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The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture

May 30, 2014

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PASATIEMPO I May 30 - June 5, 2014




March 30 - June 5, 2014

ON THE COVER 30 Truth will set you free In his monograph Bruce Nauman: The True Artist, published by Phaidon in May, art critic Peter Plagens looks at the artist’s life and work, examining major projects that draw on Conceptualism, Minimalism, new media, and performance art. Plagens, who found Nauman’s work distasteful when he first encountered it in the late 1960s, came to view him as a great artist. Nauman, a longtime resident of New Mexico, challenges viewers with mischievous works exploring subjects such as language and the role of artists in society. On Friday, May 30, Plagens talks about his book with Nauman’s studio manager Juliet Myers in a free panel discussion at the New Mexico Museum of Art. On the cover is Nauman’s Vices and Virtues installation on the façade of the U.S. Pavilion at the 2009 Venice Biennale. Photo by Michele Lamanna from Plagens’ book; image Bruce Nauman © Artists Rights Society (ARS), New York/DACS, London.

BOOKS 16 18


In Other Words The White Devil: The Werewolf in European Culture Floral pharmacy Land of Enchantment Wildflowers

38 39 40 42



21 Onstage Hugh Laurie 22 Pasa Tempos CD reviews 24 Terrell’s Tune-Up Mystical twang 34 Tear down those walls Frankie and Johnny in the Clair de Lune 36 Stand-up and be counted John Hodgman


13 15 46

ADVERTISING: 505-995-3852 Ad deadline 5 p.m. Monday


Chance, 1977, by Signe Stuart

Art Director — Marcella Sandoval 505-986-3025,

Assistant Editor — Madeleine Nicklin 505-986-3096,

Chief Copy Editor/Website Editor — Jeff Acker 505-986-3014,

Associate Art Director — Lori Johnson 505-986-3046,

Calendar Editor — Pamela Beach 505-986-3019,

STAFF WRITERS Michael Abatemarco 505-986-3048, James M. Keller 505-986-3079, Bill Kohlhaase 505-986-3039, Paul Weideman 505-986-3043,

CONTRIBUTORS Loren Bienvenu, Taura Costidis, Ashley Gallegos-Sanchez, Laurel Gladden, Peg Goldstein, Robert Ker, Jennifer Levin, 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

Mixed Media Star Codes Restaurant Review: Mucho Gusto

Line by line Signe Stuart

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 Week


ART 26

Palo Alto Cold in July Just a Sigh Pasa Pics

Robin Martin Owner

Ginny Sohn Publisher

ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007

MARKETING DIRECTOR Monica Taylor 505-995-3824

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

ADVERTISING SALES - PASATIEMPO Art Trujillo 505-995-3852 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830

Ray Rivera Editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

SanTa Fe BoTanical Garden invites you to

Celebrate! Summer Solstice in the Garden Saturday, June 21, 2014, 6–8:30 PM 715 camino lejo, Museum hill enjoy cocktails and hors d’oeuvres with music by nacha Mendez! Sip our signature solstice drink, “Summer Thyme,” by Mixologist Quinn Stephenson! Savor light supper to the beat of the Bert dalton Jazz Trio! engage in an exceptional live auction! delight in decadent desserts on the Bridge! kevin Box’s “Master peace” sculpture of 1,000 cast metal cranes will be celebrated as the newest addition to the origami in the Garden exhibition!

Tickets: $125 per person ($90 tax deductible) | 471-9103 S p e c i a l T h a n k S To o u r S p o n S o r S

Invisible City Designs

Special Exhibit Till June 18

Dance Masks & Tapa cloth from the


Baining Tribe

a day in the liFe

in Papua New Guinea

May 30 - June 20, 2014 reception: Friday, May 30, 5 - 7 pM

Opening Slide show & talk Friday May 30 5 pm - 7 pm Refreshments served

T r av e l e r ’s M a r k e t

4 3 De a l e r s of T r i ba l & F ol k A r t, A n t iqu e s , B o oks & J e w e l ry

at t h e D e Va r g a s C e n t e r 1 5 3 B Pa s e o d e P e r a l ta , S a n ta F e , N M 87501 505-989-7667 Hours: T u e - S at 1 1 - 6 p m s u n 1 2 p m - 5 p m w w w. t r av e l e r s m a r k e t. n e t

zane bennett contemporary art 435 S Guadalupe St, Santa Fe, nM 87501 t: 505-982-8111 F: 505-982-8160 zanebennettGallery.coM




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“Orange Beanstalk” C e r a m i c Sculpture

Come see all the new arrivals and meet the artist throughout the weekend We’ll deliver and install local purchases made this weekend!

225 Canyon Road San t a F e N M 5 0 5 .9 8 4 .1 6 88 8

PASATIEMPO I May 30 - June 5, 2014

Opens for the Season Saturday, May 31st Hours: Monday through Saturday 10:00 to 4:30 Special Clearance! Discounts up to 70% off on Selected Items

Call 505-986-5949 Exit South Tesuque to Opera Drive 7 miles north of the Plaza off Hwy. 84/285

Seeing new patients in our Santa Fe office! Appointments scheduled through Los Alamos office: 662-4351

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Please join the faculty and staff of Desert Academy as we

congrAtulAte our 2014 grADuAting seniors

Desert Academy

on their many accomplishments.

Engaging the mind. Engaging the world.

Among the colleges and universities they will be attending are: university of california/irvine colorado college eckerd college indiana university loyola Marymount university university of new Mexico Middlebury college Minneapolis college of Art & Design university of oregon Prescott college regis university san Diego state university santa Fe community college stanford university Warren Wilson college


International Baccalaureate World School

college PrePArAtory grADes 6-12 7300 Old Santa Fe Trail Santa Fe, NM 87505 (505) 992-8284



NEW PHOTOGRAPHY BOOK ILLUMINATES THE CITY DIFFERENT “Here, captured with a loving eye, is the peculiar energy and the celestial light of America’s oldest, highest, funkiest state capital… THERE IS NO PLACE LIKE SANTA FE.” —Hampton Sides, author of Blood and Thunder


Introduction by Christine Mather Jacketed Hardbound: $39.95 ISBN: 978-0-89013-589-1 BOOK LAUNCH EVENTS Thursday, June 5, 6 p.m.

Saturday, June 7, 3 p.m.

COLLECTED WORKS BOOKSTORE 202 Galisteo Street, Santa Fe 505-988-4226

BOOKWORKS 4022 Rio Grande Blvd NW, Albuquerque 505-344-8139

Author Presentation & Book Signing

Museum of New Mexico Press





Author Presentation & Book Signing






Lensic Presents

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Danny Mays, PA Offering a wide range of allery testing and treatment to help those suffering from both seasonal and cronic allergies.

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PASATIEMPO I May 30 - June 5, 2014

1650 Hospital Drive, Suite 800 Santa Fe, NM 87505 Building Health Together


Leopold Bloom and his Adulterous Molly: Can this Marriage be Saved? A Lecture in Celebration of Bloomsday

Presented by James Heffernan

Sunday 15 June from 3-5pm New Mexico History Museum Auditorium


Bloomsday is a commemoration and celebration of the life of the Irish writer James Joyce during which the events of his novel Ulysses (which is set on 16 June 1904) are relived. It is observed annually on 16 June in Dublin and many cities around the world. This year, we will celebrate Bloomsday on Sunday, 15 June at the New Mexico History Museum with a lecture by Professor James Heffernan. James Heffernan, Professor of English Emeritus at Dartmouth College, has written extensively on James Joyce, particularly Ulysses. For the Teaching Company he has taped 24 lectures on Ulysses and another 24 on great authors from Wordsworth to Camus. Yale University Press has just published his latest book, Hospitality and Treachery in Western Literature. [ For more see ] PASATIEMPOMAGAZINE.COM




a 60 minute romp through the pre-history of American theater

LAST SHOWS Friday May 30 • 8 pm Saturday May 31 • 2 pm • 8 pm TEATRO PARAGUAS 3205 Calle Marie, Santa Fe Thursday June 26 • 2 pm ST. FRANCIS AUDITORIUM 107 W. Palace Ave Co-presented with the New Mexico Museum of Art For Tickets and information call 505.474.8400 or go to

Come and experience Mexico with the Friends of Archaeology

Yucatan, The Mayan Route and Chiapas Join Tim Maxwell, OAS Director Emeritus, and Rosa Ramírez Carlson, of Journeys International, Inc. in this special tour to some of Mexico’s most remote and beautiful lands.

From Mérida to San Cristóbal de las Casas, this tour will take us to some of the most interesting sites of the Mayan world. Beginning with Uxmal and Kabah, two archaeological sites in the Puuc Route, to remote Calakmul located in the rich Calakmul Biosphere Reserve. We cross the land of the Lacandon people to marvel at the murals of Bonampak and navigate down one of the largest rivers in the world, the Usumacinta, to the site of Yaxchilán. We will explore Palenque, continuing to Toniná and San Cristóbal de las Casas, in Chiapas. From there we will visit the villages of Chamula, Tenejapa, and Zinacantan for Day of the Dead celebrations and, finally, travel down the Grijalba River through Sumidero Canyon with vertical walls as high as 1,000 meters.

Reserve your place by calling the FOA hotline 505.992.2715, ext. 8 by June 9th For more information visit


PASATIEMPO I May 30 - June 5, 2014

MIXED MEDIA Roberta Price: Head of a Beautiful Girl/Body of Snake, Fairway, September 2010, archival pigment print Below, John Healy: Eye in the Desert, 2014, archival pigment print


A Trilogy of Opera for Audiences of All Ages May 31; June 1, 7, 8 Join us for one or more of our three original 35 minute operas. Perfect for audiences of all ages to experience the magic of opera. Arrive early for a special preshow activity! Written in the Stars | May 31 at 6 pm; June 7 at 6 pm A writer and composer argue about which is more important: words or music? Find out what happens as they fall in love in the debate.

Avastar | June 1 at 2 pm; June 8 at 2 pm Two classically trained singers – one loves opera and the other loves pop – become finalists in a singing competition. Who wins?

Truth North | May 31 at 7 pm; June 1 at 3 pm; June 7 at 7 pm; June 8 at 3 pm

On the road Center, founded in 1994 as the Santa Fe Center for Photography, sponsors photography exhibitions each year in advance of Review Santa Fe, a June event that gives committed photographers the opportunity to have their portfolios reviewed by museum curators and gallerists. In conjunction with Center’s 20th anniversary, the organization presents Road to Nowhere: Southwest Sojourns at the Marion Center for Photographic Arts at the Santa Fe University of Art and Design. The exhibition features images on the theme of the open road by more than a dozen Review Santa Fe alumni and Center members, including New Mexico-based photographers Susan Ressler, Jennifer Schlesinger Hanson, Jonathan Blaustein, and Jamey Stillings. The exhibit is curated by Mary Anne Redding, chair of SFUAD’s photography department. The show opens concurrently with the Marion Center’s New Mexico State Fair Portrait Project, an exhibition of photographs of participants at the New Mexico State Fair taken by photographers active in Santa Fe and Albuquerque. A reception for Road to Nowhere and the New Mexico State Fair Portrait Project takes place at 5 p.m. on Friday, May 30. The Marion Center is at 1600 St. Michael’s Drive. Call Center at 505-984-8353 or see — Michael Abatemarco

Waiting at the airport due to a delayed flight, two couples meet and catch up on each other’s lives and musical experiences. Featuring: Sara Heaton, Abigail Mitchell, Joshua Dennis, Shea Owens; Kirt Pavitt, Music Director & Pianist; Directed by Kathleen Clawson

Tickets are only $10 per performance.

BUY ONE TICKET GET ONE FREE! (limited time offer)

CALL NOW to order at 505-986-5900. Monday through Friday, 9 am to 5 pm, MDT

Learn more about the upcoming season at PASATIEMPOMAGAZINE.COM


Poetry thru a Pinhole Santa Fe Poets 5

Friday, May 30, 6 pm

Santa Fe Poet Laureate Jon Davis hosts a reading featuring Chee Brossy, Joan Logghe, Carol Moldaw, Henry Shukman and Farren Stanley in the museum auditorium. Free. The Poetry of Light

Sunday, June 1, 1–4 pm

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Join Jon Davis for a writing workshop inspired by images in the exhibit, Poetics of Light: Pinhole Photography. Free, but space is limited. Reservations at 505-476-5096.


Happening tonight

BOOK EVENT Friday, May 30, 6–7 p.m. Peter Plagens and Juliet Myers talk about Bruce Nauman and his importance in contemporary art. Plagens’ Bruce Nauman: The True Artist (Phaidon Press) is the first authorized monograph on one of the most innovative and provocative artists working today. Free.

MUSIC AT THE MUSEUM Friday, May 30, 5:30–7:30 p.m. Enjoy local talent every Friday night in the patio and galleries. Tonight: The Alpha Cats play jazz, swing and blues. Free.

Coming up

L AU RA SHEP P HER D ATELIER Ethnic Chic Silk Kantha jackets Thai Cotton tunics Handwoven Laos Shawls and much more!

BOOK EVENT Sunday, June 1, 2–3 p.m. Literary Pilgrims: The Santa Fe and Taos Writers’ Colonies, 1917–1950 (University of New Mexico Press). New Mexico author Lynn Cline chronicles the colony of early twentieth-century literary luminaries that included D. H. Lawrence, Willa Cather, and Robert Frost, whose salons, parties, books and political activities left a lasting legacy. Free. Public opening of Local Color: Judy Chicago in New Mexico 1984–2014, the first exhibition to focus on the artist’s recent work. Enjoy music and refreshments hosted by the Women’s Board of Museum of New Mexico. Free.



PASATIEMPO I May 30 - June 5, 2014

65 w. marcy street santa fe, nm 87501 505.986.1444 like us on

OPENING RECEPTION Friday, June 6, 5–8 p.m.


Heather Roan Robbins

The world slows down and we may want to turn inward and get

ourselves, our house, and our garden ready for the summer. We need some time in our shell this weekend as the moon conjuncts Mercury and Jupiter in Cancer. Time may seem to bend and slow down. People are feeling a little touchy, and reactions may be filtered through memories. We need to remember that those around us may have changed since the last time we looked. Notice the wear and tear on people, but also see the wisdom and grace bestowed on them by experience. Mercury (arbiter of travel, communication, and understanding) is retrograde from June 7 to July 2 and already appears to slow down. It helps to add a little extra time to our schedule to handle delays and to take more responsibility for our communication by speaking succinctly and clearly. Early next week a Leo moon sparks our social skills and Venus sextiles Neptune and brings out a creative and idealistic streak. Start a summer romance or let the flowering world bring poetry to daily life. Midweek, an industrious Virgo moon helps us follow through on unfinished business. Friday, May 30: We’re ready to turn home as the moon enters domestic, defensive Cancer this morning. We are irritable with anybody who gets in our way or who makes us feel less than safe and comfortable. Critical feedback is not well received. We may have a deep need for comforting and reassurance as the moon sextiles Venus and trines Neptune. Saturday, May 31: A brooding morning can highlight our inadequacies or unfinished family business. We may want to crawl back under the covers, activate our defense systems, or, better yet, redirect the energy; it helps to work on home, homelessness, and home territory. Generosity grows as the moon conjuncts Jupiter — beautifully visible in the early evening sky. Sunday, June 1: Let go of the schedule or specific chores and catch up on emotional processing. Energy picks up tonight as the moon heads toward Leo. Monday, June 2: Relationships create heat as the Leo moon squares Venus in Taurus. We want a break from our inner self. People can be touchy but are easily soothed and relatively generous if they feel appreciated. Tuesday, June 3: This is a restless, energized morning laced with fresh ideas. Be patient midafternoon as the moon squares Saturn. Create a good vessel for lighthearted sparks. Wednesday, June 4: Work with extra sensitivity as artistic Venus sextiles imaginative Neptune. Think of a more ideal form and make it so, backed by the moon in competent, careful Virgo. Thursday, June 5: If we’re reminded about what’s missing or what we could lose as the moon trines Venus and Pluto, it helps to remember gratitude — make it a meditation. We may be easily irritated or accident-prone in the afternoon. Take a break, find one thing to appreciate, and try again. ◀

Rabbi Leonard A. Helman 1926 - 2013 Please join us for our dear Founding Rabbi Leonard A. Helman’s footstone dedication on

Sunday June 8, 12:30 pm at Santa Fe Memorial Gardens Cemetery, 417 Rodeo Road. A gathering at Congregation Beit Tikva, 2230 Old Pecos Trail, will follow. Share your memories and favorite stories, and enjoy a light meal together as we honor his life of service.


Beit Tikva 505.820.2991 PASATIEMPOMAGAZINE.COM


IN OTHER WORDS book reviews The White Devil: The Werewolf in European Culture by Matthew Beresford, Reaktion Books, 262 pages Perhaps the oldest of our mythical monsters, the werewolf follows humans through ancient history like a dog locked on a scent. In his new survey of European cultures’ ancient and enduring fascination with the fabled beast, journalist and archaeologist Matthew Beresford traces the werewolf’s origins in prehistory as a talisman of hunting magic in nomadic cultures and later as a transformative model of virility and courage in the pagan warrior societies of the Greeks, Romans, and Vikings. The predatory monster we know today emerges only recently in human history, the author argues, when the values of an ascendant agricultural and Christian class saw the fanged and tireless huntsman as a sinful creature whose mythic model of masculinity was subversive and dangerous. The earliest werewolf imagery can be found in the Paleolithic era, engraved on the rib of a 45,000-year-old woolly rhinoceros, Beresford claims. The figure is a crude detailing of a nude man, his legs tensed in a ritualistic dance, wearing what the author believes to be a wolf mask and a fur pelt. It’s not exactly Jacob Black, but as the author explains, the origins of the mythic werewolf are aspirational, based on the mutual hunting relationship early man was developing with wolves. “If wolves scavenging ‘kill sites’ and searching for leftover carcasses began to approach campsites as their interest or bravery was piqued, they might feasibly and gradually have started to enter the camp itself,” writes Beresford. “At this point that a ‘mutual respect’ between man and wolf, each knowing the others’ ability and prowess as a hunter, may well have started.” In the Mediterranean of antiquity, Beresford reminds us, even the most cultivated Greeks and Romans believed in human-animal hybrids and the existence of those who could transform themselves into beasts. Among the ancient Greeks, Homer mentions a race of people called the Lycians who are descended from wolves, while Herotodus, writing in his Histories, famously claimed that the Neuri of Scythia spend a few days of each year transformed into wolves. Fittingly, in imperial Rome, the werewolf enjoyed high status as an emblem of man’s highest martial qualities and a randy expression of his most ribald lusts. In the Roman Lupercalia festival, held in mid-February as a proto-St. Valentine’s Day, “young males dressed in wolf and goat costumes chased women through the streets playfully ‘whipping’ them with leather thongs in a fertility ritual.” We may even owe the word were to the Romans, as some linguists trace it to vir (pronounced ‘whir’), a Roman word for a freeborn male citizen that implied qualities of warlike excellence. In its foundational myth, Rome itself takes its name from Romulus, a fearsome ruler with his own werewolf-like mythic origins — divinely fathered, he 16

PASATIEMPO I May 30-June 5, 2014

was abandoned in a river by jealous family members before being found by a she-wolf who suckled him back to health. After the fall of Rome, Viking culture and religion carried on the manly worship of the wolf. Berserkers, the most feared of all Viking warriors, took to the battlefield with wolf pelts stretched over their mail, worked into fury either through chanting, psychoactive plant extracts, or both. Swedish engravings from the time depict wolves standing alongside them in battle. In the Norse religion, god Odin traveled the world with his two wolves, whom he entrusted with teaching humans equitable models of family and civilization. Yet the very qualities of the wolf that were venerated by shamanic tribes, imperial Romans, and seafaring Vikings would become repulsive and diabolical during medieval times, as farming, livestock husbandry, and institutional Christianity came to dominate the lives of most Europeans. Over the 15th and 16th century, a sort of werewolf scare set in among many of the small villages of Europe. In a social panic that ran parallel to ongoing concerns over women practicing witchcraft, dozens of men were burned at the stake, after being forced into making confessions of “werewolfery.” In the 17th century, the werewolf shifted in public consciousness from feared beast to pitiful creature. The creature, descended from myths and monsters, now became used to describe a type of mental illness. Lycanthropy, the medical sobriquet by which wolf madness or the condition of believing oneself to be a werewolf came to be known, was a wide net into which both the merely anxious and the serial killer were cast. The 19th and 20th centuries provide no shortage of werewolf grist for the author to mill. But by this point the werewolf’s fearsome magic has fled and its transformative curse has been broken. With hardly anyone around left to believe in either the supernatural power of wolves or our ability to transform into them, the poor canid became one more hoary monster for pulp novels and B-movies to trot out. If there is any fault to be found in The White Devil, it is that the book only sporadically works up the gumption to assume the narrative laid out by its facts. The werewolf is the most enduring of our ur-myths and one that charts an alternative history of mankind. Where once ambitious men aspired to hold the virtues of wolves, somewhere along the line we began to loathe the scent of our feral origins. Yet as any scan of our bestselling books and TV shows indicates, we remain as enchanted by werewolves as the ancients. This book goes a long way in explaining the warrior cultures that built the werewolf legend out of a hunting companion lurking around their campfires and the feudal farming culture that made a monster out of an animal left with little room to maneuver as Europeans began felling the forest. “There remains some need in society to retain and fuel the werewolf myth,” Beresford writes. “Whereas the vampire could be seen as a metaphor for society’s fear of and fascination with death, the werewolf is the direct opposite: it is mankind’s fear of and fascination with life.” — Casey Sanchez


Salutations: Poets Jenny Browne and Dana Levin Just who is being addressed in Jenny Browne’s new collection of poetry, Dear Stranger (University of Tampa Press)? Browne, an assistant professor of English at Trinity University in San Antonio, makes it obvious that she’s speaking to herself as well as to readers. She identifies with a mackerel, prepared sushi-style, its raw insides presented artfully on shavings of daikon, “as symbolic of the presentation/of self implies an inner lifer similarly displayed for strangers.” She speaks to others as well: loved ones (“Oh brother I would still sing/of your dumb driving gloves,/two dollar bills, sweet/coffee and bitter pills”), strangers, and institutions. “The Center for the Intrepid” is dedicated to a rehabilitation center for returning soldiers. This poem illustrates Browne’s ability to see individual experience as shared experience: Most grown-ups I know walk around make-believing they are in one piece. It’s tomorrow, and my children want that game they call, You be the monster, I’ll be the kid.

The collection’s first poem, “The Multiple States of Matter,” assembles “one blue parakeet, loyal to sky/inside its dented cage”; a Buddhist who, during dinner, tells her “the real problem is you/ still think you get to decide what kind of death is a good one”; and a friend with a brain growth that requires she be reminded to swallow. It’s all knotted around the poem’s critical line: “the only difference between gods and monsters/ exists in which brain they find belief ...” At 4 p.m. on Sunday, June 1, Browne reads at Collected Works Bookstore (202 Galisteo St., 505-988-4226) with Dana Levin, author of three volumes of poetry. Levin will read new poems, including “My Sentence,” first published in Poetry magazine. The ending reads: ... cricket pulse of dusk under the pixilate gold of the trees, fall’s finish, snow’s white afterlife, death’s breath finishing the monologue Phenomena, The Most Beautiful Girl you carved the word because you craved the world — — Bill Kohlhaase

regiStratiON SuggeSted fOr all prOgramS. tO regiSter, pleaSe viSit OkeeffemuSeum.Org Or call 505.946.1039.

breakfast with o’keeffe



MoNDaY, JUNe 2

8:30–9:45 aM

Preserving historic Landscape Character

Georgia O’Keeffe Museum, 217 Johnson Street Free with Museum Admission reservations required by Friday, May 30 Sponsored by Wells Fargo


LeCtUres & CoNversatioNs

JUNE 6 • Indiana Jones & the Raiders of the Lost Ark Join Harrison Ford on one of the great movie adventures of all time! JUNE 20 • Repo Man Take a wild spin with Emilio Estevez and Harry Dean Stanton. Presented by Heath Concerts

RAILYARD PLAZA SUMMER CONCERT SERIES JUNE 5 • 6-9pm / Jimmie Vaughn Guitar Player Magazine calls him “a living legend.” JUNE 22 • 6-9pm / Jackie Greene “The Prince of Americana…with a capital P” – The New York Times Presented by Heath Concerts


Cutting edge media artists from New Mexico the US and the World! June 13 thru 29 / El Museo & Plaza June 13, 8–11pm: Outdoor Video & Meow Wolf DJ June 28, 8–11pm: Outdoor Video & Concert: Storming the Beaches with Logos in Hand Presented by Currents 2014 & Heath Concerts

JUNE 16 • 4-6pm /On the Plaza WORLD CUP SOCCER: FIRST TEAM USA MATCH BYOChair and share the thrills on the big LED screen! Presented by NNM Soccer & Heath Concerts


Music, food, fun for kids & more Presented by Salvation Army

JUNE 21 • 4-9pm / On the Plaza MAKE MUSIC SANTA FE

All Santa Fe Line-up! Hot Honey, Broomdust Caravan, Busy & The Crazy 88, Lumbre del Sol and more! Presented by Santa Fe Music Alliance

MoNDaY, JUNe 9


Museum research Center, 135 Grant Avenue $5. Members & Business Partners Free.

at t hE railyard

weDNesDaY, JUNe 25

Georgia O’Keeffe Museum, 217 Johnson Street Free with Museum admission

workshoPs thUrsDaY, JUNe 5

SANTA FE ARTISTS MARKET Saturdays / 8am-1pm / Railyard Park RAILYARD ARTISAN MARKET Sundays 10am- 4pm Farmers Market Pavilion SECOND STREET BREWERY Live Music Thursday-Sunday Acoustic Open Mic 6-9 pm Tuesday WAREHOUSE 21 OPEN JAM NIGHT Wednesdays / 7-9pm AXLE CONTEMPORARY PERFORMANCE ART SERIES Various Dates / Shade Structure Various times and artists


10 aM

Georgia o’keeffe and the art of eating well

Santa Fe School of Cooking, 125 N. Guadalupe Street $80 plus tax per person

Register your dog at: Presented by Santa Fe Youth Symphony

SANTA FE FARMERS MARKET Tuesdays & Saturdays / 8am-1pm Farmer’s Market Hall & Plaza

12:30 PM

Loo’k Closer: art talk at Lunchtime



6 PM

seminars in Modernism: Modern art and advertising, Georgia o’keeffe in hawai‘i

tUesDaY, JUNe 17

6–8 PM

Creativity workshop with shirley Crow

Museum education Annex, 123 Grant Avenue $8. Members & Business Partners, $5

Look at the


satUrDaY–sUNDaY, JUNe 21–22

9:30–11:30 aM

home and away Memoir writing: home is where the heart is with sara eyestone Museum education Annex, 123 Grant Avenue $35. Members & Business Partners, $30 MoNDaY, JUNe 30

8:30 aM–3:30 PM

walks in the american west: the white Place and echo Canyon

Meet at the Museum education Annex, 123 Grant Avenue $100. Members & Business Partners, $95 reservations required by June 24

faMiLY ProGraMs satUrDaY, JUNe 7

9:30–11:30 aM

opera Makes sense at the o’keeffe Journey to hawai‘i with Mozart’s The Impresario, Georgia o’keeffe, and ansel adams

Meet at the Georgia O’Keeffe Museum, 217 Johnson Street Free for children 3–5 accompanied by an adult registration required satUrDaY, JUNe 28

9:30–11:30 aM

art and Movement expedition to hawai‘i

Meet at the Georgia O’Keeffe Museum, 217 Johnson Street Free for children 4–12 accompanied by an adult registration required

reaDers’ CLUb tUesDaY, JUNe 24

10–11:30 aM

Poetry selections from Georgia o’keeffe’s book room Museum education Annex, 123 Grant Avenue. Free

For more information, and a printable Railyard map, visit:










Paul Weideman I The New Mexican




(Echin ocereu s cocc ineus)

PAINTBRUSH ora) (Castilleja sessilifl

ANTELOPE HORNS (Asclepias asperula)


iñon nuts are yummy and high in protein and fiber, but the piñon tree has all kinds of other uses, as readers will find by perusing the new book Land of Enchantment Wildflowers: A Guide to the Plants of New Mexico (Texas Tech University Press). Native people chewed piñon-tree sap to relieve congestion and inhaled the vapor of burning sap to clear the respiratory passages. The sap was also used to treat cuts and sores and was dissolved in hot water and quaffed to eliminate parasites. Piñon pitch was employed as a sealant on baskets and pottery, as a glue to attach feathers to arrow shafts and turquoise to silver, and as waterproofing for moccasins. This multidimensional nature of a common plant is not exceptional. The book, which features 456 color photos by authors Willa F. Finley and LaShara J. Nieland, is full of similar examples. Here’s another one, about the lowly horsetail or scouring rush. Many have heard about the reason for that second common name: pioneers used the silica-strong stems to scrub pots and pans. But the writers say they have also been used to polish bone and wood pieces, in lotions for aching backs, in extracts said to help with urinary and prostate problems, to help repair damaged lung tissue, to alleviate edema, and to reduce the pain of rheumatism. This is the authors’ second book; their first, Lone Star Wildflowers, was published five years ago. “The most 18

PASATIEMPO I May 30-June 5, 2014

fun thing about the New Mexico book was because of the really vibrant Native American population in New Mexico and the fact that the people still use the plants in so many ways that date back thousands of years,” Nieland said in an interview from her home in Abilene. “In Texas we don’t really have that, so all the uses we discovered came out of research, and we wrote about them in the past tense. “One person who was very helpful was Arnold Clifford. He’s a Navajo man who is a botanist and is also knowledgeable in natural healing, which he learned from his grandparents. He would go out with Willa and me on his tribal lands pointing out the different plants. He’d just look around and say every one of these plants has so many uses.” Finley said the idea for both books came out of a classroom setting. “We used this material to teach about wildflowers in our biology classes in Odessa — LaShara teaching junior high and I in secondary school. From there we thought we could offer it to a wider audience.” Finley, a native of Floydada, Texas, has a Ph.D. in plant genetics from the University of Nebraska. She has worked for many years in Africa and the Middle East, both in agribusiness and agriculture research, and was senior researcher in agricultural economics for the Oxford, England, company LMC International. She recently worked on agricultural development projects that helped improve the lives of impoverished women in Africa. Nieland, a native of Big Spring, Texas, grew up taking trips to New Mexico with her father, who nurtured in her a deep appreciation of the Native American

cultures of the state. She went on to earn bachelor’s and master’s degrees at Abilene Christian University and to teach school for 27 years. She and Finley worked as a team on the book projects. “We both took photos — all of our photo trips we did together, we sat down to edit our photos together — and we also did the research and writing together,” Finley said. Their investigations included searching out native-plant essentials and making all the information digestible. “There’s a lot of information out there, but it’s not all user friendly. Some of the material is over a hundred years old, so it was putting that into modern context and language.” In the book’s entry about water hemlock, the authors warn about its deadly properties and its similarity to other carrot-family plants, some of which have edible parts, but they make no mention of the family member named osha, which grows in New Mexico and has a long history of medicinal use. In fact, the two chose to highlight only about 200 of the state’s 4,000 plant species. Finley said they had no intention of covering all the plants one finds in New Mexico. “The book would be too large to be user friendly, especially as a field guide, and it would be a lot more expensive.”




(Cirsium neomexicanum)

(Desmanthus illinoensis)

(Abronia fragrans)




(Croton texensis)

(Linum lewisii)

(Eschscholzia californica subsp. mexicana)



(Soph ora se cundi flora)

In good field-guide style, the plants are grouped according to flower color. In several ways, though, the book offers more than other guides: it has more detail on human uses past and present, and it’s peppered with pictures of plant-based technologies like rope- and sandal-making. The authors did not avoid photographing flowers with insects on them; rather, they emphasize such natural associations. Along the way, they identify dozens of moths and butterflies and describe their interactions with specific plants — for example, the relationship between sphinx moths and the desert four o’clock. Humor is not absent from the book. In their discussion of golden crownbeard, which sometimes turns large areas around Santa Fe yellow in the fall, the authors inform the reader that its other nickname, cowpen daisy, derives “from its habit of growing in disturbed areas such as livestock enclosures, railroad rights-of-way, and roadsides, as well as from the ‘eau de bovine’ scent released when the leaves are rubbed.” As may be guessed, one of the best parts of working on this book was the time the authors spent tramping across New Mexico. Another high point for Nieland was discovering things to tell her students. “The idea for this book goes way back, when I’d try to make my lessons more interesting, and I’d research the plants we would talk about in class. The kids kept telling me I ought to write a book. That was the encouragement, but for a long time I didn’t have the guts. It’s hard to do something like this by yourself, but when you have a friend with you, it adds a whole new layer of comradeship and fun to what would have been an overwhelming task. It took us 10 years to do the Texas

book. It was a whole lot more work than either of us dreamed, but it was also more rewarding.” When they were working on the New Mexico book, Nieland had retired, so she had more time to devote to it, as did Finley, because of her business circumstances. The new book took less than five years to complete. Asked about favorite plants, Nieland laughed. “That’s like asking if I have a favorite child. But one would be your state flower, the yucca, because, literally, you can practically live off that plant. The flowers and seed pods have been important food sources through the centuries. Also, the roots for shampoo and laundering clothes and the leaf tea for stomach ills and then the fiber used for baskets and ropes and nets and sandals.” One that Finley mentioned was the four-wing saltbush. This common shrub of saline soils and other inhospitable environments has served as a source of food and an agent for nixtamalization, the cornpreparation process that maximizes corn’s nutritional value. Poultices were made of it by the Jemez people for ant bite and by the Navajo for toothache. Saltbush is also good for respiratory ailments, for washing hair, and for cleansing itchy rashes, such as those from chickenpox and measles. “It is a fabulously interesting plant, and it’s just so ordinary looking,” Finley said. “That’s another cool thing — that some of these don’t attract your attention as being beautiful or whatever, but they have such an interesting range of properties and uses.” ◀ “Land of Enchantment Wildflowers: A Guide to the Plants of New Mexico” by Willa F. Finley and LaShara J. Nieland is published by Texas Tech University Press.


SACRED DATURA (Datura wrightii)

Yucca basket fragment; overlay, rope made from antelope horns; images from Land of Enchantment Wildflowers, courtesy Texas Tech Press




Museum Hill Café 710 Camino Lejo • Santa Fe, NM 87505 505.984.8900

ArtFest14 is a celebration of art, design, international culture and more on the campus of Santa Fe University of Art and Design. High school workshops are open to students 16+; community workshops are open to anyone 18+. No experience needed!

Friday Nights Only co m m u

July 12 to July 14 Drawing Anew Digital Photography

Happy “2” Hours 4 – 6


All wine by the glass $7.00 All speciality drinks also $7.00 All beers $3.50

all community workshops are $300 tuition includes 8 hours of classroom time 8 meals in our campus cafe, special events, supplies, a tic ticket to the international folk art market, and more

and Our new little plates menu all $7.00 vvv

Friday Night Dinner 5 – 8 high sc

July 10 to July 15 Digital Arts Intensive Film Intensive Photography Intensive


A very tasty dinner menu and Fabulous Desserts

Tonight Bossa Nova

all high school workshops are $550 price includes tuition, housing, meals, and extracurricular activities


to register for an ArtFest workshop, please visit or call 505-473-6551

Julie singing and Tim on guitar

PASATIEMPO I May 30 - June 5, 2014

spa & resort


izanami new izakaya


Santa Fe Farmers Market Institute is now doubling the value of your EBT card, up to $20 per market day.

introducing our

izanami 505.428.6390

• Honey Harris broadcasting live from the market • Live Music: Brian Wingard (9am-11am) | The Clinkers (11am-1pm) • Market Fresh Cooking demo at 11am • For Kids: Story time with Annie Rose the Flower Fairy • Ask for your “Tuesday Discount” and receive 15% off any food and drink combo

spa & lodging 505.982.9304

JUNE 3rd | 8am-1pm

ten thousand waves





the most beautiful patio in santa fe now open! join us for our “lunch set”––$17 every day

ON STAGE Dr. Jazz: Hugh Laurie

You probably know British actor Hugh Laurie from his career portraying curious characters on the telly, most prominently in several supporting roles on Blackadder (in the ’80s), as the well-to-do twit Bertie Wooster in Jeeves and Wooster (in the ’90s), and as the lead character — an antisocial diagnostic physician — in the medical drama House (from 2004 through 2012). The 2011 Guinness Book of World Records listed him as TV’s mostwatched leading man, and two years later Forbes reported that he tied as the second-highest-earning actor on television, pulling in $18 million per annum. Thus cushioned, he has recently been pursuing his musical interests, which center on singing and playing (as an autodidact pianist) New Orleans-style jazz and blues. He has released two albums and a live-concert DVD in the past few years and has done a good deal of touring with his backup group, the Copper Bottom Band. He appears with them at 7:30 p.m. on Wednesday, June 4, at the Lensic Performing Arts Center (211 W. San Francisco St.). Tickets ($47 to $79) are available by calling 505-988-1234 or visiting — J.M.K.


Photo illustration; photo of Jimmy Vaughan by Todd V. Wolfson

Blues brother: Jimmie Vaughan


The inaugural concert of the New Mexico Bach Aria Group, one of the various configurations of the New Mexico Bach Society, presents a program of arias and sonata movements by its namesake composer. Performing are soprano Jennifer Perez, mezzo-soprano Sarah Weiler, tenor Andre Garcia-Nuthmann, bass Tim Willson, violinist Ruxandra Marquardt, flutist Linda Marianiello, oboist Elaine Heltman (doubling on oboe d’amore), and pianist Franz Vote. The performance takes place at 6:30 p.m. on Sunday, June 1, at the Immaculate Heart of Mary Chapel (50 Mount Carmel Road). For information or to reserve tickets ($25, discounts available), call 505-474-4513. — J.M.K.


Beginning with Bach

Yes, Jimmie Vaughan will always be known as Stevie Ray Vaughan’s big brother, the guy who introduced his late lamented sibling to the guitar and joined him on the road before Stevie’s death in 1990. Then there’s Jimmie’s role as a founding member of The Fabulous Thunderbirds, the hard-rocking Texas blues band that earned the respect of Eric Clapton, the Rolling Stones, and others. Vaughan continues to bring a big electric sound to his music, one that recalls the Chicago style of Albert King as well as the sound of his smooth-playing brother. He brings his Tilt-a-Whirl band to the Santa Fe Railyard Plaza on Thursday, June 5, at 7:30 p.m. The Alex Maryol Band opens at 6 p.m. in the first of the plaza’s free summer concerts. — B.K.



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Advance tickets $12/students, $17/adults Buy online at At the door $20 Greer Garson Theater at SFUAD

June 6, 7, 13 & 14 at 7pm June 8 & 15 at 2pm

Sierra Club Northern New Mexico Group

endorses Henry Roybal for Santa Fe County Commission District 1 After conducting interviews and reviewing candidate questionnaires and records, the Sierra Club Northern New Mexico Group is proud to endorse Henry P. Roybal as the best choice for Santa Fe County Commission in District 1. Henry’s been active in our community and demonstrates real concern for Santa Fe’s air and water as well as the resources we leave for coming generations. Website: Treasurer: Mark Jones, (505) 662-9443. Paid for by Sierra Club Rio Grande Chapter PAC


PASATIEMPO I May 30-June 5, 2014


album reviews

PARQUET COURTS Sunbathing Animal (What’s Your Rupture?/ Mom + Pop) Brooklyn grunge quartet Parquet Courts seems to be experiencing the anxiety of influence these days. The band’s third album carries a press statement that comes across more like an apologetic psychological profile than an endorsement. Speaking of the group’s experiences on the road supporting Light Up Gold (2012), the statement reads, “The band encountered a common misconception that their aim was to somehow recapitulate the spirit of familiar ’90s indie rock darlings. Coming from a background of not-quite-legal DIY show spaces and lawless basement gigs, being branded as an update to ’90s slacker rock was confusing for the group, who were far more invested in creating lyrically complex statements and new ideas.” Unfortunately for the confused musicians, this stated intent and the end product don’t match up in this new release. In song after song, the structure, instrument tones, vocals, and overall feel bring to mind acts of yore like Pavement, Mudhoney, and even The Presidents of the United States of America. The album also carries a healthy dose of angsty lyrical humor, as heard in “What Color Is Blood?” — “What color is blood? Still the same that it was? Is it still good at what it does?” Parquet Courts is still good at what it does; what’s surprising is that the band feels the need to escape from the niche it spent the last several years carving out for itself. — Loren Bienvenu JOHN HAMMOND Timeless (Palmetto Records) On stage, John Hammond is a big, stomping, grimacing presence with a sound that’s equally energetic. This concert, recorded in 2013 at Chan’s Fine Oriental Dining — a restaurant and performance space in Woonsocket, Rhode Island — shows Hammond has lost none of that trademark energy now that he’s in his early 70s. His voice has taken on a burliness and something of a screech in the upper register, qualities that make this son of legendary record producer John Hammond sound even more impassioned. Hammond’s guitar playing is quick, dense, and orchestral, and his mouth harp adds both harmonic and percussive interest at interludes with the lyric. In true Hammond style, Timeless is a compendium of music from progressive generations of musicians: Sleepy John Estes, Walter Jacobs, Skip James, Chuck Berry, and Tom Waits. He emphasizes the innocence in country yodeler Cliff Carlisle’s otherwise naughty “That Nasty Swing” and puts a mournful swing to Waits’ “Jockey Full of Bourbon.” When he sings Eddie Taylor’s “Looking for Trouble,” he convinces you he’ll find it. His own contribution, “Heartache Blues,” in which his harmonica becomes a second voice, embraces familiar laments (“I don’t want no woman who don’t want me”) inside an array of traditional styles. The disc’s audio is a tiny bit thin — a problem when recording voice and rack harmonica in the same microphone — but it’s still a valuable document from this contemporary master of solo acoustic blues. — Bill Kohlhaase

santa fe’s railyard arts district the destination for contemporary art L a s t F r i day a r t Wa L k

to n i g h t, m ay 3 0 . 2 0 1 4

5 : 0 0 -7 : 0 0 P m

Zane Bennett contemPorary art Holly Roberts, A Day in the Life

charLotte jackson Fine art Joan Watts, Boundless

daVid richard gaLLery John Connell, A Mind to Obey Nature Projected

eVoke contemPorary Lynn Boggess, Solitude

tai modern Ramona Sakiestewa, Tangram Butterfly and Other Shapes

WiLLiam siegaL gaLLery Signe Stuart, Continuum

james keLLy contemPorary Arnold Odermatt, Oberdorf

LeWaLLen gaLLeries Joe Ramiro Garcia, Transference

james kelly


Warehouse 21



camino de la familia

el museo cultural



s pa

market station farmer’s market

de pe

site santa Fe

ra lta

P railyard parking garage

santa fe depot

railyard plaza


t ta n




stop by and meet the collective futurefarmers during their sitelab residency as they create their new work for Unsettled Landscapes, a project which engages new Mexico’s complex nuclear history and the “father of the atomic bomb,” robert Oppenheimer.

camino de la familia


d ua





tai modern

r a i l ya r d pa r k

evoke david richard charlotte jackson

william siegal

zane bennett

read st.

site Lab 5: Futurefarmers: casting and Forging a nail

the railyard arts district (rad) is comprised of eight 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. PASATIEMPOMAGAZINE.COM


TERRELL’S TUNE-UP Steve Terrell Mystical twang

Metamodern Sounds in Country Music, the second solo album by eastern Kentucky native Sturgill Simpson, is surely one of the strangest country-music albums I’ve heard in a long time. It’s also one of the most authentic-sounding new country albums to cross my eardrums in a long while — even though in a couple of spots the music drifts from its sturdy ’70s outlaw foundation into raw psychedelia. And yes, I consider this “authentic country” even with lyrics like “reptile aliens made of light cut you open and pull out all your pain” and with open references to marijuana, LSD, psilocybin, and DMT. And that’s just in the first song. But Simpson is not some smirking, wise-guy cowpunker mocking the hicks. Nor is Metamodern Sounds a (meta) modern version of those laffloaded redneck novelty records of the late ’60s, in which country singers made fun of hippies, long hair, protests, love-ins, and funny cigarettes. No, the metaphysics-minded Simpson has a healthy imagination, but this is earnest stuff. His reptile aliens come straight from the heart. He’s a true hillbilly visionary, and he’s got some serious things to tell us. So who is this guy? Simpson was born in Kentucky in the late ’70s and spent part of his youth in the Pacific Northwest. (“Met the devil in Seattle, spent nine months inside the lion’s den,” he sings on the new album.) He served in the U.S. Navy and actually worked on the railroad — reportedly, all the livelong day. He fronted a band called Sunday Valley until he went on his own a couple of years ago. Last year Simpson released a highly acclaimed album called High Top Mountain, which included some fine original tunes as well as an inspired cover of the late Steve Fromholz’s “I’d Have to Be Crazy.” Listening to that song, the best-known version of which was by Willie Nelson, it’s not hard to figure why it would appeal to Simpson. “I know I’ve done weird things/ I told people I heared things/When silence was all that abounds. ... And I’d have to be weird/To grow me a beard/Just to see what the rednecks would do.” Indeed, on the opening track of Metamodern Sounds, “Turtles All the Way Down” (which has a melody that sounds like it came straight out of the Kris Kristofferson songbook), Simpson takes the weirdness a lot further than growing a beard. This is the reptile


PASATIEMPO I May 30-June 5, 2014

aliens/psilocybin/DMT song. The backwoods cosmology here also includes Jesus, Buddha, and Satan. All in all, it’s a few galaxies beyond drinkin’ beer, drivin’ your pickup, and salutin’ the red, white, and blue. Let’s see what the rednecks will do about this. “I expected to be labeled the ‘acid country guy,’ but it’s not something I dwell on,” Simpson said in a

Sturgill Simpson’s reptile aliens come straight from the heart. He’s a true hillbilly visionary, and he’s got some serious things to tell us. recent interview with NPR. “I would urge anyone that gets hung up on the song being about drugs to give another listen ... to me ‘Turtles’ is about giving your heart to love and treating everyone with compassion and respect no matter what you do or don’t believe.” What he said. Peel off the layers of cosmic debris and the song boils down to the line “Love’s the only thing that ever saved my life.” The conclusion he reaches is that after all his experimentation with drugs, religion, philosophies, and truth-seeking, real salvation comes from

simple love and kindness, not the “nursery rhymes,” “fairy tales of blood and wine,” and other distractions. Not that Simpson is taking a “just say no” stance, by any means. In fact, he’s quite unapologetic. As he sings in the refrain of “Life of Sin,” one of the rowdier honky-tonkers on the album, “every day I’m smoking my brain hazy/All I can do to keep from going crazy/ But the paranoia is slowly creeping in/ I keep drinking myself silly/Only way for this hillbilly/And I thank God for this here life of sin.” But don’t worry. The voices Simpson’s hearing in “Voices” aren’t of the hallucinatory nature. They’re the prattle of politicians, preachers, and assorted hucksters: “Voices behind curtains, forked tongues that have no name.” And even though religious dogma doesn’t offer much to Simpson, it’s clear he finds value in the essence. In “A Little Light Within,” a rousing gospel-influenced tune, he sings, “Don’t need nothing but a little light in my heart/Glowing inside me like a blanket of love.” This album is most subversive when the music itself veers toward the land of reptile aliens. The nearly seven-minute “It Ain’t All Flowers” starts with a short burst of sonic exploration with a growling guitar and fun with a phase shifter. The picking of an acoustic guitar signals that Simpson and band are about to get down to the real song, a swampy little groove with lyrics that deal with “cleaning out the darkest corners of my mind” and “dancing with demons.” The guitars keep getting crazier and crazier. About halfway into it, Simpson lets loose with a bloodcurdling scream. The last couple of minutes of the song are basically a journey to the center of the mind. And yet this singer is quite capable of a good, simple love song. “The Promise” — a cover of a song by an obscure group from the New Wave era called When in Rome — is done as a slow, soulful apology and a pledge of undying love served in a heartbreakingly beautiful melody. And Simpson’s not even above a little old-time country nostalgia. In “Pan Bowl,” the unlisted bonus track, he recalls a home out in the country, visiting his Uncle Everett and his great-grandma: “I’d give anything to go back to the days I was young ... wild as a rattlesnake right from the start.” “The dirt don’t hurt the way I sing,” Simpson proclaims in one song. And he’s right. He sounds down to earth even when you might think he’s lost in space. Check out ◀






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Michael Abatemarco I The New Mexican



PASATIEMPO I May 30-June 5, 2014


he term “shaped canvas” refers to paintings that deviate from the traditional, rectangular shape of the stretched canvas by cutting into the fabric or by stretching canvas into odd shapes to bring a sculptural component to painting. Argentine painter Lucio Fontana, founder of the artistic movement Spatialism in the late 1940s, was a practitioner of painting on manipulated canvas surfaces. He wanted to bring color and form out of the twodimensional plane and into tangible space. “One of the things he did was take a canvas and just slit lines into it, stretch it and put a backing behind it — and that was it,” said painter Signe Stuart, whose work is on view in Continuum at William Siegal Gallery. “I thought, well, there’s another dimension to what you can do with canvas. You can cut it. You can sew it. It’s a manipulatable material.” Stuart continues in an exploratory vein to consider the canvas as a malleable surface. Rather than serving as mere ground for painting, the canvas, under Stuart’s hand, becomes a medium with three-dimensional qualities. Line is the predominant component of Lux, a series of new paintings included in the exhibit. “The line has a slight amount of relief, which I like because it’s another dimension that catches light in a certain way,” Stuart said. “I worked very large early on in my painting history and pretty much on multiple canvases that were bolted together. I wanted to work large, but I didn’t know how to move stuff or ship it. One of my solutions was

to just make a sequence of multiple canvases, and it turns out that making a sequence has a lot to do with what’s happening now.” Continuum includes a couple of pieces Stuart made in the late 1970s and early 1980s. These paintings, titled Chance and Quinacra Crossings, are each composed of five separate panels bolted together. In these older works, Stuart was concerned with linear elements that extended beyond the edge of one panel and into the next. “Chance is sort of I want people who look at my work to know that a tangent from what I was there’s a history behind this. The line is a kind doing at the time. In other of drawing. Sewing is an alternative to drawing paintings the lines just the line on or painting it on. It’s more tangible. flowed one into the other so you had a sequence that It plays with light. It does a lot of things. It just kept moving along. But also creates its own problems in terms of how in this one the lines are just many lines you can put on a piece of canvas broken up randomly in a and still be able to stretch it. — Signe Stuart way. It was a breakaway I

never pursued other than in this painting. It might be something that will show up now in what I’m doing.” Lines in the older work as well as in the Lux series are sewn by hand into the canvas, providing a slightly raised texture to the compositions. In Lux, the relief elements are raised up to a more extreme degree. From a distance, colored lines on monochromatic backgrounds appear flatter but jump out in vibrant colors. Shadows darken the canvas beneath the lines, depending on how the light strikes them. “The linear aspect is pretty consistent. I think I spent six or seven years doing scroll paintings that were 60 feet long. They are very abstract. I refer to them as going back to some expressionist roots that I abandoned early on in the early ’60s. The scrolls are sort of abstract narratives, in a way, kind of stream-of-consciousness. They’re also linear, because they read that way.” Continuum derives its title from the idea of a gradual evolution from one body of work to the next. Stuart has remained steady in her use of sewn-line work. “That’s another consistent thing in my work. It’s never had an ending or a beginning.” But there are differences from one series to the next. The two older pieces in the show, for instance, have patterns dictated by repetitions of lines and forms that are absent from Lux. The new works deal with single lines entering each canvas along one edge and either heading straight toward another edge or arcing slightly, as though demarcating a horizon line that gently follows the curvature of the earth. “I want people who look at my work to know that there’s a history behind this. The line is a kind of drawing. Sewing is an alternative to drawing the line on or painting it on. It’s more tangible. It plays with light. It does a lot of things. It also creates its own problems in terms of how many lines you can put on a piece of canvas and still be able to stretch it. There are limitations built into working that way. The line emerges out of the surface so there’s more shadow play there. If you rubbed your hand over the surface of the painting you could figure out the formal qualities of it because it’s like Braille. Canvas is a material, and no one says you have to paint on it flat.” As suggested by the word lux, Stuart’s new paintings also have to do with light, although she leaves interpretation open-ended. “I think of color as light. That’s where it all started, with sequences of wavelengths, playing around with the particle wave concept. I used to teach, and one of the projects I had students think about was an object. It looks solid. It’s all made out of atoms. They have subatomic particles. They’re all in constant flux. How do you paint that? I guess I’ve been working out their projects for a long time.” ◀

details ▼ Signe Stuart: Continuum ▼ Opening reception 5 p.m. Friday, May 30; exhibit through June 24 ▼ William Siegal Gallery, 540 S. Guadalupe St., 505-820-3300

Signe Stuart: opposite page, from top, Quinacra Crossings, 1982, acrylic on sewn canvas; Lux 8, 2014, acrylic on sewn canvas





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santa fe, new mexico 505-986-8518



PrePared not only for college... they’re PrePared for the world Congratulations santa Fe PreP Class oF 2014

oUr gradUates are attending: Photo Credit: Don Usner

amherst college Bates college Boston college Boston University Brandeis University california institUte of the arts colorado college dartmoUth college (2) earlham college george washington University

Prep has given me a second family in my friends and teachers, and i know i will always have them standing behind me and supporting me through college and long after. meggie, scholar athlete

high Point University lewis & clark college loyola marymoUnt University loyola University chicago manhattanville college

new york University northeastern University northern new mexico commUnity college

i can say with absolute certainty that i feel prepared to go to college and find success in my future because of my education at Prep. this is the best decision that my parents and i could have made, and i feel incredibly appreciative to be a part of a supportive community like Prep. alex, national hispanic scholar

a few stats from the class of 2014

What i love most about Prep is the connection it builds between students and faculty. aside from being great educators, Prep teachers are great people. ian, valedictorian

• Every senior successfully completed a four-week senior internship this spring in an area of interest or passion. • 75% were awarded merit or need-based scholarships for college. $33,000 is the average grant awarded per student/per year. • Average ACT score was 29 out of 36, placing the class average in the 93rd percentile nationally. • Advanced Placement exam average score was 4 out of 5. • Average SAT scores dramatically outshine the national average. 28

PASATIEMPO I May 30 - June 5, 2014

Princeton University rice University seattle University st. edward’s University (2) University of British colUmBia University of denver (4) University of new mexico (2) University of richmond University of san diego University of soUthern california University of soUthern california school of dramatic arts whitman college

santa fe Prep is the only secondary school in santa Fe accredited by isas, which requires us to maintain “the highest professional and ethical standards of educational excellence.” 36% of santa Fe Prep students are awarded tuition assistance, with an average grant of $9,000 per year.



Michael Abatemarco I The New Mexican



PASATIEMPO I May 30-June 5, 2014


Bruce Nauman in his studio, photo Peter Plagens; images by Bruce Nauman © Artists Rights Society (ARS), New York/DACS, London; all images from Bruce Nauman: The True Artist by Peter Plagens, published by Phaidon

rt critic Peter Plagens participates in a panel discussion on Friday, May 30, first encountered Bruce at the New Mexico Museum of Art with Juliet Myers, Nauman’s work in Nauman’s studio manager and a former curator of Europe in 1968. It was public programs at SITE Santa Fe. at Documenta, an exhiPlagens’ admission of initial distaste for Nauman’s bition of contemporary work puts him in a curious position as author of the art mounted every monograph. He knew Nauman but not intimately five years in Kassel, and came to an appreciation of his work only over Germany. Nauman, time. The resulting story of Nauman’s rise to become who was born in Fort Wayne, Indiana, in 1941, had a celebrated artist (in a 2013 Vanity Fair poll, he was his suite of Eleven Color Photographs, including his named one of the six greatest living artists) is objective seminal Self-Portrait as a Fountain, in the show. The and refreshingly free from art-speak. Plagens takes initial reaction of Plagens, who has written reviews a personable, chronological approach to describing and essays for Artforum, Art in America, and The New Nauman’s life, from his early days as a graduate student York Times, was one of dislike. at the University of California, Davis; through his life “I was living in Brussels,” Plagens told Pasatiempo. and career, always considering Nauman’s work in rela“I went to Documenta, and here were these photographs tion to that of his contemporaries; through building and Self-Portrait as a Fountain a home and studio in Galisteo, with a young Bruce Nauman, where he lives with his wife, nude from the waist up, in a artist Susan Rothenberg, on kind of facetious pose spita 600-acre ranch, breeding ting water. There were those quarter horses. other photographs with him Nauman achieved tremenmaking those obvious puns dous success as an artist in people would call groaners, the U.S., but in Europe in the you know, Waxing Hot and late 1960s, he encountered a the photograph is of a hand modicum of respect for simply polishing the word ‘hot’ being an artist. Plagens explains and I thought, God, what in the book that this came as a lightweight stuff, and real surprise. “It was for me, too. I smart-alecky. I was an abstract remember going to the studio Bruce Nauman: Clown Torture, 1987, video projection painter, and at the time I went of an old painter who was a to Brussels I had just about modernist in Brussels. He had gotten my head around Minimalism and maybe into a card. He handed it to me, very formal, and it said a little Conceptual stuff. ... Bruce and I are about something something, his name, and then it said artiste the same age. I was born in March; he was born in peintre. I’d never encountered anything like that in December. I was probably a bit of a smart aleck, too. the States. If you were an artist and you did strange In my original reaction, as in four years later when I things, you did post-Minimalist stuff, you still got a wrote the review for Artforum of his early retrospec- certain amount of respect, because of the long history tive — he was only 30 years old in 1972, when the of respecting artists in the culture, as opposed to in L.A. County Museum gave him this retrospective America where it went against pragmatism. In Europe — there was a considerable amount of envy that they didn’t make distinctions. If you walked into a I didn’t recognize at the time. He’s a wiseass. I’m a bar and said, Yes, I’m an artist, it was OK. I think that wiseass. Why can’t I get this kind of attention? Of struck him, and it struck me, too. He was further on course, the answer is obvious: because you didn’t do down the avant-garde path than I was.” Nauman’s work has remained largely unclassifiable. it. Later, in ’72, a bit of the same thing and a little bit of fear, because there was a recognition that there’s “Kathy Halbreich — she was the organizer of the big something here. The ‘something here’ scared me in retrospective in ’95 — said Bruce doesn’t develop like an artist does. Take any painter, even an outlier, a sui the sense that, here goes painting out the window.” Plagens, author of Bruce Nauman: The True Artist, a generis painter like Francis Bacon who, to me, is not new monograph published by Phaidon, met Nauman a part of a school, but even with an artist like Bacon couple of years later, when Nauman’s studio was down there’s a development. What I find rather remarkable the street from Plagens’ in Pasadena. “I got to know — I do boycott, as much as possible, the word amazhim. ... I could see he was serious. Other people were ing — is that Bruce starts ex nihilo each time. Except paying attention to it, especially in Europe.” Plagens for budget and materials and scale of the project, each thing he does could almost be done by going into that graduate studio at U.C. Davis in 1964. He always, metaphorically at least, goes back into that room. He sits and thinks. There’s a certain artistic quality. Bruce can draw. There’s a little manual grace to things, plus a general rough-hewn-ness. You can’t pin it down, but there’s something Naumanesque about what Nauman does. I know that’s a tautology.”


continued on Page 32



Bruce Nauman, continued from Page 31

Self-Portrait as a Fountain, 1966


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If a general theme emerges over the course of the artist’s career, it’s in the spirit of inquiry. Take, for example, his 1967 neon sculpture The True Artist Helps the World by Revealing Mystic Truths. The words, spelled out in neon, form a sentence arranged in a spiral that, were it to go on indefinitely in an endless repetition, would always lead back on itself. It is as though Nauman holds the statement at arm’s length, neither committed to it nor rejecting it, and therein lies the question of whether or not the statement is true, at least from his perspective. “I think it’s in the book where he’s asked, ‘Do you believe that?’ and he says, ‘I kind of did when I thought about it, but I have my doubts at the same time.’ It could go on infinitely. ... There was that typical Naumanesque kind of thing with the crassness of the medium and the poetry of the content. Neon is a blinking sign that says cocktail or hotel or adult, you know? It has a rawness to it. That clash is part of the whole thing, just like there’s a clash between his irony, skepticism, and his distance from this statement.” The piece was included in an installation in the U.S. pavilion at the 2009 Venice Biennale, along with a smaller version of Vices and Virtues, a series of superimposed blinking neon signs displaying the seven vices and virtues of the Catholic catechism. (The piece was originally installed at the Charles Lee Powell Laboratories at the University of California, San Diego, in 1988.) In Venice, Plagens encountered The True Artist Helps the World by Revealing Mystic Truths in an odd placement. “It was meant to go in a window facing out. As I remember it, they put it at the back of that little pavilion so you had to walk around behind it where there’s no sidewalk and crunch in the leaves in order to be able to read it. It was a genius bit of installation if you don’t think someone’s thumbing their nose at you. I didn’t.” It would be easy to assume a word like anger or gluttony blazing on the facade of the U.S. pavilion, which bears a resemblance to the facade of the U.S. Capitol, is making some kind of political statement, but here as in other works, Nauman makes no explicit assertions. There are suggestions in his art that provide the viewer a jumping-off point to explore themes and ideas. First, the viewer must wrap his or her head around Nauman’s use of sardonic wit, as in Self-Portrait as a Fountain, an image that recalls a 1966 work on paper titled The True Artist Is an Amazing Luminous Fountain. Is Nauman asserting in Self-Portrait as a Fountain that he is the true artist? Does the jokiness of the portrait belie the statement presented in the other work? “Bruce is a philosopher up to a point,” Plagens said. “He’s taken a premise and followed it logically. Since he’s not a philosopher writing a treatise, he says, OK, I’ll stop here and make the leap, intuitively, to what I think it all means in a work of art. “What might make it, to an academic philosopher, unsatisfying, saying, This doesn’t answer all the possible arguments against it, makes it satisfying as a work of art, because it’s much more visceral and open-ended.” ◀

details ▼ Panel discussion with Peter Plagens & Juliet Myers ▼ 6 p.m. Friday, May 30 ▼ St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. ▼ No charge; 505-476-5072


PASATIEMPO I May 30-June 5, 2014

museum of indian arts and culture presents



Wag on Museum Hill S U N D AY, J U N E 1



Nanobah Becker Flat (2005) Conversion (2006) I Lost My Shadow (2011) The Sixth World (2012) Nanobah Becker (Dine’), many times over award-winning film director, will be screening her short films and available for conversation.


1:00 And 3:00 PM · Museum Of Indian Arts and Culture World expert on prehistoric dogs, Curator Dody Fugate presents Tails of Long Ago, a look the long-term interactions between man and his best friend.


museum of indian arts and culture

May 31st 12:00 and 3:00 PM


PET ADOPTION EVENT 10:00 AM – 5:00 PM · Milner Plaza

Ready to add a 21st century dog (or cat) to your own pack? The Santa Fe Animal Shelter’s Mobile Adoption Team will be on Museum Hill with an assortment of dogs and cats looking to be your next best friend!

Sunday, June 1st, 1:00 and 3:00 pm Tails of Long Ago, a fascinating talk about Pre-Columbian dogs in the Southwest – including the origins of the domesticated dog by Dody Fugate, Curator of the H. P. Mera Collection at the Laboratory of Anthropology.

wednesday, June 4th, 1:00–3:00 pm Pottery demonstration and discussion of various techniques, clays, and styles by Native artists from different Southwest tribes.


Museum of International Folk Art Atrium

Presented in conjunction with

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

Museum Hill 710 Camino Lejo (off Old Santa Fe Trail) 505-476-1250

On Museum Hill in Santa Fe · (505) 476-1200 · Top row, left to right: Alonzo Jiménez, Coyote, 1987; Leroy Ortega, Coyote, 1984; Rory Alvarez, Coyote, 1986. Photo by Blair Clark. Bottom row, left to right: Bubbles; Everest; Tonks; Chowder. Photos courtesy Santa Fe Animal Shelter.



Marshall Elias

Tear down those walls


FranKi e

Bill Kohlhaase I The New Mexican


y n n Joh

Frankie and Johnny in the Clair de Lune

ou know how the old song goes: “Frankie and Johnny were lovers,” or in some versions, “Frankie and Johnny were sweethearts.” In Terrence McNally’s Frankie and Johnny in the Clair de Lune, the “lovers” part may apply to the two characters, at least in the physical sense, but “sweethearts”? That’s open to discussion. McNally’s play is all about defining one’s personality inside a new relationship even as the characters — yes, their names are Frankie and Johnny — seek to identify each other’s character. The play, which opens at Santa Fe Playhouse on Friday, May 30, begins in the dark, with the two (Mona Malec and Rod Harrison) finishing their first act of lovemaking. What follows, in McNally’s sharp, revealing style of shared dialogue, is the couple sizing up what that act may or may not lead to. As they express their desires — Johnny’s desire to establish a relationship, Frankie’s desire for Johnny to leave so she can be alone — they reveal themselves to each other, the audience, and themselves. The play is all about intimacy and vulnerability, said Vanessa Rios y Valles, director of the Santa Fe Playhouse production. “To be truly intimate with someone, you have to be vulnerable. Everybody says they want to be in an intimate relationship, but they don’t want to take off the armor. That idea is very important to the play.” When the piece premiered at the Manhattan Theatre Club in 1987, New York Times reviewer Frank Rich called it “the most serious play yet about intimacy in the age of AIDS.” The play has since transcended those confused and even panicked times. The brief mentions of disease seem part of standard operating procedure now (the play was written in 1982). But the intimacy issues are timeless. A good summation of the play’s back story comes when Johnny talks to its third, invisible character, a classical DJ who’s supplying 34

PASATIEMPO I May 30-June 5, 2014

Mona Malec and Rod Harrison

the soundtrack (to begin, Bach’s “Goldberg Variations”) to their lovemaking and banter. Johnny calls in to make a nonspecific request to mark the occasion of this first evening with Frankie: “There’s a man and a woman. Not young, not old. No great beauties, either one. They meet where they work: a restaurant, and it’s not the Ritz. She’s a waitress. He’s a cook. They meet but they don’t connect. ‘I got two medium burgers working’ and ‘Pick up, side of fries’ is pretty much the extent of it. But she’s noticed him, he can feel it. And he’s noticed her. Right off.” What does Johnny want from the DJ? “Play something for Frankie and Johnny on the eve of something that ought to last, not self-destruct. I guess I want you to play the most beautiful music ever written and dedicate it to us.” “It’s very important to the meaning of the play that they are in these positions in their lives,” Rios y Valles said. “They work in a greasy spoon; they don’t have that much going on. The characters are in their mid-to-late 40s, when people tend to look back and say, What am I doing? What should I be doing? I don’t have time; I have to do it now. There’s an urgency driving their actions.” Johnny, exposing his loneliness and desperation, wants to get past the preliminaries and plunge into an intimacy that transcends the physical. He’s a self-proclaimed romantic. “That’s the proposition that Johnny makes,” Rios y Valles said. “Let’s not go through the ritual, the months and months people go through to get familiar with each other, to develop trust. Let’s take off the armor and make a change.” The symbolic idea of “taking off the armor” is expressed literally, by the actors’ nudity. “It’s really an important element to have in the play. It highlights those themes of intimacy and vulnerability.” Director Rios y Valles is best known to local audiences as an actress. A graduate of the College of Santa Fe, she spent eight

years with Portland’s Other Side Theatre Company, acting as well as directing. In Santa Fe, she’s performed with Theaterwork and Ironweed Productions, where she was seen in the company’s 2005 performance of Sam Shepard’s Fool for Love and the 2010 production of Horton Foote’s The Trip to Bountiful. Except for a short piece done for Theaterwork’s Bench Warmers series, she hasn’t directed in 14 years. She’s had a long relationship with Malec and Harrison and said the two are particularly close. “There’s a lot of trust between them, and that’s very important in these roles, to establish that intimacy and vulnerability. From the beginning [Frankie and Johnny] has been a collaboration between us, a group project. I didn’t ask for them to come in and audition. It’s always been the three of us doing this together.” The lighting of the play is crucial, Rios y Valles noted — from the point when the play begins in darkness to the moment when Frankie turns on her apartment’s overhead light and Johnny reacts as if he’s been slapped. “We looked at what lighting can do in a scene, what it does in the moment. How does it reveal or hide vulnerabilities? How can it be used to let someone in or shut someone out? How does it reveal flaws? There’s almost a whole unspoken conversation taking place through the lighting.” Central to that idea is the presence of moonlight, as suggested in the play’s title and its reference to the romantic third movement of Claude Debussy’s Suite bergamasque. “The moon and the music and its light are referred to repeatedly in the script,” the director said. “The moon can symbolize so many things. To me, what resonated was the idea of the moon as a way to track time, the phases of the moon connecting to the ages of the characters and this sense that time is running out for them — the full moon of our lives, beginning to wane.” And while there are two musical references in the title of the play, only one of those titles is actually aired. “The song ‘Frankie and Johnny’ is referred to several times in the play, but it’s never heard. There is a lot of classical music in the play, coming through the radio. A lot of McNally’s plays refer to opera or have music as a strong element in them. Here, the classical-music station playing in the background throughout the play is almost like a third character. I was surprised to find out that Jonathan Dixon [who voices the radio announcer] had been a classical-music radio DJ when he was in college.” While the play is set in 1982, it mirrors current economic trends, especially the difficulties of progressing past dead-end, low-wage service jobs even as one enters middle age, and the timeless psychology of establishing relationships. “I wasn’t tempted to move the play forward,” Rios y Valles said. “It mentions several things that are from that period, and changing them would take some important things away.” What cannot be taken away are the universal aspects of evolving relationships and the dual nature of intimacy. “That’s what happens when you begin to reveal yourself to someone else. You begin to discover a whole new level of yourself you didn’t realize was there when you were just sitting around in your own cocoon. Things begin to come up through the light of that other person’s vision.” ◀

details ▼ Frankie and Johnny in the Clair de Lune ▼ 7:30 p.m. Friday & Saturday, May 30 & 31; 4 p.m. Sunday, June 1; continues 7:30 p.m. Thursday-Saturday, June 5-7, 4 p.m. Sunday, June 8 ▼ Santa Fe Playhouse, 142 E. De Vargas St.

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STAND-UP and be counted


the beginning of May, comedian John Hodgman appeared on The Daily Show as his recurring character “the deranged millionaire,” with an offer to buy the Los Angeles Clippers basketball team. (Clippers owner Donald Sterling came under heavy fire earlier this spring when racist remarks he made were recorded by his girlfriend and released to the media.) In a red, retro basketball uniform, white sweatband, and his characteristic brown glasses, Hodgman skewered Sterling’s blatant racism, explaining to host Jon Stewart, “If [Sterling] can make half a billion by being a secret racist, imagine how much more I’ll make with the Clippers by being openly racist.” The segment is tongue-in-cheek, politically incorrect, and self-aware. Though he’s perhaps best known for his turn as the nebbish personification of a PC in Apple’s “I’m a Mac, and I’m a PC” ad campaign from 2006, Hodgman is also a stand-up comic, author, and one-time literary agent for the cult actor Bruce Campbell. On Monday, June 2, he performs two back-to-back shows at the Jean Cocteau Cinema. Hodgman’s material is rife with cultural references, and attending his show is a little like listening to a long, rambling story told by a friend over beers at the local pub. He’s imaginative and can riff about made-up facts for thousands of pages, as he does in his three fake trivia books, which come in a boxed set called Complete World Knowledge. Pasatiempo spoke to Hodgman by phone from his home in Park Slope, Brooklyn. Pasatiempo: What brings you to Santa Fe? John Hodgman: The real reason I’m coming is George R.R. Martin. I do what he says. I’m a huge fan, and I’ve had the pleasure of meeting him at various parties I’ve snuck into. He’s a writer of such talent. There are certain writers that are so good that you can’t connect the person you’re talking to to the work on the page, and George is just this hale, well-met fellow who wants to talk about burritos and the New York Jets. I don’t know about sports, but I can talk about burritos all night long. George is an enthusiast, and I am too. He mentioned not long ago that he’d obtained a movie house for his amusement in Santa Fe and asked, would I want to perform comedy here. Pasa: Can you tell me more about the show you’re doing? Hodgman: I will be performing stand-up comedy, much of which appears in I Stole Your Dad, which is a oneman, 90-minute show I’ve been touring. At the Jean Cocteau, I’ll be performing for about an hour. The songwriter and singer John Roderick of the band The Long Winters will join me for part of it; there will be delightful stage banter between the two of us. Pasa: You’re doing two shows back-to-back. That sounds exhausting. 36

PASATIEMPO I May 30-June 5, 2014

Adele Oliveira I For The New Mexican

John Hodgman’s laugh-in Hodgman: It is exhausting, but only in the sense that it’s the most fun kind of exhaustion you can have. I’m on television, which is fun, but when I was on the book tour for Complete World Knowledge, I enjoyed performing for people around the country. As a performer, you tend to go to the same places: New York, L.A., Chicago, maybe Austin. The Southwest is a truly fun and novel experience for me. Pasa: You’ve done so many different things over the course of your career. What would you like to be best known for? Hodgman: It’s hard to say what would I want to be most known for. I’m a lazy person by nature; I only do the things I feel utterly compelled to do. If you asked me, why did you write 1,000 pages of fake trivia books, well, I couldn’t not do it. I just loved writing made-up facts and building worlds. I don’t know that I want to be known necessarily as a writer, comedian, humorist, or even the current owner of the world’s finest mustache. It’s beyond my control and my grasp what I want to be known for. Pasa: You mentioned your mustache, and it comes up often in your work, but I find it curious that you don’t talk about your soul patch. Hodgman: Oh, it comes and it goes. Occasionally, when a TV or film production hires me, we’ll have a negotiation. Like most of humanity, they would like my mustache to disappear. But I’m afraid if I take a razor to it, it will spit acid like the face hugger in Alien. Usually we compromise by getting rid of my sub-stache. Pasa: Your work is compelling because it’s narrative driven. When you perform on This American Life on radio or as a character like the deranged millionaire on The Daily Show, you’re telling us a story. Is this a conscious approach when you’re writing something or is it just innate to the way you work? Hodgman: It’s not a conscious choice. Like most creative people, I can only do what I can do and follow my preoccupations and obsessions. I love story, and my brain is ordered around organizing things into stories. I’m much more adept telling a story than crafting a perfect stand-alone joke. And jokes are really just highly compressed stories.

Pasa: One of my favorite This American Life pieces of yours is when you talk about rewriting the screenplay to the 1999 reboot of the Star Wars franchise, The Phantom Menace, in your head because the movie was so terrible. How much of your internal dialogue are you able to realize on the page, screen, and stage? Hodgman: It’s easy to write in your head, because you don’t have to connect all the dots. You can see and feel big things that matter, like story and idea, and work through to a conclusion that’s satisfactory to you, and if you’re like me, that’s when you stop. With The Phantom Menace, I was relieved that I’d never commit it to paper, because it’s an impossible project, a neurosis in my head. The real trick is being aware enough of what’s going on in your head and then writing it down. Writing it down does two things: it records it rather than letting it evaporate into brain noise, and it forces you to have objectivity about what you’re thinking about. I think a lot of creative people reach the point where they feel like they have nothing. One of the great things I learned by stopping writing books and starting doing stand-up is that that’s never true; you never have nothing. ◀

details ▼ Comedy at the Cocteau with John Hodgman ▼ 7 & 9 p.m. Monday, June 2 ▼ Jean Cocteau Cinema, 418 Montezuma Ave. ▼ $20, $15 seniors & students, check for availability; 505-466-5528

Spring Festival & Children’s Fair!

Saturday and Sunday, June 7 & 8, 2014 10:00 to 4:00


Experience such traditional activities as sheep shearing, blacksmithing, bread baking, hide tanning, milling, spinning & weaving and more

Kids! Join us for archery, arts & crafts, tin stamping, tortilla making and lots of other hands-on activities!

Buy traditional New Mexican crafts and agricultural products directly from local artists and farmers

Tour the ranch on a mule-drawn wagon!

Enjoy traditional Mexican and New Mexican dancing, and celebrate an outdoor procession and Mass on Sunday

All at a 200-acre working ranch and living history museum. Fun for the whole family! Adults: $8, Seniors & Teens: $6. Children 12 & Under Always FREE

505-471-2261 • WWW. GOLONDRINAS.ORG


Support provided by Santa Fe Arts Commission, the Santa Fe County Lodgers Tax Advisory Board and New Mexico Arts



MOVING IMAGES film reviews

Sophomore slump: Emma Roberts

California daze Jennifer Levin I For The New Mexican Palo Alto, cynical teen drama, rated R, Center for Contemporary Arts, 2 chiles

Friday through Wednesday 11:45 and 4:00 • Thurs at 3:00

Broadway Classics


Friday through Wednesday at 2:00, 6:15 and 8:10 Thurs at 1:00 and 5:00 Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®


S U R R O U N D •E X

with James Earl Jones and Angela Lansbury. Thurs at 7:00 SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494

Bargain Matinees Monday through Friday (First Show ONLY) All Seats $8.00 38

PASATIEMPO I May 30-June 5, 2014

It seems ungenerous to give Palo Alto a harsh review. Written and directed by 27-year-old Gia Coppola (of the Hollywood Coppolas) and based on the short-story collection by James Franco (also of Hollywood), the movie is basically a creative-writing exercise turned film-school exercise, polished to a moody, glossy sheen. Franco, widely acknowledged as a great actor, is not a great writer. Despite his many graduate degrees, he is, at best, a promising student writer, and Palo Alto could easily have taken place in any town, anywhere. Though Coppola, in her debut feature, does a few things well, the movie just isn’t all that good. And there is so much at which to pick. First, as in any good writing-workshop critique, here are the positives: the teen protagonists look and behave — within the contrived confines of the screenplay — like real teens, and the dark, trapped-in-crappy-adolescence tone is consistent throughout. Indeed, the movie is joyless, save for moments in which the teenage Teddy ( Jack Kilmer, Val’s son and an eerie dead ringer for River Phoenix), draws or paints — a nice detail that is marred by the ramblings of some random teacher explaining the purpose and function of art, as though the viewing audience needs a tutorial to understand why art might be thematically or symbolically important to one of the characters. Moving on to storytelling, Palo Alto lacks a clear plot, character development, and point of view. Coppola takes a vignette approach that, combined with deliberately distanced camera angles, makes it hard to empathize with the characters or authentically know them. We are allowed only to watch as Teddy, April (Emma Roberts), Fred (Nat Wolff), and Emily (Zoe Levin) flail about, making hideous and stereotypically immature decisions about their academic and romantic lives. Will April lose her virginity to her soccer coach/baby-sitting client (Franco)? Will it matter that her stepdad (Kilmer senior in a throwaway role) rewrote her history paper for her? Was Emily really gang raped at a party, or is this just a fantasy about the school slut as imagined in irritating, layered voice-over by the sociopathic Fred, whose shtick you will be sick of well before the film’s halfway point? To use an overused turn of phrase, Palo Alto is what it is. It has lots of teen drinking, teen girls in their underwear, and stake-free pathos. The subtleties are too subtle and the shocking moments too easy. It’s … silly. Sophomoric. “Not terrible” isn’t good enough. Were the source material not written by Franco, it would receive a harsh critique in any workshop and deserves no less in wide release. ◀

MOVING IMAGES film reviews



Flat-out terrific!

D u st i n H o f f m a n , r o b e r t D o w n e y J r . , s o f i a V e r g a r a & s c a r l e t t J o h a n s s o n a l l h i t t h e i r s w e e t s p o t s .” GARY GOLDSTEIN
















Somebody messed with Texas: Michael C. Hall and Sam Shepard

Cruel summer Robert Nott I The New Mexican


Cold in July, Texas noir, not rated, Jean Cocteau Cinema, 3 chiles





Artwork ©2014 Open Road Films. All Rights Reserved.

Cold in July is a story of how bad men recover a little piece of their soul and how good men become killers in an effort to wipe out evil and be good fathers. It is director Jim Mickle and screenwriter Nick Damici’s cinematic adaptation of Joe R. Lansdale’s 1989 novel, and it stars Sam Shepard. If you know anything about Lansdale or Shepard, then you know it is going to be bloody and dark and full of familial conflict. Cold in July is a taut thriller that sets you up for a Cape Fear-type story and then takes a quick turn into exploitation-film hell. The time is 1989 — pre-cellphones — and the place is a small town in east Texas. It opens with a scene in which father, husband, and picture framer Richard Dane (Michael C. Hall) shoots and kills an intruder in his home. Dane is not proud of his handiwork, but the local police chief (played with a nice sense of time and place by Damici) assures Dane that he did the right thing and that all will be well. Except for one small monkey wrench: the dead intruder’s convict father, Ben Russel, is heading to town. You might think there is something weird and disappointing about a film that sets up its climax — a tense nighttime sequence of police stakeouts and home invasion — in the first 30 minutes, but as it turns out that’s not the case here. Russel is played by Shepard, who doesn’t have to say a word to scare anyone. His first appearance in the film may make you jump. Dane and his wife (Vinessa Shaw) come to believe that Russel wants to exact revenge for the killing by hurting their child. Then Dane realizes the man he killed was not Russel’s son after all. It’s almost impossible to find a nice little noirish thriller like this today, one that intrigues and delights and frightens you while softening the bloodier blows with deft touches of humor. It has its share of problems, but most of the time you won’t care as you follow the characters into a hellish world that you just know really does exist right around the corner from Main Street USA. As any fan of Lansdale’s work knows, quite often good really cannot overcome evil. Sometimes good is just happy to have survived the encounter. ◀ PASATIEMPOMAGAZINE.COM


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Lost in translation: Gabriel Byrne and Emmanuelle Devos

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Friends of Architecture Santa Fe present

THE NEW RIJKSMUSEUM 12:00p this weekend only!

Part 1: 11:00am Sat, May 31 Part 2: 11:00am Sun, June 1

Panel Discussion with director Sylvia Johnson, Sky Mtn. Wild Horse Sanctuary, Animal Protection New Mexico, Following Sat & Sun shows! $10, no passes

Santa Fe Jewish Film Festival presents

COMMIE CAMP 4:00P Sunday, June 1 ONLY! with S’Mores and more! Advance tickets recommended by going to or by calling 216-0672. SFJFF handles all tickets for SFJFF events.

Fri May 30

12:00p - Roaming Wild 12:45p - Finding Vivian Maier* 1:30p - Ida 2:45p - Finding Vivian Maier * 3:30p - Palo Alto 4:45p - Ida* 6:00p - Ida 6:30p - Palo Alto 8:00p - Ida 8:45p - Palo Alto*

Sat May 31

11:00a - Rijksmuseum Part 1* 12:00p - Roaming Wild 1:30p - Finding Vivian Maier* 2:00p - Ida 3:30p - Finding Vivian Maier* 4:00p - Palo Alto 5:30p - Ida* 6:15p - Ida 7:30p - Palo Alto* 8:15p - Ida

Sun June 1

11:00a - New Rijksmuseum Part 2* 12:00p - Roaming Wild 1:30p - Finding Vivian Maier* 2:00p - Ida 3:30p - Finding Vivian Maier* 4:00p - SFJFF: Commie Camp 5:30p - Ida* 6:15p - Ida 7:30p - Palo Alto* 8:15p - Ida

Mon-Thurs June 2-5

3:00p - Palo Alto 4:00p - Ida* 5:15p - Ida 5:45p - Palo Alto* 7:15p - Ida 8:00p - Palo Alto*

*indicates show is in The Studio

Concessions Provided by WHOLE FOODS MARKET 40

PASATIEMPO I May 30-June 5, 2014

Strangers on a train Jonathan Richards I For The New Mexican Just a Sigh, drama, not rated, in French and English with subtitles, The Screen, 2.5 chiles In her 1973 novel Fear of Flying, Erica Jong introduced the concept of brief, anonymous lovemaking that she memorably described as “zipless.” That’s more or less what writer/director Jérôme Bonnell (The Queen of Clubs) offers us in Just a Sigh, a Gallic romance that began life in France with the more apt title Le temps de l’aventure. The romantic adventure here is not quite zipless, and it would like to leave us with a lump in our throats à la Brief Encounter. The encounter is brief, but the chemistry just isn’t there. Alix (Emmanuelle Devos) is an actress in her 40s who is doing Ibsen with a regional company in Calais. She takes a day trip to Paris for an audition. On the train she makes eye contact with a brooding older man (Gabriel Byrne), and as they pull into the Gare du Nord he approaches her and asks if she speaks English. Haltingly, she admits to speaking a little, and he asks her for directions to the Basilica of Sainte-Clotilde. As she fumbles, a well-meaning fellow passenger with more confidence in his English steps in to give the directions, and the mood and contact are broken. Alix is a good actress, but her life skills are less polished. She’s short of cash on this trip, her credit cards are tapped out, she’s left her phone charger in Calais and her cell is dead, and she can’t reach her boyfriend, Antoine. She shows up late for the audition but does a couple of nice takes, and then, with time and no money on her hands, impulsively heads for Sainte-Clotilde. There she finds the man from the train (Doug, as we learn only in the closing moments). They talk, they go for coffee with a group, and before you can say l’amour l’après-midi, they’re in his hotel room enjoying the sport the human body was designed for. It’s all terribly passionate but not very sensual. He doesn’t even get naked. When she asks if he always does this sort of thing with his shirt on, he replies, “Only with strangers.” Which is not a bad line. There’s more. They wander around Paris, and she seems to speak pretty fluent English, which makes you suspect that the train bit was just a plot device. Alix calls on her wealthy sister (Aurélia Petit) to borrow money, successfully but stressfully. She misses trains. She reaches Antoine on the phone. She reconnects with Doug. Byrne (In Treatment) and Devos (Coco Before Chanel) are fine, veteran actors. Byrne plays pretty depressed most of the time. Devos carries the load and carries it well. She has an offbeat French beauty reminiscent of Zouzou in Chloe in the Afternoon. The lovers don’t set off a spark, just a sigh, but they give us a pleasant hour and 45 minutes in Paris, a little sex, a little wine, and a little conversation, and how bad can that be? ◀





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Main Campus 505-428-1270 Plus, special exhibit at Chuck Jones Gallery, 135 W Palace Ave.


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Veterans Job Training Opportunity 5:30 p.m., Room 822 505-428-1805 Building Operators Certification program info session.



AARP Back to Work 50+ Info Session 3 to 5 p.m., Jemez Rooms 855-850-2525 Program offering resources for women jobseekers. The Astronomers’ Workbench: The Night Sky 8 to 9 p.m., Planetarium, $5/$3 505-428-1744







Orientation Session: SFCC in Turkey, Sept. 20-Oct. 4 10 a.m., Room 213

Tabloid Size, Glossy Covers, Stitch &Trim

To Advertise, Call



“Money Making Vacations” Course by Travel Author Gina Henry 5:30 to 9 p.m., Room 488 505-428-1270 Space is limited. Register by June 11. SFCC Governing Board Meeting 5 p.m., Board Room 505-428-1148 Board packet materials and information at PLUS...

May 30 — Opening Reception, 5 p.m.: New Metal: Jewelry and Metal Arts by Class of 2014 Graduates at Red Dot Gallery, 826 Canyon Road. Exhibit runs through June 27 Through August 15 — 2014 Arts and Design Juried Student Exhibition at the Visual Arts Gallery, SFCC MORE AT WWW.SFCC.EDU

Sunday Distribution to 60K+ New Mexican Readers Bonus Distribution: 3,000






Southwestern Sleepers Lecture Series: Sleep Hygiene 5:30 p.m., Room 433 505-438-3101 Backyard Astronomy 8 to 9 p.m., Planetarium, $5/$3

” .


Pink Panther Comic Strip Co-Creators Teach Summer Workshops

LEARN MORE. 505-428-1000

6401 Richards Ave., Santa Fe, NM 87508




— compiled by Robert Ker

MALEFICENT Modern takes on fairy tales have made a bit of a comeback, with filmed versions of “Snow White” and “Hansel and Gretel” making recent appearances in the multiplex. Disney, however, has been making modern fairy tales for a long time, and here’s its 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. Maybe she was just misunderstood all these years. Rated PG. 97 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) A MILLION WAYS TO DIE IN THE WEST Seth MacFarlane scored a big hit in 2012 when he switched from animated TV (Family Guy) to liveaction cinema with Ted. Now he’s put himself in front of the camera as Albert, a square-looking cowboy of the Old West, living where pretty much anything can kill him — in particular, a notorious gunslinger played by Liam Neeson. Charlize Theron, Neil Patrick Harris, Sarah Silverman, and Wes Studi appear in the movie, which was primarily filmed around Santa Fe. Rated R. 116 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) Green energy: Angelina Jolie in Maleficent, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week COLD IN JULY Small-town father, husband, and business owner Richard Dale (Michael C. Hall) shoots an intruder in his darkened home one night. He thinks all is well, until the dead man’s convict daddy (played with sad menace by Sam Shepard) comes a-calling, perhaps to exact vengeance. And there’s much more to this stylish little noir story — a faithful adaptation of Joseph Lansdale’s 1989 novel. Not rated. 110 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Nott) See review, Page 39. DRIVING MISS DAISY (PERFORMANCE) Angela Lansbury and James Earl Jones star in a recent production of Alfred Uhry’s Pulitzer Prize-winning 1987 play Driving Miss Daisy, which was filmed at a 2013 performance in Australia and is broadcast to theaters in high-definition video. 7 p.m. Thursday, June 5, only. The Screen, Santa Fe. (Not reviewed) IDA Polish director Pawel Pawlikowski (My Summer of Love) presents a story, shot in black-and-white and set in the 1960s, of a young woman named Anna


PASATIEMPO I May 30-June 5, 2014

(Agata Trzebuchowska) who is training to become a nun. When she’s instructed to visit her family, she learns that her real name is Ida and that her parents were Jewish and were murdered in the Holocaust. This sets her on a journey to discover more about her past. Rated PG-13. 80 minutes. In Polish with subtitles. Center for Contemporary Arts, Santa Fe. (Not reviewed) JUST A SIGH Jérôme Bonnell (The Queen of Clubs) offers a wispy Gallic romance that would like to leave us with a lump in our throats à la Brief Encounter. The encounter is brief, but the chemistry just isn’t there. Alix (Emmanuelle Devos) is an actress in her 40s doing Ibsen with a regional company. She makes eye contact on the train with a brooding older man (Gabriel Byrne), and before long they’re in his hotel room, enjoying the sport the human body was designed for. It’s all terribly passionate, but not very sensual. Devos carries the load, and carries it well. The lovers don’t set off a spark, just a sigh, but they give us a pleasant time in Paris, a little sex, a little wine, and a little conversation, and how bad can that be? Not rated. 104 minutes. In French and English with subtitles. The Screen, Santa Fe. (Jonathan Richards) See review, Page 40.

PALO ALTO Written and directed by 27-year-old Gia Coppola (of the Hollywood Coppolas) and based on the short-story collection by James Franco (also of Hollywood), the teen-centered drama is basically a creative-writing exercise turned film-school exercise, polished to a moody, glossy sheen. There is lots of drinking, teen girls in their underwear, and stake-free pathos. The subtleties are too subtle and the shocking moments too easy. Rated R. 100 minutes. Center for Contemporary Arts, Santa Fe. (Jennifer Levin) See review, Page 38. ROAMING WILD This documentary looks at wild horses and their role on public lands through the eyes of an activist and a cattle farmer. Director Sylvia Johnson appears for a panel discussion at the screenings, on Saturday and Sunday, May 31 and June 1, only. Not rated. 66 minutes. Center for Contemporary Arts, Santa Fe. (Not reviewed)

now in theaters THE AMAZING SPIDER-MAN 2 The machine that pumps out Spider-Man movies must be about to blow a gasket, as this is the second one in less than two years. Andrew Garfield returns as Peter Parker, the

unassuming wisecracker whose wall-crawling alter ego is tangled in a web of intrigue between the Green Goblin (Dane DeHaan) and Electro (Jamie Foxx). It’s a rushed sequel to a remake, it’s well over two hours, and it has seven credited writers — what could go wrong? Rated PG. 142 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) BELLE A double portrait painted in 1779 shows two aristocratic young Englishwomen, one dark- and one fair-skinned, in a companionable pose that suggests equality and affection. From that source, and the few discoverable facts about its subjects, writer Misan Sagay and director Amma Assante have built an intriguing story about Dido Elizabeth Belle Lindsay (Gugu Mbatha-Raw). She was the illegitimate daughter of British naval officer Sir John Lindsay (Matthew Goode) and a slave, raised by Lindsay’s aristocratic great-uncle, Lord Mansfield (Tom Wilkinson). The historical Lord Mansfield ruled on several important cases involving slavery, one of which figures centrally in the plot. The smartness and intricacy of this movie are unfortunately undercut by an occasional reliance on convention. The cast is excellent, and the luminous Mbatha-Raw is a real discovery. Rated PG. 104 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) BENEATH THE HARVEST SKY This warm coming-of-age drama from the far northern corner of Maine was one of the gems of the Santa Fe Film Festival. Two teenage boys just want to get out of their tiny town. One is a promising young man (Callan McAuliffe); the other is a troublemaker with a home life that never gave him a chance (Emory Cohen). Will they sink together, or swim? The plot is hopelessly clichéd, but the filmmaking strongly evokes a sense of place through photography, music, solid acting, and a script that covers a wide breadth of experiences. Not rated. 116 minutes. Jean Cocteau Cinema, Santa Fe. (Robert Ker) BLENDED Adam Sandler has spent much of the last decade making dumb, offensive comedies and laughing all the way to the bank. This film reunites him Drew Barrymore, who helped him charm audiences with The Wedding Singer. Do they recreate that magic? They play single parents who, despite loathing each other, take their kids on the same vacation to Africa. Gross-out humor, rude behavior, and dubious portrayals of African people commence. Rated PG-13. 117 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

CHEF This light, sweet, funny cream puff of a movie is the latest offering from Jon Favreau (Elf). Favreau 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 father-son bonding story, part road-trip movie, and part social-media tutorial — with nary a conflict or villain in sight. It will remind you to appreciate the simple things in life, and you may never make a grilled cheese sandwich the same way again. Rated R. 115 minutes. Regal DeVargas, Santa Fe. (Laurel Gladden) FADING GIGOLO With John Turturro writing, directing, and starring and Woody Allen in a featured role and hovering in the background as éminence grise, this is several movies wrapped up in one, and most of them are pretty good. Turturro and Allen developed the script together, and it shows. Allen plays a Brooklyn bookstore owner facing hard times; when his dermatologist (Sharon Stone) confides a desire to hire a stud to have a threesome with her and her best friend (Sofía Vergara), he persuades his friend Fioravante (Turturro) to take the job. Nice work if you can get it. But there’s more going on here, including a subplot involving a Hasidic community and a lonely widow (Vanessa Paradis). Turturro holds it all together with an uncaricatured, moving performance and a director’s hand that mostly avoids the obvious. Rated R. 90 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) FINDING VIVIAN MAIER Photography fans were astounded when the previously unknown work of Vivian Maier was discovered in the first decade of the 2000s. Here, director John Maloof interviews dozens of acquaintances of the late nanny-photographer, filling out the story of a most peculiar woman. Not






Read Pasa Pics online at

rated. 83 minutes. Center for Contemporary Arts, Santa Fe. (Paul Weideman) GODZILLA The original 1954 Godzilla is harrowing in part because it sprung from the horrors of Hiroshima and Nagasaki. This slick update nods to the recent Fukushima disaster, which should be fertile ground for both allegory and terror, but it slips sadly into rah-rah militarism after a promising start references Close Encounters of the Third Kind and grounds the action with a superb Bryan Cranston. Director Gareth Edwards shows a knack for suspense, scale, and cool-as-heck imagery, all of which are important traits in a Godzilla filmmaker. He is let down by a bloated and wobbly script and a color palette that looks like vomit. (Couldn’t this have just been black-and-white?) It’s close to the Godzilla flick that fans crave but still so far away. Rated PG-13. 123 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) 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 Harvey Keitel co-star in this caper, which plays out like a children’s book or a board game. Rated R. 100 minutes. Regal DeVargas, Santa Fe. (Robert Ker) HEAVEN IS FOR REAL This movie, based on the book Heaven Is for Real: A Little Boy’s Astounding Story of His Trip to Heaven and Back, recalls the account of a Nebraska pastor’s (Greg Kinnear) young son (Connor Corum) who dies on an operating table, goes to heaven, and comes back to tell the tale. Rated PG. 100 minutes. DreamCatcher, Española. (Not reviewed) THE IMMIGRANT This sepia-toned drama takes place in 1920s New York City, where two Polish women, Ewa and Magda (Marion Cotillard and Angela Sarafyan), arrive at Ellis Island. They are separated, and the desperate Ewa is forced to become a prostitute. But a mysterious magician ( Jeremy continued on Page 44




continued from Page 43

who tortured him (played by Hiroyuki Sanada), and a confrontation ensues. Rated R. 116 minutes. Regal DeVargas, Santa Fe. (Not reviewed) RIO 2 In this sequel to the 2011 animated hit, a macaw from Minnesota (voiced by Jesse Eisenberg) and his family are relocated to the Amazon rainforest. Rated G. 96 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)

Dawid Ogrodnik and Agata Trzebuchowska in Ida, at the Center for the Contemporary Arts in Santa Fe

Renner) may be able to help her. Rated R. 120 minutes. Regal DeVargas, Santa Fe. (Not reviewed) LOCKE Ivan Locke (Tom Hardy) is driving from Birmingham to London on a matter of honor and responsibility. He’s left a construction site where he is the supervisor for a massive concrete pour. He must deal over the phone with his superiors, his underlings, and his family as his life falls apart. For virtually the entire movie we are with him inside his BMW. No other character appears on screen. It’s Locke alone, in real time. Does that get tedious? Not for a moment. Hardy holds us riveted as he keeps his cool on the phone and erupts with emotion when he is off the phone or talking to the imagined presence of his father, a man whose irresponsibility shaped the man Locke has become. Written and directed by Steven Knight and shot in eight nights on a budget under $2 million, the film is a testament to imagination and talent. Rated R. 85 minutes. The Screen, Santa Fe. ( Jonathan Richards) MILLION DOLLAR ARM In this feel-good sports pic from Disney, Jon Hamm (that’s Don Draper on Mad Men to you) uses his charm to make people believe in themselves. He plays a sports agent who brings two Indian cricket players to America to pitch in the big leagues. Based on a true story. Alan Arkin co-stars. Rated PG. 120 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) 44

PASATIEMPO I May 30-June 5, 2014

NEIGHBORS Seth Rogen and Rose Byrne play a married couple with a new baby and a new house. Everything is idyllic until a fraternity moves in next door. When the couple calls the police, the frat boys, led by one unruly chap (Zac Efron), wage a war of pranks on the couple. Schlubby man-child Rogen and handsome youngster Efron have more chemistry than Rogen and Byrne do, and the clumsy series of penis-and-pot gags leads to an ending that doesn’t feel earned. But the movie has laughs, is slightly deeper than you may expect, and passes so effortlessly that it’s over before you can chant, “Toga! Toga!” Rated R. 96 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) THE OTHER WOMAN Mark (Nikolaj CosterWaldau) is such a ladies’ man — and such a big jerk. Not only does he have a wife (Leslie Mann), but he has another woman (Cameron Diaz) and another other woman (Kate Upton). What happens when the women in this comedy find out about each other? Rated PG-13. 109 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) THE RAILWAY MAN Colin Firth plays a World War II veteran who has found love but not peace. He remains traumatized by the torment he suffered at a Japanese labor camp. His wife (Nicole Kidman) and a friend (Stellan Skarsgård) locate one of the men

X-MEN: DAYS OF FUTURE PAST The cast of the original X-Men trilogy meets the cast of X-Men: First Class, thanks to the wonders of time travel, as Wolverine (Hugh Jackman) travels from a nightmare future back to the 1970s to prevent the destruction of mutantkind. It sounds like a headache, but the script is tight and handled with resourcefulness by returning X-filmmaker Bryan Singer (director of the first two installments), who stages solid action, plenty of wow moments, and impressive set pieces. The film also has heart, which can be attributed to work by the strongest cast to ever don spandex for a superhero flick, including Jennifer Lawrence, Peter Dinklage, Ellen Page, James McAvoy, Michael Fassbender, Ian McKellen, and Patrick Stewart. Rated PG-13. 131 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker)

other screenings Center for Contemporary Arts 11 a.m. Saturday, May 31: The New Rijksmuseum Part 1. Presented by Friends of Architecture Santa Fe. 11 a.m. Sunday, June 1: The New Rijksmuseum Part 2. Presented by Friends of Architecture Santa Fe. 4 p.m. Sunday, June 1: Commie Camp. Presented by the Santa Fe Jewish Film Festival. Jean Cocteau Cinema 11 p.m. Friday & Saturday, May 31 & June 1: Hedwig and the Angry Inch (2001). Regal Stadium 14 8:15 & 10:15 p.m. Thursday, June 5: Edge of Tomorrow (2-D). 8 & 10 p.m. Thursday, June 5: Edge of Tomorrow (3-D). 9 & 10 p.m. Thursday, June 5: The Fault in Our Stars. 2 p.m. Sunday, June 1; 2 & 7 p.m. Wednesday, June 4: Raiders of the Lost Ark. ◀

WHAT’S SHOWING Call theaters or check websites to confirm screening times. CCA CINEMATHEQUE AND SCREENING ROOM

1050 Old Pecos Trail, 505-982-1338, Commie Camp (NR) Sun. 4 p.m. Ida (PG-13) Fri. 1:30 p.m., 4:45 p.m., 6 p.m., 8 p.m. Sat. and Sun. 2 p.m., 5:30 p.m., 6:15 p.m., 8:15 p.m. Mon. to Thurs. 4 p.m., 5:15 p.m., 7:15 p.m. The New Rijksmuseum - Part 1 (NR) Sat. 11 a.m. The New Rijksmuseum - Part 2 (NR) Sun. 11 a.m. Palo Alto (R) Fri. 3:30 p.m., 6:30 p.m., 8:45 p.m. Sat. 4 p.m., 7:30 p.m. Sun. 7:30 p.m. Mon. to Thurs. 3 p.m., 5:45 p.m., 8 p.m. Roaming Wild (NR) Fri. to Sun. 12 p.m. JEAN COCTEAU CINEMA

418 Montezuma Avenue, 505-466-5528 Beneath the Harvest Sky (NR) Sat. and Sun. 4 p.m. Wed. and Thurs. 4 p.m. Cold in July (NR) Fri. 6:15 p.m., 8:30 p.m. Sat. and Sun. 1:45 p.m., 6:15 p.m., 8:30 p.m. Tue. 6:15 p.m., 8:30 p.m. Wed. and Thurs. 1:45 p.m., 6:15 p.m., 8:30 p.m. Hedwig and the Angry Inch (R) Fri. and Sat. 11 p.m. REGAL DEVARGAS

562 N. Guadalupe St., 505-988-2775, Belle (PG) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:25 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. Chef (R) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10:05 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. Fading Gigolo (R) Fri. and Sat. 1:35 p.m., 4:05 p.m., 7:10 p.m., 9:35 p.m. Sun. to Thurs. 1:35 p.m., 4:05 p.m., 7:10 p.m. The Grand Budapest Hotel (R) Fri. and Sat. 1:40 p.m., 4:40 p.m., 7:40 p.m., 10 p.m. Sun. to Thurs. 1:40 p.m., 4:40 p.m., 7:40 p.m. The Immigrant (R) Fri. and Sat. 1:15 p.m., 4:15 p.m., 7:15 p.m., 9:55 p.m. Sun. to Thurs. 1:15 p.m., 4:15 p.m., 7:15 p.m. The Railway Man (R) Fri. and Sat. 1:10 p.m., 3:50 p.m., 6:50 p.m., 9:30 p.m. Sun. to Thurs. 1:10 p.m., 3:50 p.m., 6:50 p.m. REGAL STADIUM 14

3474 Zafarano Drive, 505-424-6296, Call theater or see website for times not listed. The Amazing Spider-Man 2 (PG-13) Fri. to Wed. 12:20 p.m., 4:10 p.m., 7:15 p.m., 10:30 p.m. Blended (PG-13) Fri. to Wed. 1:15 p.m., 4:15 p.m., 7:20 p.m., 10:15 p.m. Edge ofTomorrow (PG-13) Thurs. 8:15 p.m., 10:15 p.m. Edge ofTomorrow 3D (PG-13) Thurs. 8 p.m., 10 p.m. The Fault in Our Stars (PG-13) Thurs. 9 p.m., 10 p.m. Godzilla (PG-13) Fri. to Wed. 11:15 a.m., 2:05 p.m., 4:55 p.m., 7:50 p.m., 10:40 p.m. Godzilla 3D (PG-13) Fri. to Wed. 1 p.m., 4 p.m., 7:05 p.m., 10 p.m. Maleficent (PG) Fri. to Wed. 11:30 a.m., 12 p.m., 2:30 p.m., 4:30 p.m., 5 p.m., 7:30 p.m., 9:30 p.m., 10 p.m. Maleficent 3D (PG) Fri. to Wed. 2 p.m., 7 p.m. Million Dollar Arm (PG) Fri. to Wed. 1 p.m., 4:20 p.m., 7:10 p.m., 10:05 p.m.

A Million Ways to Die in the West (R) Fri. to Wed. 11 a.m., 11:20 a.m., 1:45 p.m., 2:15 p.m., 4:40 p.m., 5:10 p.m., 7:40 p.m., 8 p.m., 10:25 p.m., 10:45 p.m. Neighbors (R) Fri. to Wed. 12:25 p.m., 2:50 p.m., 5:15 p.m., 8 p.m., 10:25 p.m. The Other Woman (PG-13) Fri. to Tue. 7:45 p.m., 10:25 p.m. Wed. 10 p.m. Raiders of the Lost Ark (PG) Sun. 2 p.m. Wed. 2 p.m., 7 p.m. Rio 2 (G) Fri. and Sat. 11:45 a.m., 2:25 p.m., 5:05 p.m. Sun. 11:20 a.m., 5:05 p.m. Mon. and Tue. 11:45 a.m., 2:25 p.m., 5:05 p.m. Wed. 11:20 a.m. X-Men: Days of Future Past (PG-13) Fri. to Sun. 1:20 p.m., 1:35 p.m., 4:20 p.m., 4:35 p.m., 7:25 p.m., 7:35 p.m., 10:25 p.m., 10:35 p.m. Mon. to Wed. 1:20 p.m., 1:35 p.m., 4:20 p.m., 4:35 p.m., 7:25 p.m., 7:35 p.m., 10:25 p.m., 10:35 p.m. X-Men: Days of Future Past in 3D (PG-13) Fri. to Wed. 1:05 p.m., 4:05 p.m., 7:05 p.m., 10:05 p.m.

Maleficent 2D 2:00** 4:30 7:00 X-Men: Days of future 2D 1:45** 4:30 7:15 a Million Ways to Die 2:15** 4:50 7:25 in tHe West rio 2 2D 1:55** 4:25 sPiDerMan 2 sD 7:10 HeaVen is for real 2:05** 4:40 7:00 blenDeD 2:10** 4:45 7:20 neiGHbors 2:20** 4:55 7:30 Million Dollar arM 1:50** 4:25 7:05 GoDzilla 2D 1:55** 4:35 7:15 **saturday & sunday only *friday & saturday only times for friday, May 30 - thursday, June 5


15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, The Amazing Spider-Man 2 (PG-13) Fri. to Thurs. 7:10 p.m. Blended (PG-13) Fri. 4:45 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:20 p.m. Mon. to Thurs. 4:45 p.m., 7:20 p.m. Godzilla (PG-13) Fri. 4:35 p.m., 7:15 p.m., 9:50 p.m. Sat. 1:55 p.m., 4:35 p.m., 7:15 p.m., 9:50 p.m. Sun. 1:55 p.m., 4:35 p.m., 7:15 p.m. Mon. to Thurs. 4:35 p.m., 7:15 p.m. Heaven Is for Real (PG) Fri. 4:40 p.m., 7 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:40 p.m., 7 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:40 p.m., 7 p.m. Mon. to Thurs. 4:40 p.m., 7 p.m. Maleficent (PG) Fri. 4:30 p.m., 7 p.m., 9:35 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:35 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Million Dollar Arm (PG) Fri. 4:25 p.m., 7:05 p.m., 9:40 p.m. Sat. 1:50 p.m., 4:25 p.m., 7:05 p.m., 9:40 p.m. Sun. 1:50 p.m., 4:25 p.m., 7:05 p.m. Mon. to Thurs. 4:25 p.m., 7:05 p.m. A Million Ways to Die in the West (R) Fri. 4:50 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:15 p.m., 4:50 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:15 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. Neighbors (R) Fri. 4:55 p.m., 7:30 p.m., 9:45 p.m. Sat. 2:20 p.m., 4:55 p.m., 7:30 p.m., 9:45 p.m. Sun. 2:20 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs. 4:55 p.m., 7:30 p.m. Rio 2 (G) Fri. 4:25 p.m. Sat. and Sun. 1:55 p.m., 4:25 p.m. Mon. to Thurs. 4:25 p.m. X-Men: Days of Future Past (PG-13) Fri. 4:30 p.m., 7:15 p.m., 10 p.m. Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs. 4:30 p.m., 7:15 p.m.

4:25* 9:35* 9:50* 9:45* 9:40* 9:50*













Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, Driving Miss Daisy (PG) Thurs. 7 p.m. Just a Sigh (NR) Fri. to Wed. 11:45 a.m., 4 p.m. Thurs. 3 p.m. Locke (R) Fri. to Wed. 6:10 p.m., 8:10 p.m. Thurs. 1 p.m., 5 p.m.

9:35* 10:00* 9:55*



a film by






CENTER FOR CONTEMPORARY ARTS 1050 Old Pecos Trail, Santa Fe (505) 662-8763




written by




directed by


SANTA FE UA De Vargas Mall 6 (800) FANDANGO #608





SANTA FE UA De Vargas Mall 6 (800) FANDANGO #608



RESTAURANT REVIEW Bill Kohlhaase I The New Mexican

Finders keepers Mucho Gusto 839 Paseo de Peralta (in the Harvey Center), 505-955-8402, 11 a.m. - 9 p.m. Mondays - Saturdays Vegetarian options Handicapped accessible Noise level: buzzing but respectful Beer & wine Credit cards, no checks

The Short Order More Mexican than New Mexican restaurant, Mucho Gusto prepares dependable soft tacos, burritos, chalupas, flat enchiladas, and the like as well as exceptional house specialties, such as turkey mole enchiladas, that show chef Alex Castro’s attention to regional Mexican styles. The sauces, made with green chile, cream and, at times, a splash of tequila, are standout, and all the cooking is competent, if modestly spiced. There are enough wine selections as well as sangria and wine margaritas to complement your carnitas or queso fundido, and the desserts range from extravagant — a margarita ice-cream pie — to your basic flan. Recommended: shredded lamb tacos, chimichangas, orange tequila shrimp, stuffed chicken breast, and arroz con leche.

Ratings range from 0 to 4 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value.


PASATIEMPO I May 30-June 5, 2014

Restaurants in hidden locations aren’t always hideaways. Mucho Gusto is a good example. Located in a back corner of the Harvey Center parking lot off Paseo de Peralta, it’s tucked behind the building that houses Travel Bug and at the end of the building that is home to the invaluable Video Library. The restaurant’s modest entrance looks as if it might lead to an accountant’s office. As you walk up, it appears you might be the only one there. But inside, the labyrinthine space is often crowded at lunch and dinner with diners bent over tacos, chalupas, or platters of fajitas. There’s no hiding here. It’s hard to know if these diners are locals who’ve been visiting the place for most of its 11 years or tourists who’ve recently been steered to a good thing. Eavesdropping — the place is abuzz — reveals a bit of both. Owner-chef’s Alex Castro’s menu is something of a novelty in Santa Fe, familiar but somehow different. It makes few nods to what’s considered New Mexican cooking — there are no posole, sopapillas, or calabacitas. Green chile makes an appearance with the carnitas and on top of burritos and enchiladas. But mostly the menu reads like one from any Americanized-Mexican restaurant found across the country, that is until you get to Castro’s house specialties. These are the dishes that make Mucho Gusto worth finding. Take the mole enchilada, filled with turkey and smothered in a complex mole that isn’t dominated by chocolate or the over-toasted chile of the richest moles you may have encountered. Slightly sweet, this mole is comfort food of the first order. The beef carnitas stand out for the gravy in which it’s served, a hearty mix of onions, bell peppers, and mushrooms in a sauce redolent of green chile. Many of the specialty dishes involve generous amounts of cream, a practice common in central Mexico. Chimichangas, a Mexican dish with American origins, are stuffed with creamed chicken. They’re delicious. That creamed chicken also appears in the rolled “suiza enchilada.” The twist here is the tomatillo sauce on top of the rolled tortillas, providing a tangy contrast to the creamed chicken. Orange tequila shrimp are served in a sharp, citrus-flavored, liquor-spiked sauce. Stuffed chicken breast is the most indulgent dish on the menu, the breasts rolled around jack cheese, slivers of almonds, sweet sundried tomatoes, and bits of poblano chile and then breaded and fried, like a relleno, before being smothered in a heavy-cream sauce. Sautéed mushrooms add a touch of butter to the sauce. This decadent delight is not for the calorie-conscious or those who otherwise fear rich food. But it’s great. Chalupas, quesadillas, and flat enchiladas are consistently and attentively prepared, gently spiced though not exceptionally flavored. The salsas are pleasant but not fiery hot, the tomatillo agreeably tart. The refreshing guacamole holds chunks of onion. Burritos are tightly stuffed with quality ingredients and nicely finished. There are soft tacos of chicken, sirloin, or shredded pork with chipotle chile, and

ones with barbecued lamb, the gamy finish of the shredded meat emerging from a sauce that’s neither too sweet nor too tangy. Shrimp and salmon tacos, a special, were something of a disappointment, the shrimp chewy, the salmon cooked well-firm. Fajita platters of steak, chicken shrimp, veggies and tofu are served sizzling. A special of pork tenderloin fajitas reflected hot, quick cooking, the pork seared and tender, the vegetables equally tender, some of the more thinly sliced veggies blackened. Fork-perfect rice and creamy refried or firm whole black beans, sometimes topped with a dollop of sour cream or crumbled goat cheese, accompany the entrees. With all that cream, these dishes go well with wine, and the menu carries a small but worthy selection by the glass in the $6-to-$9 range and enough bottles (including half bottles) in the $30-and-under range (some are more expensive) that complementing your carnitas or queso fundido isn’t hard. There’s sangria, if you’d prefer, and “agave” wine margaritas. Though a bit syrupy, as wine margaritas can be, they are surprisingly close to the real thing. Most desserts sound enticingly exotic — margarita ice-cream pie on an almond crust splashed with tequila? — but we like the simplest: a scoop of just-sweet rice pudding fragrant with cinnamon and topped with a white chocolate sauce. The servers, friendly and on-point, seem to find you just when you want them, even if you’re seated in the semi-private room off the entrance or in the connecting hallway. If so many people didn’t already seem to know about it, we’d say Mucho Gusto is a find. ◀

Dinner for two at Mucho Gusto: Beef carnitas ..........................................$ 12.95 Stuffed chicken breast ...........................$ 15.95 Arroz con leche .....................................$ 5.95 Agave wine margarita ............................$ 6.00 TOTAL ...................................................$ 40.85 (before tax and tip) Lunch for three, another visit: Salsa and guacamole ..............................$ 10.95 Pork tenderloin fajita special ................$ 14.95 Shrimp and salmon tacos ......................$ 14.95 Mole enchilada ......................................$ 12.25 Iced tea ..................................................$ 2.75 Diet Pepsi ..............................................$ 2.75 TOTAL ...................................................$ 58.60 (before tax and tip)

Santa Fe Community Orchestra

Oliver Prezant, Music Director

2013-2014 Concert Season

Season Finale

Sunday, June 8th at 2:30pm St. Francis Auditorium

Real Italian People for a True Italian Restaurant

New Mexico Museum of Art, 107 W. Palace Ave.

Hindemith: Symphonic Metamorphosis

We want to thank everyone for voting us best Italian restaurant in New Mexico on open table, and for voting us for the excellence award through trip advisor. Make sure you come join us to try our new summer menus on our newly opened patio. Also available is our summer event space.

Milhaud: Scaramouche

Drew Lefkowitz, saxophone

Enesco: Legende

Javian Brabham, trumpet

Mussorgsky (arr. Ravel): Pictures at an Exhibition Free Admission - Donations Appreciated Sponsored in part by:

Los Alamos National Bank Thornburg Investment Management

For more information visit our website: or call 466-4879 SFCO projects are made possible in part by New Mexico Arts, a division of the Department of Cultural Affairs, the National Endowment for the Arts; the Santa Fe Arts Commission, and the 1% Lodger’s Tax.

986-5858 • 58 S. Federal Place • Santa Fe, NM 87501 ..




Saturday, May 31, 2014

Inn and Spa at Loretto ~ 211 Old Santa Fe Trail ctions llet Produ Silver Bu


Truth in Story Telling - Two Perspectives: Writer and Director With deep appreciation to the Speakers, Sponsors, Donors, Artists, and each of our Guests attending the event.

Speakers: Chris Eyre and Bruce McKenna. Moderator: Valerie Plame Wilson. Honorary Co-Hosts: Robert Redford, Maura Dhu and Wes Studi, Charmay Allred, Dr. Robert Martin and Luci Tapahonso, Congressman Ben Ray Lujan, Anne and Hampton Sides, Governor George and Felicia Rivera, Senator Tom and Jill Cooper Udall, Ali MacGraw, Senator Martin and Julie Heinrich, and Secretary of Indian Affairs Arthur Allison. Major Donors: Pat and Patty Carter, George Rivera, Star York, Toadlena Trading Post, Patricia Michaels, Rose B. Simpson, Brian Egolf. Donors: Federico Jewelry, Nocona Burgess, Bill Worrell, Estella Loretto, Siri Hollander, Collins Forte Advertising, The Club At Las Campanas, Anne Hillerman, Don Strel, Debora Barrett, Wayne Motts, Antony Lovato, Dr. Greg and Angie Yan Schaaf, Silk Road Collections Inc., Carol and David LaRotonda, Gino Hollander, ONYX, El Meze Restaurant, India House Restaurant, Clafoutis, Ortega’s on the Plaza, Santa Fe Culinary Academy, Los Alamos Historical Society, Stephanie Benson, O'Keeffe Museum, Ghost Ranch, Patina Gallery, Bodhi Bazaar, Jinja Bar and Bistro, Spirit of the Earth, Jett Gallery, Tom Taylor, Arroyo Vino, Lori Snable, Santa Fe School of Cooking, Karen Melfi Collection, Dave Robinson, Teena Robinson, John “MAC” Read, Mavericks on the Plaza, Edward Andonian, Cupcake Clothing, Native Jackets, Etc., Neal Frank- Santa Fe Pens, Santo Domingo Indian Trading Post, Jan and John Wilcynski, Larry Clyde, Charlene Kellner, Gayle Wein Platte, Raffi Andonian, Karen Sanchez, William Siegal Gallery, Peggy Gautier, Jim Gautier, Ed Sandoval, Paula Rhae McDonald, Karen Whitmore, Trudy Upshaw, Bill McMillan, Tricia Bass, Laura FraguaCota, Stephen Wall, Charlotte Jackson, Kathy Whitman (Elk Woman), Marlene Schwalie, Kimi Ginoza Green, Adams County Winery, Artisan Santa Fe Inc., Lucas & Lewellen Vineyards, Santa Fe Tequila Company, James Getty Hotel, Institute of American Indian Arts, Melissa Cody, Jonathan Grossman, Inn At Laguna Beach, Lela and Roderick Kaskalla, Frank Buffalo Hyde, Jon Houglum, Chuck Ferran, High Desert Landscaping, Robbie O'Neill Cultural Treasures Tour, NM Tour Guide-Tom Gallegos, Genesis Spa and Pool Supply, Hauser Estate Winery, Michele Behar Reich, and Ann and Tim Maxwell. Special Acknowledgements: Robert W. Pierce, Kirk Ellis, John Hufnagle, Larry Clyde, Erik Berntsen, Guin White, Dana McIntosh, Bill Platte, MaryEllen Collins, Matthew Roybal, Anthony Lovato, Jonathan Grossman, CloudBridge, and Richard Kellner.

Tsay Corporation



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On June 8 the Santa Fe New Mexican will publish a keepsake special section devoted to the local high school classes of 2014. Including:

• Memorable Moments • School Accomplishments • Student Comments • List of Graduates • Ceremony Photos • Personalized GRADGram!✮ Featured High Schools: Academy at Larragoite Academy for Technology and the Classics Capital High School Desert Academy Monte del Sol Charter School NM School for the Arts NM School for the Deaf Santa Fe High Santa Fe Indian School Santa Fe Prep Secondary Learning Center St. Michael’s High School Tierra Encantada Charter School at Alvord Santa Fe Waldorf High School Pojoaque Valley High School MASTERS Program-SFCC 48

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To receive this offer, visit before midnight June 4 and purchase the Splurge certificate, which can be redeemed for the above offer. This advertisement is not a Splurge certificate.

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Congratulations Ale! We are so proud of you! We love you! Mom, Kat, Nina, Tito and Jasmine



includes one color photo of your grad plus your personal message

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Visit or fill out a form at The Santa Fe New Mexican, 202 E. Marcy St., to create your custom GRADGram!✮ !

PASATIEMPO I May 30 - June 5, 2014

PasatiemPo CoPy editor The Santa Fe New Mexican has an immediate opening for a full-time, expert copy editor to join the staff of Pasatiempo, the weekly arts and culture magazine. The selected candidate must possess: a background in the arts; an eye for detail; the ability to work well as a team member with designers, writers & other editors; grace under pressure; five years editing experience with newspapers or magazines; and a Bachelor’s degree in journalism, English, or writing-intensive discipline. Facility on Mac, Adobe InDesign, and NewsEditPro is preferred. Duties include: Fact checking; editing copy for style, tone, accuracy, punctuation, and grammar; editing stories for content, structure, and overall interest; creating appropriate headlines & imaginative cutlines, and proofreading pages in pre-press stage, among other duties. The Santa Fe New Mexican offers competitive compensation; medical, dental and vision insurances with option to cover your family; paid sick and vacation; retirement and flexible spending accounts; paid life insurance, free downtown parking and passes to local gyms. Send cover letter and résumé by 5 p.m. on Friday, June 6th to: Kristina Melcher, Editor/Pasatiempo, 202 East Marcy St., Santa Fe, NM 87501 Or access an online job application at No phone calls, please.

You turn to us.

An ADA/Equal Opportunity Employer 202 East Marcy St | P.O. Box 2048 | Santa Fe, NM 87504-2048 | 505-983-3303

pasa week Friday, May 30

Spring Star Gazing! A slide presentation by John Remaly followed by a laser-guided tour and telescope views of the night sky, 8:30-10:30 p.m., Randall Davey Audubon Center, 1800 Upper Canyon Rd., donations accepted, 505-983-4609, Ext. 27. Used-books sale Hardbacks $4, paperbacks, CDs, DVDs, and games $2, 9 a.m.-5 p.m., Santa Fe Center for Spiritual Living, 505 Camino de los Marquez, continues until inventory is gone, 505-983-5022.


Axle Contemporary Mobile gallery, 505-670-7612 or 505-670-5854. Santa Fe Railyard outside the Farmers Market Pavilion, Stop Crying, interactive art performance by Allyson Packer, reception 5-7 p.m. David Richard Gallery 544 S. Guadalupe St., 505-983-9555. A Mind to Obey Nature, mixed media by John Connell (1940-2009), reception 5-7 p.m., through July 12. Evoke Contemporary 550 S. Guadalupe St., 505-995-9902. Solitude, plein-air paintings by Lynn Boggess, reception 5-7 p.m., through June 25. Flying Cow Gallery Warehouse 21, 1614 Paseo de Peralta, 505-989-4423. Mixed media by Celia Luz Santos, reception 7 p.m. Flying Fish Gallery 821 Canyon Rd., Works by Josie Adams, Bettina Lancaster, and Michele Worstell, reception 5-8 p.m. La Mesa of Santa Fe 225 Canyon Rd., 505-984-1688. Ceramics and sculpture by Russ Vogt, through Sunday. LewAllen Galleries at the Railyard 1613 Paseo de Peralta, 505-988-3250. Transference, new paintings by Joe Ramiro Garcia, reception 5-7 p.m., through June 29. Marion Center for Photographic Arts 1600 St. Michael’s Dr., 505-473-6341. Road to Nowhere: Southwest Sojourns, photographs by Center alumni and members, through June; New Mexico State Fair Portrait Project, group show of Santa Fe and Albuquerque photographs; reception 5-7 p.m., through Aug. 1. Patina Gallery 131 W. Palace Ave., 505-986-3432. Ephemerist, mixed media by Gail Rieke, reception 5-7:30 p.m., through June 22. Wheelhouse Art Gallery 418 Montezuma Ave., 505-919-9553. Black Dog Down, ceramic sculpture by Joyce Stolaroff, grand-opening reception 6-9 p.m. William Siegal Gallery 540 S. Guadalupe St., 505-820-3300. Continuum, mixed-media paintings by Signe Stuart, reception 5-7 p.m., through June 24. (See story, Page 26) Zane Bennett Contemporary Art 435 S. Guadalupe St., 505-982-8111. A Day in the Life, work by painter Holly Roberts, reception 5-7 p.m., through June 21.


TGIF Chancel Choir recital Music of Guido Haazen, Moses Hogan, and Linda Twine, 5:30-6 p.m., First Presbyterian Church of Santa Fe, 208 Grant Ave., donations welcome, 505-982-8544, Ext. 16.

Pasa’s Little Black Book......... 50 Elsewhere............................ 52 People Who Need People..... 52 Pasa Kids............................ 52

compiled by Pamela Beach,


Enchanted Hikes The City of Santa Fe Recreation Division offers monthly easy to moderate treks along the following trails: Dale Ball, Dorothy Stewart, Tesuque Creek, and Galisteo Basin Preserve; 9-11 a.m., Genoveva Chavez Community Center, 3221 Rodeo Rd., $6.50 per hike or $20 for full session, contact Michelle Rogers for registration information, 505-955-4047,


Randall Davey house tours Docent-led tours, weekly on Fridays, 2 p.m., Randall Davey Audubon Center, 1800 Upper Canyon Rd., $5, 505-983-4609. Speak for the Trees A benefit for the Rose Simmons Memorial Scholarship Fund; music, poetry, dancing, and silent auction, 5-8 p.m., Warehouse 21, 1614 Paseo de Peralta, $10 suggested donation, 505-989-4423.

NIGHTLIFE Meyer East Gallery shows paintings by Fred Calleri, 225 Canyon Rd.


Music at the Museum of Art Local musicians perform on the patio and in the galleries weekly on Fridays through June 27; this week: Alpha Cats, jazz/rock/ swing, 5:30 p.m., New Mexico Museum of Art, 107 W. Palace Ave., no charge, 505-476-5072.


Consider This Theater Grottesco presents a showcase of theatrical styles through history, 8 p.m., Teatro Paraguas, 3205 Calle Marie, $10, students $5, 505-474-8400, Frankie & Johnny in the Clair de Lune gala opening night Terrence McNally’s play about an intimate encounter between two people, reception 6:30 p.m., curtain 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $25; 505-988-4262, Thursdays-Sundays through June 8, contains nudity. (See story, Page 34) King Lear Santa Fe Shakespeare Society presents a staged reading of the tragedy in celebration of Shakespeare’s 450th birthday, 7 p.m.,

In the Wings....................... 53 At the Galleries.................... 54 Museums & Art Spaces........ 54 Exhibitionism...................... 55

Episcopal Church of the Holy Family, 10-A Bisbee Court, Rancho Viejo, donations requested, Saturday encore.


The Angel Monologues Nine storytellers weave tales in support of Kitchen Angels; 7 p.m., María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $12, Peter Plagens The author of Bruce Nauman: The True Artist discusses the local artist with Juliet Myers, 6 p.m., New Mexico Museum of Art, 107 W. Palace Ave., no charge, 505-476-5072. (See story, Page 30) Santa Fe Poets 5 Santa Fe Poet Laureate Jon Davis hosts the event in conjunction with the exhibit Poetics of Light: Pinhole Photography; including readings by Chee Brossy, Carol Moldaw, and Farren Stanley, 6-7:30 p.m., New Mexico History Museum Auditorium, 113 Lincoln Ave., no charge, 505-476-5200.

(See Page 50 for addresses) Betterday Coffee Singer/songwriter Melissa Gail Klein’s band Glorieta; singer Grannia Griffith Story; singer/songwriters Sage and Meridith, 7 p.m., no cover. Café Café Trio Los Primos, dance to Latin favorites, 6 p.m., no cover. ¡Chispa! at El Mesón Brian Lewis’ Three Faces of Jazz, 7:30 p.m.-close, no cover. Cowgirl BBQ Tasha Curtis & Don Williams, honky-tonk and Americana, 5-7:30 p.m.; The Angel Babies & Jupiter Spiral, pop/garage rock, 8:30 p.m.-close; no cover. The Den Ladies night with DJ Luna, 9 p.m., call for cover. Duel Brewing Singer-songwriter Chris Chickering, 7-10 p.m., no cover. El Farol Little Leroy and His Pack of Lies, rock and blues, 9 p.m.-close, no cover. Junction Dance band Chango, 10 p.m.-close, no cover. La Casa Sena Cantina er-bending singer Bella Gigante’s disco show, with Amanda Morris, 8 p.m., call for cover. ▶▶▶▶▶▶▶▶

calendar guidelines

Please submit information and listings for Pasa Week no later than 5 p.m. Friday, two weeks prior to the desired publication date. Resubmit recurring listings every three weeks. Send submissions by mail to Pasatiempo Calendar, 202 E. Marcy St., Santa Fe, NM, 87501, by email to pasa@, or by fax to 505-820-0803. Pasatiempo does not charge for listings, but inclusion in the calendar and the return of photos cannot be guaranteed. Questions or comments about this calendar? Call Pamela Beach, Pasatiempo calendar editor, at 505-986-3019; or send an email to or See our calendar at, and follow Pasatiempo on Facebook and Twitter. PASATIEMPOMAGAZINE.COM


La Fiesta Lounge at La Fonda Nosotros, horn-driven dance band, 8-11 p.m., no cover. Museum Hill Café Bossa nova/jazz quartet Río, 6 p.m., no cover. Omira Bar & Grill Guitarist Marquito Cavalcante, Brazilian jazz, 6:30-8:30 p.m., no cover. Palace Restaurant & Saloon DJ Master Puppet, 10 p.m.-close, call for cover. Pranzo Italian Grill Pianist John Rangel, 6-9 p.m., call for cover. Second Street Brewery Album-release party for Eryn Bent & Troupe Red, 6-9 p.m., no cover. Second Street Brewery at the Railyard Folk-rock band The Bus Tapes, 7-10 p.m., no cover. Swiss Bakery Pastries and Bistro Troubadour Gerry Carthy, 6-9 p.m., no cover. Tiny’s Jazz guitarist Marc Yaxley, 5:30 p.m.; Sean Healen Band, folk ’n’ roll, 8:30 p.m.-close; no cover. Vanessie Pianist/vocalist Kathy Morrow, 6:30 p.m., call for cover. Veterans of Foreign Wars Classic-rock band The Jakes, 8:30 p.m.-12:30 a.m., no cover.


Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1777. We Hold These Truths, Cherokee artist Shan Goshorn’s contemporary baskets; Brandywine Workshop Collection, prints from the visual arts organization; reception 4 p.m., through July.

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PASATIEMPO I May 30-June 5, 2014


Operatic trilogy for families Santa Fe Opera presents three fully staged, short operas composed for youth; this week: Written in the Stars, 6 p.m., True North, 7 p.m., Gaddes Hall, Santa Fe Opera, 301 Opera Dr., $10 at the box office, 505-986-5900, continues June 1, 7, and 8.


Cantu Spiritus Chamber Choir The San Miguel Chapel Concert Series continues with readings and choral selections, 4 p.m., San Miguel Chapel, 401 Old Santa Fe Trail, $15 suggested donation. Rumelia The San Miguel Chapel Concert Series continues with Balkan-folk quartet, featuring Willa Roberts, 7:30 p.m., San Miguel Chapel, 401 Old Santa Fe Trail, $10-$20 suggested donation at the door, 505-577-2676,


Consider This Theater Grottesco presents a showcase of theatrical styles through history, 2 and 8 p.m., Teatro Paraguas, 3205 Calle Marie, $10, students $5, 505-474-8400, Frankie & Johnny in the Clair de Lune Terrence McNally’s play about an intimate encounter between two people, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, discounts available, 505-988-4262, ThursdaysSundays through June 8, contains nudity. (See story, Page 34) King Lear Santa Fe Shakespeare Society presents a staged reading of the tragedy in celebration of Shakespeare’s 450th birthday, 7 p.m., Episcopal Church of the Holy Family, 10-A Bisbee Court, Rancho Viejo, donations requested.

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Minding the Store Improvisational performance by International Action Theater Ensemble, directed by Ruth Zaporah, 8 p.m., Railyard Performance Center, 1611-B Paseo de Peralta, $15 at the door.


Angela Merkel: Redefining Leadership in German Politics The Council on International Relation’s Spring 2014 Lecture Series on women political figures concludes with Mary Hampton of Air Command and Staff College, 5 p.m., Santa Fe Woman’s Club, 1616 Old Pecos Trail, $20,, 505-982-4931. Melody Groves The author discusses Butterfield’s Byway: America’s First Overland Mail Route Across the West, 4:30 p.m., Op. Cit. Books, 500 Montezuma Ave., Suite 101, Sanbusco Center, 505-428-0321. Where Do Art and Science Meet? Museum of Contemporary Native Art and Santa Fe Institute present a discussion with SFI professor Jennifer Dunne and artist Shan Goshorn, moderated by Valerie Plame, 2 p.m., Allan Houser Art Park, MOCNA, 108 Cathedral Place, by museum admission, 505-983-1666. Yani Monzón The Cuban writer reads from La Culpa la Tiene Marilyn Monroe: It’s Marilyn Monroe’s Fault, 7 p.m., screening of Luis Ernesto Doñas’ short film Oslo, El Museo Cultural de Santa Fe, 555 Camino de la Familia, by donation, 505-992-0591.


Santa Fe Opera Insider Day Saturdays through Aug. 23, refreshments 8:30 a.m., staff-member-led backstage tours and talks 9 a.m., 301 Opera Dr., no charge, meet at the box office, 505-986-5900.

Lodge Lounge at The Lodge at Santa Fe 750 N. St. Francis Dr., 505-992-5800 Low ’n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe 125 Washington Ave., 505-988-4900 The Matador 116 W. San Francisco St. Mine Shaft Tavern 2846 NM 14, Madrid, 505-473-0743 Museum Hill Café 710 Camino Lejo, Milner Plaza, 505-984-8900 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Trail, 505-982-1851 Omira Bar & Grill 1005 St. Francis Dr., 505-780-5483 Palace Restaurant & Saloon 142 W. Palace Ave., 505-428-0690 Pranzo Italian Grill 540 Montezuma Ave., 505-984-2645 Santa Fe Community Convention Center 201 W. Marcy St., 505-955-6705 Santa Fe Sol Stage & Grill 37 Fire Place, Second Street Brewer y 1814 Second St., 505-982-3030


(See addresses below) Burro Alley Café Troubadour Gerry Carthy, 5:30-8:30 p.m., no cover. Café Café Guitarist Ramon Bermudez, 6:30-8:30 p.m., no cover. Cowgirl BBQ Folk rockers The Bus Tapes, 2-5 p.m.; Broomdust Caravan, juke-joint honky-tonk and biker-bar rock, 8:30 p.m.-close; no cover. Duel Brewing Railyard Reunion Band, Americana and bluegrass, 7-10 p.m., no cover. El Farol Tone and Company, blues, 9 p.m.-close, call for cover. Evangelo’s Classic-rock band The Jakes, 9 p.m.-1 a.m., call for cover. La Fiesta Lounge at La Fonda Nosotros, horn-driven dance band, 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 Anthony Leon and Paige Barnes on the deck, 3 p.m., no cover; Underground Cadence, classic rock and disco dance band, 8 p.m.-close, call for cover. Pranzo Italian Grill Pianist David Geist, 6-9 p.m., call for cover. Second Street Brewery Hipster-pop/jazz band Busy & The Crazy 88s, 6-9 p.m., no cover. Second Street Brewery at the Railyard Catahoula Curse, Southern-gothic Americtronica, 7-10 p.m., no cover. Sweetwater Harvest Kitchen John Serkin, Hawaiian slack-key guitar, 6 p.m., no cover. Swiss Bakery Pastries and Bistro Bossa nova/jazz quartet Río, 7:30-10:30 p.m., no cover.

Second Street Brewer y at the Railyard 1607 Paseo de Peralta, 505-989-3278 Shadeh Buffalo Thunder Resort & Casino, Pojoaque Pueblo, U.S. 84/285, 505-455-5555 Sweetwater Harvest Kitchen 1512-B Pacheco St., 505-795-7383 Swiss Bakery Pastries and Bistro 401 S. Guadalupe St., 505-988-5500 Taberna La Boca 125 Lincoln Ave., 505-988-7102 Tiny’s 1005 St. Francis Drive, Suite 117, 505-983-9817 The Underground at Evangelo’s 200 W. San Francisco St. Upper Crust Pizza 329 Old Santa Fe Trail, 505-982-0000 Vanessie 434 W. San Francisco St., 505-982-9966 Veterans of Foreign Wars 370 Montezuma Ave., 505-984-2691 Warehouse 21 1614 Paseo de Peralta, 505-989-4423 Zia Dinner 326 S. Guadalupe St., 505-988-7008

Tiny’s Showcase karaoke with Nanci and Cyndi, 8:30 p.m., no cover. Upper Crust Pizza Singer/songwriter Dana Smith, country-tinged folk tunes, 6-9 p.m., no cover. Vanessie Pianist/vocalist Kathy Morrow, 6:30 p.m., call for cover.

Annie Rose the Flower Fairy, 8 a.m.-1 p.m., Santa Fe Farmers Market Pavilion, 1607 Paseo de Peralta, no charge.


(See Page 50 for addresses) Cowgirl BBQ Singer/songwriters Sky Smeed & Joe Mack, 8 p.m., no cover. Duel Brewing Taken by Canadians, alternative rock, 6-8 p.m., no cover. El Farol Canyon Road Blues Jam, 8:30 p.m., call for cover. Evangelo’s Tone and Company, R & B and rock-jam band, 8:30-11:30 p.m., call for cover. La Fiesta Lounge at La Fonda Country band Slo Burning, 7:30 p.m.-close, no cover. Zia Diner Weekly Santa Fe bluegrass jam, 6 p.m., no cover.


Winterowd Fine Art 701 Canyon Rd., 505-992-8878. Sculptural Forms in Glass, group show, reception 2-4 p.m.


Operatic trilogy for families Santa Fe Opera presents three fully staged, short operas composed for youth; today: Avastar, 2 p.m., True North, 3 p.m., Gaddes Hall, Santa Fe Opera, 301 Opera Dr., $10 at the box office, 505-986-5900, continues June 7 and 8.


4 Wednesday

New Mexico Bach Aria Group 6:30 p.m., performers include soprano Jennifer Perez, tenor Andre Garcia-Nuthmann, and pianist Franz Vote, Immaculate Heart of Mary Chapel, 50 Mount Carmel Rd., $25, discounts available, 505-474-4513.


Hugh Laurie Actor/musician; with the Copper Bottom Band, 7:30 p.m., the Lensic, $47-$79, 505-988-1234,


Frankie & Johnny in the Clair de Lune Terrence McNally’s play about an intimate encounter between two people, 4 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $20, discounts available, 505-988-4262, Thursdays-Sundays through June 8, contains nudity. (See story, Page 34) Gertrude Stein and a Companion A dramatized reading of Win Wells’ play, 2 p.m., Teatro Paraguas Studio, 3205 Calle Marie, donations accepted, 505-424-1601. School of Aspen Santa Fe Ballet spring recital Students ages 3-18 take the stage, 1 and 6 p.m., the Lensic, $20-$25, 505-988-1234,


Dana Levin and Jenny Browne The poets read from their collections, 4 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. (See Subtexts, Page 16) Lynn Cline The Santa Fe author discusses Literary Pilgrims: Life in the Santa Fe Writers’ Colony, 2 p.m., New Mexico Museum of Art, 107 W. Palace Ave., by museum admission, 505-476-5072. Pre-Columbian Dogs in the Southwest A lecture by Dody Fugate, Museum of Indian Arts & Culture assistant curator of archaeological research, in conjunction with the exhibit Wooden Menagerie: Made in New Mexico, 1 and 3 p.m., Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, by museum admission, 505-476-1269.


The Poetry of Light Writing workshop open to high school students and adults led by Santa Fe Poet Laureate Jon Davis; in conjunction with the exhibit Poetics of Light: Pinhole Photography, 1-4 p.m., New Mexico History Museum Auditorium, 113 Lincoln Ave., no charge, 505-476-5096.


(See Page 50 for addresses) Cowgirl BBQ Gospel/soul musician Zenobia, noon-3 p.m.; folk singer Eryn Bent & Troupe Red, 8 p.m.; no cover.

BOOKS/TALKS Marigold Arts shows woodcuts by Nancy Frost Begin, 424 Canyon Rd.

El Farol Chanteuse Nacha Mendez, 7:30 p.m., call for cover. Mine Shaft Tavern The Barbwires, soulful blues, 3-7 p.m., no cover. Second Street Brewery at the Railyard Santa Fe Revue, Americana, 1-4 p.m., no cover.


John Hodgman Humorist, 7 and 9 p.m., Jean Cocteau Cinema, $20 at the box office and online at, discounts available. (See story, Page 36)


Breakfast With O’Keeffe The gallery-talk series continues with Preserving Historic Landscape Character, presented by Jillian P. Cowley, National Park Service historical landscape architect, 8:30 a.m., Georgia O’Keeffe Museum, 217 Johnson St., by museum admission, 505-946-1000. Southwest Seminars lecture The series continues with Living in Indian Country: Forever Visitors, with Bruce Bernstein, 6 p.m., Hotel Santa Fe, 1501 Paseo de Peralta, $12 at the door, 505-466-2775,


Santa Fe Opera Backstage Tours Behind-the-scenes tours including production and front-of-house areas are offered daily through Aug. 22, 9 a.m., Santa Fe Opera, 301 Opera Dr., $10; seniors $8; no charge for ages 22 and under, 505-986-5900. Swing dance Weekly all-ages informal swing dance, lessons 7-8 p.m., dance 8-10 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., dance $3, lesson and dance $8, 505-473-0955.


(See Page 50 for addresses) Cowgirl BBQ Karaoke night with Michele Leidig, 8 p.m., no cover. Evangelo’s Tone and Company, R & B and rock-jam band, 8:30-11:30 p.m., call for cover. La Fiesta Lounge at La Fonda Country band Slo Burning, 7:30 p.m.-close, no cover. Mine Shaft Tavern Roses Pawn Shop, bluegrass and alternative country, 8 p.m.-midnight, call for cover. Upper Crust Pizza Troubadour Gerry Carthy, 6-9 p.m., no cover.

3 Tuesday EVENTS

City of Santa Fe Arts Commission training workshops Free businessdevelopment-assistance workshop series for Santa Fe artists; this evening: Reality Check and Tips for Artists, with business consultant Bette Bradbury, 6-7 p.m., Santa Fe Arts Commission Community Gallery, 201 W. Marcy St., contact Rod Lambert, 505-955-6705. International folk dances Weekly on Tuesdays, lessons 7 p.m., dance 8 p.m., Odd Fellows Hall, 1125 Cerrillos Rd., $5 donation at the door, 505-501-5081 or 505-466-2920. Tuesday Santa Fe Farmers Market kick-off party Includes performances by jazz saxophonist Brian Wingard and bluegrass band Paw Coal and The Clinkers, a cooking demonstration by the Santa Fe Culinary Academy, and a children’s event hosted by

Arthur Sze The poet reads from Compass Rose, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. Iconic Architecture and the Romance of Santa Fe Friends of Architecture Santa Fe presents architects Craig Hoopes, Barbara Felix, and Beverley Spears in a discussion of their work in the creation and renovation of the Lensic, La Fonda Hotel, and the Santa Fe Community Convention Center, 5:30-7:30 p.m., Tipton Hall, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., no charge, for more information visit


Gentle walk One- to two-mile walk along a relatively flat trail. Meet at PEEC to carpool to the trailhead, 9 a.m.-noon, Pajarito Environmental Education Center, 3540 Orange St., Los Alamos, no charge, 505-662-0460,


Southwest pottery demonstrations Native artists discuss and demonstrate their techniques, clays, and styles, 1-3 p.m., Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, by museum admission, 505-476-1269.


(See Page 50 for addresses) Cowgirl BBQ Kyle Martin, honky-tonking Americana, 8 p.m., no cover. Duel Brewing Contraband, reggae and ska, 7-10 p.m., no cover. El Farol Guitarist/singer John Kurzweg, 8:30 p.m., no cover. Evangelo’s Tone and Company, R & B and rock band, 8:30-11:30 p.m., call for cover. La Fiesta Lounge at La Fonda Country-music veteran Bill Hearne and his trio, 7:30 p.m.-close, no cover. ▶▶▶▶▶▶▶▶ PASATIEMPOMAGAZINE.COM


5 Thursday IN CONCERT

San Miguel Chapel Bell Tower Restoration Concert Series Guitarist AnnaMaria Cardinalli performs Legado y Leyenda, 7:30 p.m., San Miguel Chapel, 401 Old Santa Fe Trail, $20 at the door. Jimmie Vaughan and the Tilt-a-Whirl Band Texas blues/rock guitarist, 7:30 p.m., Alex Maryol Band opens at 6 p.m., Railyard Plaza, no charge for the Santa Fe Railyard concert series.


Frankie & Johnny in the Clair de Lune Terrence McNally’s play about an intimate encounter between two people, 7:30 p.m., Santa Fe Playhouse, 142 E. De Vargas St., $10, 505-988-4262, Thursdays-Sundays through June 8, contains nudity. (See story, Page 34)


Gene Peach The local photographer launches his monograph Santa Fe, 6 p.m., Collected Works Bookstore, 202 Galisteo St., 505-988-4226. New Mexico Arts Commission open meeting Quarterly meeting; 9:30 a.m.12:30 p.m., Room 238, Old Senate Chambers, Bataan Memorial Building, 407 Galisteo St., no charge, call 505-827-6490 for copies of agenda.


(See Page 50 for addresses) Cowgirl BBQ Rocker Jill Cohn, 8 p.m., no cover. Duel Brewing Rockers Anthony Leon & The Chain, 7-10 p.m., no cover. El Farol Guitarras con Sabor, Gypsy Kings-style rhythms, 8 p.m., no cover. La Fiesta Lounge at La Fonda Country-music veteran Bill Hearne and his trio, 7:30 p.m.-close, no cover. Palace Restaurant & Saloon Thursday limelight karaoke, 10 p.m., no cover. The Matador DJ Inky Inc. spinning soul/punk/ska, 8:30 p.m., no cover.

Talking Heads

Nüart Gallery shows paintings by Santiago Pérez, 670 Canyon Rd.

Second Street Brewery Alternative-country band Boris & The Saltlicks, 6-9 p.m., no cover. Zia Diner Trio Bijou, vintage string jazz, 6:30-8:30 p.m., no cover.


Chatter Sunday Horn and piano recital; music of Reinecke and Persichetti, 10:30 a.m. Sunday, June 1, The Kosmos, 1715 Fifth St. N.W., $15 at the door, discounts available, Buddy Rich alumni tribute concert Under the direction of trumpeter Bobby Shew; featuring percussionist Steve Smith, 4 p.m. Sunday, June 1; panel discussion 2 p.m., video presentation follows the performance, KiMo Theatre, 421 Central Ave. N.W., $20-$40 in advance at Chatter Cabaret Music of Brahms, Kevin Volans, and Jimi Hendrix, 5 p.m. Sunday, June 1, Hotel Andaluz, 125 Second St. N.W., $25,


Second Annual Opera, Wine, and Cheese Española Valley Opera Guild and Black Mesa Winery host an evening of live music (Carlos Archuleta, with Christina Martos, accompanied by pianist John Rangel), wine, hors d’oeuvres, and raffle prizes, 4-7 p.m. Saturday, May 31, Misión Museum y Convento, 706 Bond St., $10, under 21 $5, Gene Peach Join the local photographer as he launches his monograph with a presentation and signing at 6 p.m. Thursday, June 5; introduction by local author Christine Mather. Collected Works Bookstore, 202 Galisteo St., 505-989-4226. 52

PASATIEMPO I May 30-June 5, 2014


Jemez Historic Site Elder in Residence Program Jemez tribal elders provide tours and share stories on-site Wednesdays-Sundays beginning Wednesday, June 4, running to July 13. Tours held 10 a.m. and 2 p.m., 18160 NM 4, by site admission, call 575-829-3530 for details.


Mesa Public Library (Art Gallery) 2400 Central Ave., 505-662-8254. Art by Tiffany Rose, works on paper by Tiffany Hinojosa, reception 4:30-7:30 p.m. Thursday, June 5, through June 29.


Black Mesa Winery 241 Ledoux St., 575-758-1969. Group show of works by members of Tapestry Five, reception 4-6 p.m. Friday, May 30. Red Working Class Theatre presents John Logan’s play, 7 p.m. Friday-Sunday, May 30-June 1, 7 p.m. Thursday-Saturday, June 5-7, Parks Playhouse, 1335-L Gusdorf Rd., $15, discounts available, 575-613-0998. Martha Reich and Michael Kott Santa Fe singer/songwriter and cellist; 4-6 p.m. Thursday, June 5, Historic Taos Inn, 125 Paseo del Pueblo Norte, no cover, 575-758-2233.

▶ People who need people Artists

23rd Annual National Pastel Paintings Exhibition Prospectus and details for the Nov. 1-30 show held at Albuquerque’s Expo New Mexico are available online at 2015 Cathedral Park arts & crafts shows The City of Santa Fe Arts Commission is accepting applications from nonprofit arts organizations interested in presenting up to three shows next year; deadline 5 p.m. Monday, June 16; limits: 30 booths per show, held on Saturdays and Sundays; only juried shows considered; visit for details; 505-955-6707.

Fiestas de Cerrillos Artists, craftspeople, and nonprofits may sign up to participate in the market held Sept. 20; contact Sandy Young for details, 505-438-2885, Indigenous Fine Art Market/IFAM Booths available for the inaugural market held at the Railyard Aug. 21-23; booth fees due by Friday, May 30 for artists accepted to Santa Fe Indian Market; by June 20 for new applicants; application forms available online at Santa Fe Arts Commission Art on Loan Call for privately owned artworks to be placed at the Santa Fe Community Convention Center; artists, galleries, and collectors may submit a proposal for consideration by 5 p.m. Friday, May 30;, 505-955-6707. SITE Santa Fe Spread 5.0 Grant applications sought by New Mexico studio artists to participate in SITE’s recurring public dinners designed to generate financial support for artistic innovation; all disciplines considered; application period opens Monday, June 2, through Sunday, July 6; details available online at; no phone calls, please. Taos Art Glass Invitational Glass artists may submit sculptural, functional, or wearable works for international biennial exhibit held Oct. 11-Nov. 9; entries and artists’ statements must be received by Sunday, June 1; details and forms available online at Tear Mirror art project Santa Fe Art Institute, SFUA&D campus. Santa Fe Art Institute artist-in-residence Tomoko Hayashi invites individuals to share written personal stories behind their tears, as well as their actual tears to be made into jewelry; call 505-424-5050 for more information, Zozobra poster and T-shirt design contest The Kiwanis Club of Santa Fe welcomes submissions in all mediums; 1920s depictions of Zozobra preferred; visit for entry forms and details; entries must be received by Monday, June 16; email Raymond Sandoval for more information,


New Mexico Dance Coalition Student Scholarships 2014 Two scholarship awards distributed in time for fall tuition; available to residents ages 8 and up; application forms and guidelines available online at; apply by Friday, Aug. 15.


Plant a Row for the Hungry A Food Depot program encouraging home gardeners to plant extra produce for donation to the organization; 505-471-1633. Santa Fe Humane Society and Animal Shelter Dogs need individuals to take them on daily walks; all shifts available, call Katherine at 505-983-4309, Ext. 128.

▶ Pasa Kids Santa Fe Children’s Museum Weekly events including open art studio, drama club, jewelry-making club, and preschool programs, 1050 Old Pecos Trail, by museum admission, 505-982-8359. Canyons, Mesas, Mountains, and Skies Melissa Mackey leads children ages 6-10 in outdoor games to explore one theme each Wednesday in June (4, 11, 18, 25); hosted by Los Alamos’ Pajarito Environmental Education Center, 3540 Orange St., $8 registration fee, 505-662-0460, ◀

In the wings MUSIC Santa Fe Women’s Ensemble The choral group’s 33rd season continues; 3 p.m. Saturday and Sunday, June 7-8, First Presbyterian Church of Santa Fe (Saturday) and Immaculate Heart of Mary Chapel (Sunday), $25, students $10, 505-988-1234,, visit for details. New Mexico Women’s Chorus Celebrating 20 years; guest performers include the Q-Tones of the New Mexico Gay Men’s Chorus and the Band of Enchantment, 4 p.m. Sunday, June 8, Santa Fe Center for Spiritual Living, 500 Camino de los Marquez, $15 in advance; $20 at the door; discounts available; tickets available online at Music on the Hill 2014 St. John’s College’s annual free outdoor concert series opens 6-8 p.m. Wednesday, June 11, with Bert Dalton’s Brazil Project; performers include jazz saxophonist Brian Wingard, jazz vocalist Annie Sellick, and six-piece dance band Manzanares; continues Wednesdays through July 23 (no concert July 2), 505-984-6000. Xavier Rudd Australian singer/songwriter, 7:30 p.m. Wednesday, June 11, Santa Fe Sol Stage & Grill, $20,, 505-989-1234. Carrie Rodriguez Fiddler/songwriter, 7 p.m. Saturday, June 14, Gig Performance Space, 1808-H Second St., $25 in advance at,$29 at the door. New Mexico Gay Men’s Chorus: We’re Married! Now What? 3-5 p.m. Sunday, June 15, James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd., $20 in advance online at and at the door, discounts available. Rodney Crowell Country singer/songwriter, 7:30 p.m. Tuesday, June 17, the Lensic, $35-$45, 505-988-1234, Santa Fe Music Collective Featuring jazz-fusion percussionist Mike Clark, with pianist Brian Bennett, bassist Michael Olivola, and percussionist John Trentacosta, 7 p.m., Thursday, June 19, Museum Hill Café, 710 Camino Lejo, $25, 505-983-6820, Taos School of Music The 52nd season opens with the Borromeo String Quartet Sunday, June 22; Taos Community Auditorium, 133 Paseo del Pueblo Norte, concerts continue into August at various venues, $20, discounts available, season tickets $80, Santa Fe Bandstand 2014 The annual free music series featuring local and national acts returns with an expanded 10-week run beginning Monday, June 23, and continuing weekly through August on the Plaza; The lineup includes local favorites Bill Hearne, Nacha Mendez, and Bert Dalton; plus Candace Bellamy, Lipbone Redding and his two-man orchestra, and Joy Harjo, Playing for Change Band Peace Through Music tour, 7:30 p.m. Tuesday, June 24, Santa Fe Sol Stage & Grill, $29 in advance,, 505-988-1234. Chris Robinson Brotherhood Blues-rock band, 7 p.m. Wednesday, June 25, Santa Fe Sol Stage & Grill, $25 in advance, 505-988-1234,

UPCOMING EVENTS the Orion String Quartet, pianist Inon Barnatan, and violinist William Preucil, schedule available online at


Santa Fe Opera 2014 Festival Season The season opens with a new production of Bizet’s Carmen and includes the American premiere of Dr. Sun Yat-sen by Huang Ruo, as well as Beethoven’s Fidelio and Stravinsky’s Le Rossignol, June 27-Aug. 23, schedule of community events available online, Santa Fe Opera, 301 Opera Dr., 505-986-5900, The Old 97s Alternative-country band, 7 p.m. Sunday, June 29, Santa Fe Sol Stage & Grill, $20 in advance, 505-988-1234, The Soulshine Tour Michael Franti and Spearhead, SOJA, Brett Dennen, and Trevor Hall, 6 p.m. Saturday, July 5, Downs of Santa Fe, 27475 W. Frontage Rd., $44 and $61, kids $12,, 505-988-1234, and Ninth Annual New Mexico Jazz Festival July 11-27 in Albuquerque and Santa Fe; Terri Lyne Carrington’s Mosaic Project, Jack DeJohnette Trio, Claudia Villela Quartet, Henry Butler with Steven Bernstein & The Hot 9, visit for schedule. Santa Fe Chamber Music Festival July 20 marks the beginning of the 42nd season; performers include the Dover Quartet,

The Sound of Music Musical Theatre Works Santa Fe presents the musical, 7 p.m. Fridays and Saturdays, 2 p.m. Sundays, June 6-15, Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr., $17 in advance, students $12,, $20 at the door. Roots Revival Cabaret chronicling the history of African Americans, 8 p.m. Saturday, June 7, the Lensic, $22.50, 505-988-1234, The Yes Men Andy Bichlbaum and Mike Bonanno offer their satirical look at federal and corporate corruption, 6 p.m. Friday, June 13, the Lensic, $15, 505-988-1234,, proceeds benefit the Thematic Residency Program at Santa Fe Art Institute. The Light Surgeons: Super Everything The London-based media-production company presents its multimedia performance, 8 p.m. Friday, June 20, the Lensic, $15-$25, 505-988-1234, Follies: The Concert Version Santa Fe REP presents Stephen Sondheim’s musical, 7:30 p.m. Thursdays and Saturdays, 4 p.m. Sundays, June 21-29, Warehouse 21, $25, discounts available, 505-629-6517, Antonio Granjero and EntreFlamenco Flamenco dance troupe, with Estefania Ramirez, 8 p.m. nightly from July 2 through August, María Benítez Cabaret, The Lodge at Santa Fe, 750 N. St. Francis Dr., $25-$45, 505-988-1234,


Currents: Santa Fe International New Media Festival 2014 Featuring works by international and local artists; exhibits, outdoor video projections, and digital dome screenings beginning Friday, June 13, with events scheduled through Sunday, June 29, at various venues including El Museo Cultural de Santa Fe, Railyard Plaza, Jean Cocteau Cinema, and Warehouse 21, for details visit CCA’s 35th anniversary party: Shebang! Free films, dance performances, local bands, food trucks, and family activities, 11 a.m.-7 p.m. Saturday, June 14, Center for Contemporary Arts, 1050 Old Pecos Trail, no charge, 505-982-1338. Buckaroo Ball Fundraiser in support of charities serving at-risk youth; three-course dinner and dancing to veteran country band Asleep at the Wheel, 6 p.m. Saturday, June 14, Buffalo Thunder Resort & Casino, call 505-603-0833 or visit for advance tickets. 65th Annual Rodeo de Santa Fe Kick-off parade begins downtown at 11 a.m. Saturday, June 14; rodeo runs from Wednesday, June 18, through Saturday, June 21, 3237 Rodeo Rd., $10-$148, 505-988-1234,, for more information visit or call 505-471-4300. Pink Boot Breast Cancer Fundraiser Rodeo de Santa Fe hosts the event; meet-andgreet with rodeo performers, behind-the-chutes tour, and silent and live auctions, 3:30 p.m. Friday, June 20, under the VIP tent, 3237 Rodeo Rd., $30, 505-920-8444. Mr. Z’s 1920 New Mexico Speakeasy An event commemorating the 50th anniversary of the Kiwanis Club’s acquisition of the rights to Zozobra; taco and tequila tasting; costumes encouraged; 6 p.m. Saturday, June 28, former Borders Books space, 500 Montezuma Ave., Sanbusco Center, $20 in advance, available online at, 21+. Party in Black & White Celebrating anniversaries for photography organizations Center (20th), Santa Fe Photographic Workshops (25th), and Center for Contemporary Arts (35th); hors d’oeuvres and wine, auction, and raffle, 6:30-9 p.m. Saturday, June 28, Muñoz Waxman main gallery, 1050 Old Pecos Trail, $45, 505-982-1338. ¡Viva la Cultura! Hispanic cultural festival running Tuesday, July 22, through Saturday, July 26; including performances by Cipriano Vigil y la Familia Vigil and Nosotros, a Spanish Market preview, lunch and dinner events, and film screenings; hosted by the Spanish Colonial Arts Society, Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, call 505-982-2226, Ext. 109 for advance tickets. Indigenous Fine Art Market More than 400 Native artists are slated to participate in this inaugural market held at the Santa Fe Railyard Thursday-Saturday, Aug. 21-23; events include a kickoff Glow Dance Party, youth programming, and film screenings, 93rd Annual Santa Fe Indian Market Launch party Thursday, Aug. 21; sneak preview Friday, Aug. 22; live auction dinner and gala Saturday, Aug. 23; market held on the Plaza Saturday and Sunday, Aug. 22-23;, 505-983-5220.

Carrie Rodriguez peforms at Gig Performance Space on Saturday, June 14.



AT THE GALLERIES 333 Montezuma Arts 333 Montezuma Ave., 505-988-9564. Panorama: Gus Foster, Carlos Silva, and Roberto Vignoli, photography, through June 13. Adobe Gallery 221 Canyon Rd., 505-955-0550. Paintings by former Santa Fe Indian School student artists Gerald Nailor, Allan Houser, Quincy Tahoma, Pablita Velarde, and others, through Wednesday, June 4. Café Pasqual’s Gallery 103 E. Water St., second floor, 505-983-9340. The Black Place: Earth Paintings, works on canvas, paper, and wood by photographer Walter W. Nelson, through June. Karan Ruhlen Gallery 225 Canyon Rd., 505-820-0807. In the Abstract, works by Martha Rea Baker, Bret Price, and Kevin Tolman, through June 7. Marigold Arts 424 Canyon Rd., 505-982-4142. New woodcut prints by Nancy Frost Begin, through Wednesday, June 4. Nüart Gallery 670 Canyon Rd., 505-988-3888. Go Back to Earth and Tell the Animals I Am Still Here, paintings by Santiago Pérez, through June 8. Santa Fe Clay 545 Camino de la Familia, 505-984-1122. ABC of Dinnerware, group show; 2014 Summer Preview Exhibit, works by artists conducting summer workshops; through June 7. Verve Gallery of Photography 219 E. Marcy St., 505-982-5009. Photographic Brushstroke, digital photography by Van Chu; Midnight Garden, Cy DeCosse’s cactus flower series; through June 21.


Center for Contemporary Arts 1050 Old Pecos Trail, 505-982-1338. The Armory Show, multimedia group exhibit and program series in celebration of CCA’s 35th anniversary, Muñoz-Waxman Gallery, through May • Enveloping Space: Walk, Trace, Think, Jane Lackey’s immersive site-specific installation, Spector-Ripps Project Space, through Sunday, May 31. Open ThursdaysSundays; Georgia O’Keeffe Museum 217 Johnson St., 505-946-1000. Georgia O’Keeffe and Ansel Adams: The Hawaii Pictures • Abiquiú Views; through Sept. 14. Open daily; Museum of Contemporary Native Arts 108 Cathedral Place, 505-983-1777. We Hold These Truths, contemporary paper baskets by Shan Goshorn, reception 4-5 p.m. Saturday, May 31 • 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; all exhibits up through July. 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


PASATIEMPO I May 30-June 5, 2014

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. National Hispanic Cultural Center 1701 Fourth St. S.W., 505-604-6896. En la Cocina With San Pascual, works by New Mexico artists. Hispanic visual arts, drama, traditional and contemporary music, dance, literary arts, film, and culinary arts. Closed Mondays;


Bond House Museum and Misión Museum y Convento 706 Bond St., 505-747-8535. Historic and cultural objects exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Call for hours;


Photographer Joan Myers’ works are on exhibit in Beneath Our Feet, at New Mexico Museum of Art, 107 W. Palace Ave.

Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, artifacts from the museum collection. Closed Mondays through Memorial Day; Museum of International Folk Art 706 Camino Lejo, Museum Hill, 505-476-1200. 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 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. Closed Mondays; Museum of Spanish Colonial Art 750 Camino Lejo, Museum Hill, 505-982-2226. Filigree & Finery: The Art of Adornment in New Mexico, through Sunday, May 31 • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19thcentury Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation;; open daily through Sept. 1. New Mexico History Museum/Palace of the Governors 113 Lincoln Ave., 505-476-5200. 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;; open daily through Oct. 7. New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072. 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 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 December 2015. Open daily through Oct. 7; Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900. For the Love of It, group show of pottery, including works by Maria Martinez, Joy Navasie, and Margaret Tafoya, through June 29. Closed Mondays; 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; Santa Fe Children’s Museum 1050 Old Pecos Trail, 505-989-8359. Interactive exhibits. Open daily from Monday, June 2, through August; 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;


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, more than 150 examples of craftsmanship and design distinctive to the charro;; closed Mondays. Indian Pueblo Cultural Center 2401 12th St. N.W., 866-855-7902. Our Land, Our Culture, Our Story, historical overview of the Pueblo world, and contemporary artwork and craftsmanship of each of the 19 pueblos. Weekend Native dance performances;

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; Los Alamos Historical Museum 1050 Bathtub Row, 505-662-4493. Edith and Tilano: Bridges Between Two Worlds, photographs and artifacts of the early homesteaders, through Sunday, May 31. Core exhibits on area geology, homesteaders, and the Manhattan Project. Housed in the Guest Cottage of the Los Alamos Ranch School. Open daily; 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;


Harwood Museum of Art 238 Ledoux St., 575-758-9826. Highlights From the Gus Foster Collection, contemporary works, through Sept. 7 • John Connell: Cheap Secrets of the East, contemporary works by the late artist, through Sept. 7 • Mabel Dodge Luhan & Company: American Moderns and the West, including works by Marsden Hartley, Ansel Adams, and Awa Tsireh, plus traditional Hispanic devotional art, through Sept. 11 • Highlights From the Harwood Museum of Art’s Collection of Contemporary Art • Death Shrine I, work by Ken Price • works of the Taos Society of Artists and Taos Pueblo Artists. Open daily through October; E.L. Blumenschein Home and Museum 222 Ledoux St., 575-758-0505. Hacienda art from the Blumenschein family collection, European and Spanish colonial antiques. Open daily; Kit Carson Home & Museum 113 Kit Carson Rd., 575-758-4945. Original home of Christopher Houston “Kit” and Josefa Carson displaying artifacts, antique firearms, pioneer belongings, and Carson memorabilia; kitcarsonhomeandmuseum. com; open daily. 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 and Tuesdays.


A peek at what’s showing around town

Lynn Boggess: 27 September 2013, oil on canvas. Plein-air artist Lynn Boggess applies paint with a trowel to create lush views of nature and the changing seasons. Solitude, an exhibit of his work, opens at Evoke Contemporary (550 S. Guadalupe St.) on Friday, May 30, with a 5 p.m. reception. Call 505-995-9902.

Holly Roberts: (Boy) Barefoot Rider, 2013, mixed media on panel. Holly Roberts mixes painting, photography, and collage in her artwork. She incorporates religious symbolism and mythology in darkly comic compositions, often blending human and animal forms. A Day in the Life, an exhibit of her work, opens with a 5 p.m. reception on Friday, May 30, at Zane Bennett Contemporary Art (435 S. Guadalupe St.). Call 505-982-8111.

Frankie with ceramic sculptures from Black Dog Down, 2014. Black Dog Down, the inaugural show at Wheelhouse Art Gallery (418 Montezuma Ave.), calls attention to the plight of big black dogs who have slim chances of being adopted at shelters and face large rates of euthanization — a phenomenon known as black-dog syndrome. The show features 13 ceramic sculptures by artist and gallery co-founder Joyce Stolaroff. The opening reception is Friday, May 30, at 6 p.m. Wheelhouse sponsors an adoption event through the Santa Fe Animal Shelter at 11 a.m. on Saturday, June 7, outside the gallery. Call 505-919-9553.

Joe Ramiro Garcia: Shack, 2013, oil and alkyd on canvas over panel. LewAllen Galleries at the Railyard (1613 Paseo de Peralta) presents Joe Ramiro Garcia: Transference, an exhibit of the artist’s mixed-media paintings. Garcia places familiar pop-culture imagery in abstract compositions that evoke childhood memories and a sense of nostalgia. The exhibit opens with a 5 p.m. reception on Friday, May 30. Call 505-988-3250.

John Connell (1940-2009): Tara, circa 1980, bronze. David Richard Gallery (544 S. Guadalupe St.) presents A Mind to Obey Nature, a survey of works by John Connell. The show includes paintings, sculptures, drawings, and collages. Connell used a variety of materials, including tar, gravel, glue, paint, and wood. He was inspired by Zen Buddhist philosophies and wabi-sabi, the Japanese aesthetic of the acceptance of imperfect beauty. The show opens with a 5 p.m. reception on Friday, May 30, and is a companion exhibit to John Connell: Cheap Secrets of the East, on view at the Harwood Museum of Art (238 Ledoux St., Taos, 505-758-9826). Call 575-983-9555.



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Pasatiempo May 30, 2014  

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