thirty years in New Mexico, 6 p.m., no charge.
Santa Fe Clay Wednesday Night Slide Lecture
545 Camino de la Familia, 505-984-1122 The series continues with ceramist Jeff Oestreich, 7 p.m., no charge.
What Is a Horizon? Extinction and Time Amid Climate Change
School for Advanced Research boardroom, 660 Garcia St., sarweb.org University of Pennsylvania professor Adrianna M. Petryna discusses how scientists are quantifying "points of no return" for ecosystems under threat, noon-1 p.m., no charge.
World War I and New Mexico
New Mexico History Museum, 505-476-5200 NMHM interim director Jon Hunner presents the lecture in conjunction with centenary commemorations for the war, noon, no charge, enter through the Washington avenue doors.
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.
Nightlife
(See Page 80 for addresses)
¡Chispa! at El Mesón
Blues guitarist Jim Almand, 7-9 p.m., no cover.
Cowgirl BBQ
Guitarist/singer/songwriter Tiffany Christopher, 8 p.m., no cover.
Del Charro
Mariachi Teotihuacan, with Stephen Montoya, Jaime Martinez, and Daniel Martinez, 7-9 p.m., no cover.
Duel Brewing
Pray for Brain, indofunk/sufisurf fusion, 7 p.m., no cover.
Opera
La Fiesta Lounge at La Fonda
Dr. Sun Yat-sen
Palace Restaurant & Saloon
Santa Fe Opera, 301 Opera Dr., 505-986-5900 Composer Huang Ruo and librettist Candace Mui-ngam Chong's historical opera, 8 p.m., tickets begin at $32, standing room $15. (See stories, Pages 34-41)
Blues and soul artist Zenobia, 7:30 p.m., no cover.
Trash disco with DJ Oona, 8:30 p.m., no cover.
Tiny’s
Electric jam, 8:30-11:30 p.m., no cover.
Vanessie
Pianist Bob Finnie, 6:30-9:30 p.m., call for cover.
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PASATIEMPO I July 25-31, 2014
Museum of International Folk Art exhibit Tako Kichi: Kite Crazy in Japan closes Sunday, July 27.
THURSDAY 7/31 Opera Fidelio
Santa Fe Opera, 301 Opera Dr., 505-986-5900 Soprano Alex Penda sings Leonore and tenor Paul Groves portrays Florestan in Stephen Wadsworth's production of Beethoven's drama; opening at 8 p.m., tickets begin at $32, standing room $15.
Classical Music 42nd Annual Santa Fe Chamber Music Festival
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Noon concert, Brahms recital with cellist Joseph Johnson and pianist Victor Santiago Asuncion, $10-$25; 5 p.m. talk with composers Brett Dean, with Marc Neikrug; 6 p.m. concert, music of Schubert, Beethoven, and Dean, $10-$70; santafechambermusic.com, 505-982-1890.
Daniela Mack and Alex Shrader
St. John’s United Methodist Church, 1200 Old Pecos Trail
Santa Fe Opera mezzo-soprano and tenor, accompanied by pianist Joseph Illick, 4 p.m., $45-$75, 505-988-1234, ticketssantafe.org.
Santa Fe Desert Chorale
First Presbyterian Church of Santa Fe, 208 Grant Ave. A Romantic Evening With Brahms, with pianist Debra Ayers, 8 p.m., $20-$55, desertchorale.org, 505-988-2282, season schedule available online. Free preconcert lecture by Philip H. Knight, 6:30 p.m.
In Concert Santa Fe Bandstand
The Plaza Folk/Americana band Pawn Drive, 6:30-7:30 p.m.; Americana duo The Handsome Family, 7:45-9 p.m.; no charge, santafebandstand.org.
Theater/Dance Antonio Granjero and EntreFlamenco
María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr. Flamenco dance troupe, with Estefania Ramirez, 8 p.m., $25-$45, 505-988-1234, ticketssantafe.org, nightly performances, except Tuesdays, through August. (See story, Page 30)
Ninth Annual New Mexico Jazz Festival
Outpost Performance Space, 210 Yale Blvd. S.E. 2 p.m. Sunday, July 27, free jazz and poetry event including Albuquerque Poet Laureate Jessica Helen Lopez, Lauren Camp, and A.B. Spellman; with musicians Asher Barreras, Kanoa Kaluhiwa, and John Rangel; 7:30 p.m. Thursday, July 31, Santa Fe-based jazz quartet MV3 Jazz Project, $10-$15; holdmyticket.com.
for display in public spaces; for more information visit santafeartscommission.org; Friday, July 25, deadline.
Community Hospice volunteers
Help out weekly as a Flower Angel for Presbyterian Medical Services' Hospice Center; contact Ann Andrews for information, 505-988-2211.
42nd Annual Santa Fe Chamber Music Festival Filmmakers/Performers/Writers Simms Auditorium, Albuquerque Academy, Musical Theatre Works Studio auditions 6400 Wyoming Blvd. N.E.
Music of Schubert, Beethoven, and Brett Dean, 7:30 p.m. Wednesday, July 30, performers include flutist Tara Helen O'Connor and the Orion String Quartet, $10-$45, santafechambermusic.com, 505-982-1890.
516 Arts
516 Central Ave. S.W., 505-242-1445
Digital Latin America, group show, through Aug. 30.
CHIMAYÓ
Oviedo Carvings & Bronze
Faded Glory, by Marvin Moon, Gregg Moon Gallery, 109-A Kit Carson Rd., Taos
Sylvia: preview performance
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., $10, santafeplayhouse.org, Thursdays-Sundays through Aug. 17.
Books/Talks James McGrath Morris
Great Hall, St. John's College, 1160 Camino de Cruz Blanca The author outlines changes in the world of book publishing and reading, 7 p.m., $7.50 in advance at the Lensic box office, ticketssantafe.org, 505-988-1234.
Mike Butterfield
Collected Works Bookstore, 202 Galisteo St., 505-988-4226. The local photographer discusses and signs copies of New Mexico's High Peaks: A Photographic Celebration, 6 p.m.
Events North African Sephardic Festival
Center for Contemporary Arts, 1050 Old Pecos Trail Screening of El Gusto, filmmaker Safinez Bousbia's documentary about Algerian chaabi musicians, $12 in advance, $15 at the door; The Jews of Northern Morocco, exhibit of photographs by Peter Svarzbein, 505-216-0672, santafejff.org, concludes Aug. 3.
Salaam-Shalom
Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta Annual gathering of young women from Palestine and Israel in conversation about their experiences at the 2014 Creativity for Peace summer-camp session; 4:30-6 p.m., $25 in advance at creativityforpeace.com, $30 at the door.
Nightlife
(See Page 80 for addresses)
Burro Alley Café Lounge
DJs A Hundred Drums, Nicolatron, and Ana M., 9 p.m.-2 a.m., no cover.
Cowgirl BBQ
Alternative-country singer/songwriter Rene Reyes, 8 p.m., no cover.
Duel Brewing
Gothic-Americana band Cloacas, 8 p.m., no cover.
El Farol
Guitarras con Sabor, Gypsy Kings-style rhythms, 8 p.m., no cover.
Evangelo's
Rock ’n’ roll band Little Leroy and His Pack of Lies, 9 p.m.-2 a.m., no cover.
La Boca
Chanteuse Nacha Mendez, 7-9 p.m., no cover.
La Fiesta Lounge at La Fonda
Blues and soul artist Zenobia, 7:30 p.m., no cover.
Pranzo Italian Grill
Pianist David Geist, cabaret, 6-9 p.m., call for cover.
961 NM 76, 505-351-2280 Saints and Spirits, traditional woodcarving and contemporary bronze sculpture by Marco A. Oviedo; featuring paintings by Jane Haher, reception 5-8 p.m. Saturday, July 26.
LOS ALAMOS Events/Performances Gordons’ Summer Concerts
The weekly (Fridays) free music series continues with Ray Wylie Hubbard, Bill Hearne Trio opens, 7 p.m. Friday, July 25, Ashley Pond, gordonssummerconcerts.com.
PEÑASCO
Santa Fe Opera community concert
The Matador
DJ Inky Inc. spins soul/punk/ska, 8:30 p.m., no cover.
Peñasco Theatre, 15046 NM 75 Santa Fe Opera apprentices sing arias, seasonal songs, musical-theater selections, and sacred music, 2 p.m. Sunday, July 27, open seating begins at 1:30 p.m., 505-986-5955, no charge.
Second Street Brewery
TAOS
Shadeh
Greg Moon Gallery
Joe West & Friends, psychedelic country, 6-9 p.m., no cover. DJ Oona, retro rewind, 9 p.m.-4 a.m., no cover.
Skylight
Hot Honey, Appalachian-tinged country; roots-rock duo Todd & The Fox; dance band Chango; 9 p.m.-1 a.m., no cover.
Tiny’s
The Strange, desert rock, 8 p.m.-close, no cover.
The Underground at Evangelo's
Hometown havoc metal show: Torn Between Worlds, Carrion Kind, Oscillation, and 3 Weeks Later, 9 p.m.-2 a.m., no cover.
Vanessie
Pianist Bob Finnie, 6:30-9:30 p.m., call for cover.
ALBUQUERQUE Events/Performances Chatter Sunday
The Kosmos, 1715 Fifth St. N.W. Santa Fe Desert Chorale selects excerpts from its The New World: Music of the Americas program, 10:30 a.m. Sunday, July 27, poetry reading by Jules Nyquist follows, $15 at the door only, discounts available, chatterabq.org.
Events/Performances
4001 Office Court Dr., Suite 206, 505-946-2468 Seeking males and females ages 11 to 99 to perform in staged readings of four new musicals at the Santa Fe Musical Theatre Festival in August; 1-4 p.m. Sunday, July 27.
Teatro Paraguas: open auditions
3205 Calle Marie, 505-424-1601 Cold readings 7 p.m. Wednesday, July 30, from scripts for Rick Vargas' Death and the Maiden (November production), as well as Neruda and Whitman, ¡a Poesia Viva!, a poetry tribute by Dan Bohnhorst (October production).
UNDER 21
Hating Nate
Warehouse 21, 1614 Paseo de Peralta, 505-989-4423 Farewell show for the Santa Fe pop-punk band; also, punk/metal duo Almost a Lie and Denver punksters The Rockin' Rascals, 6:30 p.m. Friday, July 25, $5 at the door.
The Girls in the Band
Warehouse 21, 1614 Paseo de Peralta, 505-989-4423 Local jazz percussionist John Trentacosta introduces Judy Chaikin and Edward Osei-Gyimah's 2011 documentary as part of a free jazz film series, 7 p.m. Monday, July 28.
PASA KIDS
Anything Can Happen … If You Let It
La Tienda Performance Space, 7 Caliente Rd., Eldorado Student showcase presented by Eldorado Children's Theatre & Teen Players, 4 p.m. Friday, July 25, $5 suggested donation at the door, 435-640-4444.
Mortenson's Silver & Saddles National Day of the Cowboy
109-A Kit Carson Rd., 575-770-4463 Mortenson Arena, 96 Bonanza Creek Rd., Visions and Mirages, paintings by Marvin Moon, 505-424-9330 reception 5-7 p.m. Saturday, July 26, through Aug. 16. An all-ages kids horse show, arena polo, live music, and Hawkins' chuckwagon lunch, 10 a.m.-5 p.m. Taos School of Music Festival Saturday, July 26, at 3 p.m. The Horse Shelter The 52nd season continues with Young Artist presents Gimme Shelter, a trainers' rally for rescued Concerts: 8 p.m. Saturday, July 26, Hotel St. Bernard, horses competition, followed by a horse auction, Taos Ski Valley, no charge; 7:30 p.m. Sunday, thehorseshelter.org, 505-471-6179. July 27, Taos Community Auditorium, Taos Center for the Arts, 133 Paseo del Pueblo Norte, $8, Bee Hive Books: story times taosschoolofmusic.com, 575-776-2388. 328 Montezuma Ave., 505-780-8051 Local author Rosemary Zibart signs copies of I Have a Grandma Who …, 2 p.m. Saturday, July 26. Music, stories, and movement for ages Móntez Gallery 3 and up, 10:30-11:15 a.m. Wednesday, July 30. 132 County Rd. 75, 505-689-1082 Twenty fifth Annual Spanish Market Show, Arts Alive! traditional and contemporary Spanish colonial art, Museum of International Folk Art, 706 Camino Lejo, Museum Hill, 505-476-1200 lecture on collecting santos by Rey Móntez 2 p.m., Hands-on art activities for the whole family; Friday, July 25, performance by classical guitarist Brasil & Arte Popular, 10 a.m.-2 p.m. Tuesday, Genevive Leitner 3-5 p.m. July 29 and Thursday, July 31, by museum admission.
TRUCHAS
PEOPLE WHO NEED PEOPLE
Artists 2014 Art on Loan Program
The City of Santa Fe Arts Commission is accepting submissions from Santa Fe artists
Summer Family Evenings: Star Party
Pajarito Environmental Education Center, 3540 Orange St., 505-662-0460 Explore the night sky with instruction and stories by Chick Keller, 8:30 p.m. Tuesday, July 29, ◀ no charge, pajaritoeec.org, 505-662-0460.
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Freedom Work: Folk Forms and Variations
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.
Music From Angel Fire
National Theatre of London in HD
Angel Fire, Las Vegas, Raton, and Taos
MUSIC
Sephardic Sounds, Music of Morocco and Beyond
New Mexico History Museum Auditorium, 113 Lincoln Ave. Santa Fe Jewish Film Festival presents singer/harpist Vanessa Paloma, preconcert talk 5 p.m. Friday, Aug. 1, performance 6 p.m., $20 in advance, 505-216-0672, santafejff.org.
Woody Shaw tribute
Santa Fe Center for Spiritual Living, 505 Camino de los Marquez Featuring J. Q. Whitcomb on trumpet, Ben Finberg on trombone, John Rangel on piano, Andy Zadrozny on bass, and John Trentacosta on drums, 7:30 p.m. Friday, Aug. 1, $15 at the door.
Corinne Winters
St. John’s United Methodist Church, 1200 Old Pecos Trail Santa Fe Opera soprano, accompanied by pianist Steven Blier, 4 p.m. Sunday, Aug. 3, $22.50-$75, 505-988-1234, ticketssantafe.org, visit performancesantafe.org for the 2014-2015 season schedule.
Eliza Gilkyson
Skylight, 139 W. San Francisco St. Singer/songwriter, 7 p.m. Sunday, Aug. 3, $24, 505-988-1234, ticketssantafe.org.
Ray Lamontagne
The Downs of Santa Fe, 27475 W. Frontage Rd. Singer/songwriter, 6:30 p.m. Tuesday, Aug. 5, with Belle Brigade, $40 and $62, 505-988-1234, ticketssantafe.org.
The Hold Steady
Santa Fe Sol Stage & Grill, 37 Fire Place Rock band, 7:30 p.m. Wednesday, Aug. 6, $25, 505-988-1234, ticketssantafe.org.
Paul Groves
St. John’s United Methodist Church, 1200 Old Pecos Trail Santa Fe Opera tenor, accompanied by pianist Joseph Illick, 4 p.m. Friday, Aug. 8, $22.50-$75, 505-988-1234, ticketssantafe.org.
Fast Peso String Band
High Desert Guitars, 1807 Second St., Suite 107, 505-983-8933 or 505-988-2733 Appalachain-style tunes, 7 p.m. Saturday, Aug. 9, $15 in advance and at the door, proceeds benefit Southwest Pickers and the Santa Fe Bluegrass & Old Time Music Festival.
Sixth Annual Mariachi and Dance Concert 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. Saturday, Aug. 9, $18 in advance at tickets.com, $20 at the door, proceeds benefit the nonprofit organization Sangre de Cristo Funeral Fund.
Lake Street Dive
Santa Fe Sol Stage & Grill Jazz and soul band, 7:30 p.m. Sunday, Aug. 10, $25, 505-988-1234, ticketssantafe.org.
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PASATIEMPO I July 25-31, 2014
Aspen Santa Fe Ballet: Mixed Repertory
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.
The 31st festival season running Aug. 15-31, opening night features Ida Kavafian, Steven Tenenbom, and Anne-Marie McDermott in works of Beethoven and Andrew Hsu, tickets start at $30, discounts available, 888-377-3300, musicfromangelfire.org.
Eric Johnson
Santa Fe Sol Stage & Grill Austin, TX-based guitarist/songwriter, 7:30 p.m. Sunday, Aug. 17, $27, 505-988-1234, ticketssantafe.org.
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.
Jerry López and Friends
The Lensic Local singer/guitarist, 7 p.m. Friday, Sept. 12, $25-$35, 505-988-1234, ticketssantafe.org, benefit concert in support of the National Latino Behavioral Health Association.
The Lensic The broadcast series continues with Euripides' tragedy Medea, 7 p.m. Thursday, Sept. 11, $22, 505-988-1234, ticketssantafe.org.
HAPPENINGS
Allan Houser Centennial Tribute
Museum of Indian Arts and Culture, 710 Camino Lejo, Museum Hill, 505-476-1269 Five monumental works by the late Chiricahua Apache sculptor will be displayed outdoors in the exhibit Footprints: The Inspiration and Influence of Allan Houser, accompanied by works of other sculptors including Houser's sons Bob Haozous and Philip Mangas Haozous, Doug Hyde, Estella Loretto, and Robert Shorty; reception 1-4 p.m. Sunday, Aug. 3, through May 2015.
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, ticketed preview 6-9 p.m. Thursday, Aug. 14 ($50, benefits New Mexico PBS), show runs 11 a.m.-6 p.m. Friday-Sunday, Aug. 15-17, $10 run of show in advance, $13 at the door, objectsofartsantafe.com.
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.
The Artist's Table
Santa Fe School of Cooking, 125 N. Guadalupe St., 505-983-4511 Featuring a dinner organized by chef John Rivera Sedlar and Jemez Pueblo artist Phillip Vigil, 6 p.m. Saturday, Aug. 19, $250 in advance online at
attheartiststable.eventbrite.com, proceeds benefit Partners in Education and Santa Fe Arts Commission.
Antique American Indian Art Show Santa Fe 2014
El Museo Cultural de Santa Fe, 555 Camino de la Familia Presenting works from national galleries; 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.
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 Launch Party
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
The Plaza Music, handcrafted wares, raffles, traditional dances, and Native-food booth, 10 a.m.-5 p.m. Saturday and Sunday, Aug. 23-24, no charge, 505-476-5100.
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.
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.
Santa Fe Pro Musica
The Lensic The 33rd season opens with featured 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
Daniel Ulbricht and New York City Ballet performers
The Lensic 7:30 p.m. Wednesday and Thursday, Aug. 13-14, includes a pre-performance talk by Ulbricht, $13.50-$100, 505-988-1234, ticketssantafe.org.
Vanessa Paloma on stage at the New Mexico History Museum Auditorium on Aug. 1.
AT THE GALLERIES
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.
Blue Rain Gallery
130-C Lincoln Ave., 505-954-9902 Cante Jondo, paintings by Jim Vogel, through Thursday, July 31. (See review, Page 52)
Chalk Farm Gallery
729 Canyon Rd., 505-983-7125. Magic Square, paintings by Lukas Kandl, through Thursday, July 31.
Chiaroscuro Contemporary Art
New Mexico History Museum/ Palace of the Governors
702½ Canyon Rd., 505-992-0711 Australian Contemporary Indigenous Art III, group show, through Aug. 3.
113 Lincoln Ave., 505-476-5200 Painting the Divine: Images of Mary in the New World, rare Spanish colonial paintings, through March 29, 2015 (see review, Page 50) • 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.
Cloud 5 Project
1805 Second St., 505-577-0360, cloud5project.com Lucent, group show of multimedia works, limited hours Fridays-Sundays and by appointment through Aug. 10.
Contemporary Tapestry Gallery
835 W. San Mateo Rd., 505-231-5904 51 American Cities, group show, through August.
LewAllen Galleries at the Railyard
New Mexico Museum of Art
1613 Paseo de Peralta, 505-988-3250. Henry Jackson: Halted in Transition, abstract paintings, through Sunday, July 27.
Meyer East Gallery
225 Canyon Rd., 505-983-1657 Robert LaDuke: New Works, through Thursday, July 31.
New Concept Gallery
610 Canyon Rd., 505-795-7570 Sailing to Byzantium, pigment prints by Roger Arvid Anderson, through Monday, July 28.
Nüart Gallery
670 Canyon Rd., 505-988-3888 Reformations, paintings by Mark Spencer, through Aug. 3. (See story, Page 62)
Santa Fe Clay
545 Camino de la Familia, 505-984-1122 Finished With Fire, works by ceramicists Bonnie Lynch and Mary Roehm, through Aug. 2.
Turner Carroll Gallery
725 Canyon Rd., 505-986-9800. Biomorphed, works by Rex Ray, Shawn Smith,
and Josh Garber, through Sunday, July 27.
MUSEUMS & ART SPACES Santa Fe Santa Fe Center for Contemporary Arts
1050 Old Pecos Trail, 505-982-1338 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 Aug. 10. Open Thursdays-Sundays; ccasantafe.org.
SITE Santa Fe
1606 Paseo de Peralta, 505-989-1199 SITElines 2014: Unsettled Landscapes, biennial exhibit of contemporary international works, through Jan. 11. Open Thursdays-Sundays; sitesantafe.org.
Georgia O’Keeffe Museum
217 Johnson St., 505-946-1000 Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept. 17. Open daily; okeeffemuseum.org.
Contemporary Tapestry Gallery shows works by LaDonna Mayer in its group show 51 American Cities, 835 W. San Mateo Rd.
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 • We Hold These Truths, contemporary paper baskets by Shan Goshorn • Brandywine Workshop Collection, works by indigenous artists donated to the Philadelphia facility • Articulations in Print, group show • Bon à Tirer, prints from the permanent collection • Native American Short Films, continuous loop of five films from Sundance Institute’s Native American and Indigenous Program; exhibits up through Thursday, July 31; iaia.edu/museum, closed Tuesdays.
Museum of Indian Arts & Culture
710 Camino Lejo, Museum Hill, 505-476-1269 Turquoise, Water, Sky: The Stone and Its Meaning, highlights from the museum’s collection of jewelry • Native American Portraits: Points of Inquiry, vintage and contemporary photographs, through January 2015 • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, 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 • Tako Kichi: Kite Crazy in Japan, exhibition of Japanese kites, through Sunday, July 27 • New World Cuisine: The Histories of Chocolate, Mate y Más • Multiple Visions: A Common Bond, international collection of toys and folk art • Brasil and Arte Popular, pieces from the museum’s collection, through Aug. 10. Open daily; internationalfolkart.org.
107 W. Palace Ave., 505-476-5072 Local Color: Judy Chicago in New Mexico 1984-2014, focusing on public and personal projects, through Oct. 12 • Southwestern Allure: The Art of the Santa Fe Art Colony, including early 20th-century paintings by George Bellows, Andrew Dasburg, Marsden Hartley, and Cady Wells, through Sunday, July 27 • Focus on Photography, rotating exhibits • Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes used to make color and platinum-palladium prints from the collection, through March 2015 • 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.
Poeh Cultural Center and Museum
78 Cities of Gold Rd., 505-455-3334 Nah Poeh Meng, 1,600-square-foot installation highlighting the works of Pueblo artists and Pueblo history; closed Saturdays and Sundays; poehcenter.org. Also, ongoing sculpture exhibits in the Tower Gallery, 505-455-3037. Closed Sundays; roxanneswentzell.net.
Wheelwright Museum of the American Indian
704 Camino Lejo, Museum Hill, 505-982-4636 Works by Diné photographer Will Wilson, through April 19, 2015. Core exhibits include contemporary and historic Native American art. Open daily; wheelwright.org.
Albuquerque Albuquerque Museum of Art & History
2000 Mountain Rd. N.W., 505-243-7255 Everybody’s Neighbor: Vivian Vance, family memorabilia and the museum’s photo archives of the former Albuquerque resident, through January 2015 • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, examples of craftsmanship and design distinctive to the charro. Closed Mondays; cabq.gov/culturalservices/ albuquerque-museum.
Holocaust and Intolerance Museum of New Mexico
Indian Pueblo Cultural Center
2401 12th St. N.W., 866-855-7902 Our Land, Our Culture, Our Story, historical overview of the Pueblo world, and contemporary artwork and craftsmanship of each of the 19 pueblos. Weekend Native dance performances; indianpueblo.org.
Maxwell Museum of Anthropology
UNM campus, 1 University Blvd. N.E., 505-277-4405 The museum’s collection includes individual archaeological, ethnological, archival, photographic, and skeletal items. Closed Sundays and Mondays; maxwellmuseum.unm.edu.
National Hispanic Cultural Center
1701 Fourth St. S.W., 505-604-6896 ¡Papel! Pico, Rico y Chico, group show of works in the traditional art of papel picado (cut paper). Closed Mondays; nationalhispaniccenter.org.
UNM Art Museum
1 University of New Mexico Blvd., 505-277-4001 Oscar Muñoz: Biografías, video works; Luz Restirada, Latin American photography from the museum collection, through Saturday, July 26. Closed Sundays and Mondays; unmartmuseum.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.
Taos E.L. Blumenschein Home and Museum
222 Ledoux St., 575-758-0505 Color-field paintings by Donald Roy Thompson, through 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 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.
616 Central Ave. S.W., 505-247-0606 Exhibits on overcoming intolerance and prejudice; nmholocaustmuseum.org; closed Sundays and Mondays.
PASATIEMPOMAGAZINE.COM
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A P E E K AT W H AT’S S H OW I N G A R O U N D TOW N Eliseo Rodriguez: Untitled 1938, oil on canvas Móntez Gallery, La Capilla, 132 County Road Truchas, 505-689-1082
The gallery celebrates 25 years with its annual Spanish Market show. The exhibition features large- and small-scale paintings by Eliseo Rodriguez (1915-2009) as well as works in straw appliqué by Rodriguez and his wife, Paula. Additional pieces by Horacio Valdez, Nicolas Herrera, Frank Brito, and other artists are included. The show opens on Friday, July 25, with a 2 p.m. lecture by owner Rey Móntez titled “Collecting Santos: Who, What, When, Where, and Why,” which is followed at 3 p.m. by classical music from guitarist Genevieve Leitner.
Bunny Tobias: Gallery Goers 2014, recycled and repurposed materials Gallery Zipp, Exit 297 off I-25, Glorieta, 505-757-6428
Robert LaDuke: Travelers 2014, acrylic on panel Meyer East Gallery, 225 Canyon Road 505-983-1657
Robert LaDuke’s realist visions of modernity capture the look and feel of mid-century America’s roadside attractions, cityscapes, and modes of transport. His imagery is inspired by memories, dreams, and daily life. LaDuke’s paintings are on view at Meyer East Gallery through July 31.
Used is an exhibition of indoor and outdoor artworks made from repurposed and recycled materials by Charles Greeley, Bunny Tobias, Jennifer Joseph, Clayton Porter, Lucrecia Troncoso, and others. The show opens with receptions from 11 a.m. to 4 p.m. on Saturday and Sunday, July 26 and 27, and is then open by appointment through Aug. 15. To reach Gallery Zipp, take Exit 297 off I-25, turn left under the freeway, then turn right.
Zulia Gotay de Anderson: Good Day oil on canvas Jane Hamilton Fine Art, 200-D Canyon Road, 520-465-2655
Tres Artistas, Jane Hamilton Fine Arts’ Spanish Market show, opens Friday, July 25, with a reception at 5 p.m. The exhibit includes the figurative paintings of Zulia Gotay de Anderson, Southwestern landscapes by Santos Barbosa, and realist, religious-themed works by Francisco Rodriguez. The show runs through Aug. 3.
Theo Helmstadter: Large Vase with Yellow Glaze 2014, stoneware Green River Pottery, 1710 Lena St., 505-614-6952
Theo Helmstadter’s functional ceramics are for the collector and for everyday use. An exhibition of new works in stoneware opens at the studio-gallery on Friday, July 25, at 4 p.m. “Inspired by the New Mexico landscape with its vast and empty spaces, I strive to give my work a feeling of quiet, open simplicity, of duration and connection to the past,” Helmstadter writes on his website (www.greenriverpottery.com).
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PASATIEMPO I July 25-31, 2014
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