The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
BodyTraffic dance company
November 7, 2014
RESIDE
HOME Lensic Presents
Lunch Special Lunch Special Lobster Mac ‘N’ Cheese - 16.00 Dinner Special Grilled “Hawaiian” Swordfish w/ CilantroDinner Risotto,Special Butternut Squash & Lemon-Caper Beurre Blanc - 28.00
lunch / dinner / brunch - open every day! Happy Hour: 4 - 6 p.m. Mon. thru Fri. Our ‘Classic’ appetizers - 50% off Selected Wines-by-the-glass, ‘Well’ cocktails & House Margarita - $5.00 each FULL BAR • FREE WI-FI • HDTV 505 • 984 • 1788 please visit our website www.santacafe.com
231 washington ave ● santa fe
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PASATIEMPO | November 7 - 13, 2014
BODYTRAFFIIC
Contemporary dance from the acclaimed Los Angeles-based arbeito company founded by former Santa Fean Lillian Ba and Tina Finkelman Berkett.
November 7 & 8, 7:30 pm $15–$35 discounts for Lensic members
“BODYTRAFFIC has emerged as a force on the concert dance scene . . . it’s become a talk-about for its fierce performances in original repertoire by today’s top contemporary choreographers” —Dance Magazine, June 2014
Tickets: 505-988-1234 www.TicketsSantaFe.org S ERVIC E CH ARGES AP PLY AT A LL POIN TS OF P UR CH AS E
the lensic is a nonprofit, member-supported organization
Thanksgiving Dinner Thursday November 27th, 2014
Open 11:30 AM M til 5:00 PM • 3 Courses, $29.95 for Adults, $14.95 for Children
Entrees
annual sales event
• Chorizo-Stuffed Gulf Shrimp with Blue Crab Hushpuppies and Sweet Chili Glaze • Butternut Squas ash Soup with Toas asted s Pumpki kin i Seeds and Green Chili Sour Cream alad l with a Red Pear and Vermont White Wh h Cheddar, • Bibb Lettuce Sal Candied Wal alnuts, l Dried Cranberries and a Cranberry ryy Champagne Vinaigrette
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Desserts
kin i Pie with Spiced Chantilly Cream • Chocolate Chunk Pumpki • Deep Dish Pecan Pie with Jack Daniels Hard Sauce and Chocolate Chip Ice Cream
505-490-6550 • ThunderbirdSantaFe.com • Facebook.com/ThunderbirdBarGrill 50 Lincoln Ave, on the Santa Fe Plaza
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optigenesis THE ART OF LIBBY CHADD
November 14-30, 2014 ARTIST RECEPTION:
Friday, Nov. 14, 5:00-7:00PM “This woman is fearless; utterly sure of her eye for color, and infinitely willing to let form reinvent itself at the end of her pencil. Each drawing is radiantly alive, an artist’s journey that becomes the viewer’s journey. Libby’s work draws me in, infusing me with its energy, playfullness and wisdom.” —MARCIA MENTER, Collector
1512 Pacheco, St. #203 Santa Fe, NM 87505 (505) 490-2324
t h a nk s Thanksgiving Champagne Brunch Buffet | Zuni Ballroom | 10:00 - 2:00pm Thanksgiving Plated Dinner | Luminaria Restaurant | 1:00 - 8:00pm Reserve your table today! #loveluminaria | 505.984.7915 | luminariarestaurant.com 6
PASATIEMPO | November 7 - 13, 2014
Santa Fe Community Orchestra
Oliver Prezant, Music Director
SFCO 2014
Composition Competition Hear compositions by the two finalists presented in an open rehearsal format.
Friday, November 14, 6 – 7:30 pm New Mexico School for the Arts 275 East Alameda Street Admission free, donations welcome For more information: 505-466-4879 or visit www.sfco.org
The best or nothing.
The SFCO Composition Competition is made possible through the generous support of the Mill Foundation The SFCO is funded in part by the City of Santa Fe Arts Commission and the 1% Lodgers Tax and this project is made possible in part by New Mexico Arts, a division of the Office of Cultural Affairs, and the National Endowment for the Arts.
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museum of indian arts and culture presents
WHAT’S HAPPENING
Image still from Warriors Return
sunday, november 9th, 11:00 am–1:00 pm
Honoring our Native American Veterans A program honoring our Native American Veterans who have served and protected our homeland including a film screening of Warriors Return, by Marcia Rock.
friday, november 14th, 10:00 am & 2:00pm Film Screening
Huicholes: The Last Peyote Guardians The story about the mystical Wixárika People, one of the last pre-Hispanic alive cultures in Latin America, and their ongoing struggle against the Mexican government and multinational mining corporations to preserve Wirikuta, their most sacred territory and home of the famous peyote cactus. Please note film director Hernan Vichez will be accompanied by two Huichol Shamans in the film for a Q&A following each session.
wednesday, november 19th, 12:00–2:00pm
Let’s Take a Look Curators from the Museum of Indian Arts and Culture and the Laboratory of Anthropology will be in the lobby of MIAC to look at your treasures and attempt to identify and interpret artifacts and historic objects. Free and open to the public. Federal and state regulations prohibit the curators from appraising any artifact. All are free with paid admission, 16 and under always free. New Mexico residents with ID always free on Sundays.
Museum of Indian Arts and Culture
on Museum Hill 710 Camino Lejo (off Old Santa Fe Trail) 505-476-1269 indianartsandculture.org 8
PASATIEMPO | November 7 - 13, 2014
celebrations matter Santa Fe Place. ShoP For what matterS.
STORE LIQUIDATION SALE!
L AU R A S H E P P H E R D
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breast wishes trunk show!
Breast Cancer Awareness Month extended past October! Join us Nov 6, 12-3pm ast Wishes along with Brea Founder Lexie Shabel for Refreshments and Trunk Show (Nov 6–8) with items starting at $25. 10% of ALL sales go to Breast Wishe es!
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65 w. marcy streett santa fe, nm 8750 01 505.986.1444 laurasheppherd.com •
Men’s & Women’s Seasonal Apparel, Stylish Gifts & Accessories Liquidation Sale! Monday - Saturday 10-5:30 839 PASEO DE PERALTA
954-1024
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Merry. Merry.
Today & Saturday only! 20% off all open stock Staub cookware. Free gift with Staub purchase over $50 & register to win a Staub french oven.
Discover
Celebrate the Christmas Annex Customer Appreciation Day Saturday, November 22nd • 10am–4pm 10% off any Annex purchase over $50 Music & Refreshments
Over 50 unique stores, restaurants and theater North Guadalupe & Paseo de Peralta • Free Parking! • Walking Distance from Railyard & Plaza 505-982-2655 • devargascenter.com PASATIEMPOMAGAZINE.COM
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FIGMENTS OF REALITY An Exhibition of Contemporary Landscape Images
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O p e n i n g R e c e p t i o n To n i g h t f r o m 5 – 7 p m Book Signing with Beth Moon Tomorrow, November 8 at 1pm Show continues through Saturday, January 10th, 2015
nni r S h
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VERVE Gallery of Photography 219 East Marcy Street, Santa Fe
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PASATIEMPO | November 7 - 13, 2014
505-982-5009
vervegallery.com
VISIT THE NEWEST HOMEWISE HOMES COMMUNITY IN SANTA FE
JOIN US FOR THE TESSERA GRAND OPENING SATURDAY AND SUNDAY, NOV 8-9, 11AM – 6PM 34 VIA SUMMA Tucked in the northwest hills of Santa Fe, Tessera is conveniently located off 599, less than six miles from the historic Santa Fe Plaza with easy access to I-25 and 285 North. • Stunning mountain views
• Seven floor plans
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Take 599 to Camino La Tierra exit, then take the Frontage Road south to Tessera. Follow the signs to Tessera Model Homes.
1301 Siler Rd., Bldg. D Santa Fe, NM 87507 505.983.WISE (9473) info@homewise.org www.homewise.org/tessera
PASATIEMPOMAGAZINE.COM
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THE SANTA FE NEW MEXICAN
November 7 - 13, 2014
www.pasatiempomagazine.com
ON THE COVER 40 Physical identities/propensities Lillian Barbeito, who got her early dance training in Santa Fe, described her Juilliard experience: “I went in as a ballet dancer and came out a contemporary dancer.” In 2007, she and Tina Finkelman Berkett co-founded BodyTraffic, a company that has provided a sympathetic home for the work of new cutting-edge choreographers. BodyTraffic comes to the Lensic Performing Arts Center on Friday, Nov. 7, and Saturday, Nov. 8, in a mixed-repertoire program. On the cover is a photograph by Tomasz Rossa of the dancers in Kollide.
MOVING IMAGES
BOOKS 20 22 24
52 54
In Other Words This Changes Everything Ann Jones A Lannan event Hollis Walker The Booby Blog
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MUSIC AND PERFORMANCE 26 30 32 35 38
CALENDAR
Listen Up Russian summit Pasa Tempos Album reviews Classic collaboration Dave Grusin & Lee Ritenour Random Acts Arlen & Arlen Pasa Reviews King Lear
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Profiles in courage Native Women Sculpting Women Erika Wanenmacher Incorporate
Pasatiempo is an arts, entertainment & culture magazine published every Friday by The New Mexican. Our offices are at 202 E. Marcy St., Santa Fe, NM 87501. Editorial: 505-986-3019. E-mail: pasa@sfnewmexican.com
Radiolaria, 2014, by Erika Wanenmacher
Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com
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Assistant Editor — Madeleine Nicklin 505-986-3096, mnicklin@sfnewmexican.com
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Associate Art Director — Lori Johnson 505-986-3046, ljohnson@sfnewmexican.com
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Calendar Editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com
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Copy Editor — Susan Heard 505-986-3014, sheard@sfnewmexican.com
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STAFF WRITERS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Jennifer Levin 505-986-3039, jlevin@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com CONTRIBUTORS Loren Bienvenu, Taura Costidis, Ashley Gallegos-Sanchez, Laurel Gladden, Peg Goldstein, Robert Ker, Bill Kohlhaase, Iris McLister, James McGrath Morris, Robert Nott, Adele Oliveira, Jonathan Richards, Heather Roan Robbins, Casey Sanchez, Michael Wade Simpson, Steve Terrell, Khristaan D. Villela PRODUCTION Dan Gomez Pre-Press Manager
The Santa Fe New Mexican
© 2014 The Santa Fe New Mexican
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Robin Martin Owner
www.pasatiempomagazine.com
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Mixed Media Star Codes Restaurant Review: Fire & Hops
ADVERTISING: 505-995-3852 santafenewmexican.com Ad deadline 5 p.m. Monday
PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com ■
Pasa Week
AND
ART 44
Interstellar The Tale of the Princess Kaguya Chile Pages
Ginny Sohn Publisher
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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007
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MARKETING DIRECTOR Monica Taylor 505-995-3824
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RETAIL SALES MANAGER - PASATIEMPO Art Trujillo 505-995-3852
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ADVERTISING SALES - PASATIEMPO Chris Alexander 505-995-3825 Amy Fleeson 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Kelly Moon 505-995-3861 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830
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GRAPHIC DESIGNERS Rick Artiaga, Jeana Francis, Elspeth Hilbert, Joan Scholl
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ADMINISTRATIVE ASSISTANT Claudia Freeman 505-995-3841
Ray Rivera Editor
Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet
Tonight, Friday, November 7, 5:00-7:30
FIRST FRIDAY 2014
Downtown Museum District
ART WALK
ENJOY AN EVENING IN THE HEART OF DOWNTOWN SANTA FE Discover the heart, and Art, of Santa Fe’s distinguished Downtown Museum District, a diverse group of galleries and renowned museums including New Mexico Museum of Art, Palace of the Governors, New Mexico History Museum, and Georgia O’Keeffe Museum. Participating galleries are open until 7:30, museums until 7:00.
ART WALK
There’s always something new to experience where contemporary culture meets 400 years of history.
Photo: Ivan Barnett
TAD TRIBAL ART
MANITOU GALLERIES
SFF ARTS COMMISSION
Taylor Dale
Nicholas Coleman
Deborah Klezmer
JOHN RUDDY John Ruddy
ELLSWORTH GALLERY
PATINA GALLERY
BLUE RAIN GA ALLERY
SORREL SKY GALLERY
William Dubby Fuqua
Susan and Jeff Wise
Martin Spe ei
Jane Chavez
CASWECK GALLERY
Explore museums, galleries, restaurants, bars, boutiques and hotels within a 4-block radius, and plenty of parking. COME JOIN US!
PASATIEMPOMAGAZINE.COM
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FRIDAY, NOVEMBER 7TH DJ QUICO
SATURDAY, NOVEMBER 8th DJ 12 trIbe
NOVEMBER 22 • 8PM
BUFFAlO THUNDER PRESENTS
Call for New Mexico Middle School Teachers WITH
KINGZ1 & GRUPO VIDA
The Indian Pueblo Cultural Center invites New Mexico middle school teachers to participate in a half-day workshop to pilot Pueblo-based middle school curriculum in math, science, language arts & history. Upcoming Workshop Santa Fe Saturday, November 8, 2014 Santa fe Indian School Campus 10:00 am – 2:00 pm Workshop is frEE to attend light refreshments will be served For more information or to RSVP send an email to: curriculumIPCC@gmail.com
$20 tickets purchase at www.tickets.com or casino cashier
To learn more about the IPCC 100 Years Pueblo K-12 Curriculum Project visit us online: www.indianpueblo.org/100yearscurriculum Supported by the W.K. Kellogg Foundation
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PASATIEMPO | November 7 - 13, 2014
MIXED MEDIA
Sale
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Carry Out or Delivery*! *delivery offered between noon and 9:30 pm.
JC’s EXPRESS
Hispanic Cuisine 505-424-8889 4350 Airport Road, Suite 15
Patricio Calabasa, Santo Domingo Pueblo, circa 1927, photo T. Harmon Parkhurst; courtesy Palace of the Governors Photo Archives (NMHM/DCA), Negative No. 46763
What’s old is new: How to do your Native do
In February 2014, an exhibit called Native American Portraits: Points of Inquiry, featuring dozens of portraits of Native peoples from all over the United States, opened at the Museum of Indian Arts & Culture. The photos, taken by a wide variety of photographers, date from the mid-1800s; there is also a group of contemporary images from Native photographers. The show was curated by Diane Bird, the museum’s archivist. Among the feedback she has received about the exhibit are numerous questions about the hairstyles worn by the people in the pictures. Visitors to the museum have wanted to know if the hairstyles are still popular and if they have ceremonial significance. Museum employees have talked about who in their family wore, or knew how to create, certain styles — some of which, such as the “Hopi maiden butterfly whorl,” take training and a deft hand. In response, MIAC is hosting Native American Hairstyles: Historic and Contemporary, on Saturday, Nov. 8, from 11 a.m. to 3 p.m. It’s an oldfashioned hair show, with demonstrations of how to make the butterfly whorl, the Navajo woman’s bun, the Navajo man’s bun, the Pueblo woman’s bun, and other Native styles of braids, bangs, and hair accessories. Visitors’ questions are welcome throughout. After the demonstrations, the models will parade all the styles during a presentation in the museum’s theater. Stylists and models are from the Zia, Santa Clara, and Jemez pueblos as well as the Hopi, Navajo, and Pawnee nations. Though the hairstyles are traditional and date back centuries, most of them are still in use — some for everyday wear and some for ceremonies and dances. Entrance is by museum admission. MIAC is on Museum Hill at 710 Camino Lejo; call 505-476-1250. — Jennifer Levin
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PASATIEMPOMAGAZINE.COM
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NOW OPEN El Castillo’s New Health Care Center We proudly announce that the final phase of our expansion is complete.
We are now offering Assisted Living, Nursing Care and Memory Care to all area residents. Large Assisted Living Apartments, Private Single Rooms in Nursing, Spacious Santa Fe style apartments in Memory Care. Call today for more information and a tour: 505-995-2128
Quality care means quality of life. • We have proudly served the Santa Fe community since 1971.
• Our trained staff provides quality care in a comfortable setting.
• You don’t have to be a resident of El Castillo to benefit from our excellent services.
Residents are already moving into our gorgeous new private Health Care Rooms and enjoying the natural beauty of our campus from the beautiful new solarium.
Our Residents Say: Lovely Accommodations, Light, Cheery, Homelike, Warm and Comfortable Main Campus 250 East Alameda • The Garden Memory Center 239 E. DeVargas • Santa Fe • 505.988.2877 • elcastilloretirment.com 16
PASATIEMPO | November 7 - 13, 2014
STAR CODES Heather Roan Robbins
Talk out unfinished business on Friday and early Saturday under a
verbal and chatty Gemini moon. Our conversation becomes more terse and pointed later as Mercury joins Venus, the sun, and Saturn in intense Scorpio. This lineup is wonderful for any deep work or research. However, any obsessive-compulsive streak, jealousy, or other neurotic quirks could magnify under minor pressures, and we may do better than usual under major stress. Our hearts stir with love, jealousy, longing, and compassion as Venus squares magnifying Jupiter on Sunday. Imagination and intuition work overtime early next week as Mercury trines perceptive Neptune. Explore spiritual processes, but don’t debate religion. Our own understanding can feel so strong that we want to disabuse others of their crazy notions, which is an unproductive Neptunian illusion. It will be important for us to stay focused on what’s productive and be positive when we hit a static-filled patch toward the end of the week. Mars energizes us and triggers seminal strategic events as it conjuncts powerful Pluto, symbol of transformative power, and squares energizing change-master Uranus. Look for a path to a productive future.
Friday, Nov. 7: Recent conflicts have left a residue — assess what’s best to leave alone and what needs to be dealt with now. People are still stubborn, needing comfort and healing more than conflict. Morning is personal, subjective, and touchy — tackle problems not people. Save important conversation until dinnertime, when the moon enters voluble Gemini.
Implant Dentistry of the Southwest If you are missing one or more teeth, why not consider a Dental Implant? They may be your best solution. Dr. Burt Melton 2 Locations Albuquerque 7520 Montgomery Blvd. Suite D-3 Mon - Thurs 505-883-7744
Santa Fe 141 Paseo de Peralta, Suite C Wed - Fri 505-983-2909
Saturday, Nov. 8: Catch up with one another and reconnect before Mercury enters Scorpio late in the afternoon. Tonight, seriousness can weigh on our minds, and so can a good mystery. Conversation continues but takes on an edge. Respect privacy — explore the mystery together rather than invade one another’s mind-set. Sunday, Nov. 9: The muses want to dance. Creativity and tender romantic feelings need time and attention. Anger over romantic pain can aggravate those who don’t have a place to put their longing as Venus squares Jupiter. Monday, Nov. 10: Get serious — the mood is willful, introverted, eventful, and creative. Put disciplined work together with inspiration and compassion as the sun and Venus conjunct hardworking Saturn. Insecurities or neuroses can mumble in the background and slow us down. Tuesday, Nov. 11: Check in with news and gossip: the lay of the land may have changed overnight as the moon opposed Mars and Pluto. Personal quirks and minor tensions leave us a little twitchy this morning, but we have to see through our responsibilities. Flow improves this afternoon — dive into the intuitive dream world. Wednesday, Nov. 12: We long for comfort and safety this morning, but the world needs our attention. Irritable defenses can confuse our perception and set off difficult chain reactions. Our intuition works best when our egos are out of the way. That gets harder as the day progresses and the moon enters more outgoing, stubborn, subjective Leo.
CHALLENGE YOUR INNER ATHLETE First session free!* Get ready for ski season!
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COMMUNITY RATES for the ARTS
Thursday, Nov. 13: Overblown situations can test our affections as Venus conjuncts Saturn and Mars squares Uranus. Trust traditions and time-tested friendships. Be there for one another in a nonpushy but consistent way. Channel energy flashes away from temper and into brilliance. ◀ www.roanrobbins.com
Apply today!
3 CREDITS FOR $300 ART | MUSIC | FILM | THEATER | DANCE
NORTHERN New Mexico College | (505) 747-2295 or www.nnmc.edu PASATIEMPOMAGAZINE.COM
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C o mm u N iTy L eC T uR e
Why We Kill:
Violence as Socialization Wednesday November 12 7:30 p.m. James A. Little Theater 1060 Cerrillos Rd., Santa Fe
Lectures are free and open to the public. Seating is limited.
Acts of serious violence – often committed by seemingly average people – leave us only to ask “Why?” Culture, genetics, and low self-esteem are often cited, but growing evidence points to brutalization experienced in childhood, often at the hands of parents or peers. Ginger Rhodes and Richard Rhodes explore the work of criminologist Lonnie Athens, whose “violentization” model identifies a four-stage process by which almost any human being can be socialized into someone who will assault, rape, or murder. Their talk looks at the history of violence, questions the association of violence with mental illness, tests Athens’ theory on real-life cases, and makes an argument for early intervention. Ginger Rhodes is a licensed clinical psychologist in private practice in San Francisco specializing in trauma treatment. Richard Rhodes is an award-winning author including of The Making of the Atomic Bomb, which won a Pulitzer Prize in nonfiction.
SFI’s 2014 Community Lecture series is generously sponsored by Thornburg Investment Management
Decorative. Unique. Functional Light fixtures that brighten and enhancce y your home.
Lensic Presents
The Senegal St. Joseph Gospel Choir November 11, 7 pm $15–$35
A company of singers and traditional drummers, direct from Dakar! These inspiring voices bridge the Catholic and Islamic cultures of West Africa through songs, spirituals, and masses sung in four languages: Ouolof, Diola, Serere, and Portuguese Creole.
discountts for Lensiic memb bers
Visit our Full Service Prem mier Showroom today.
1000 Siler Park Lane, Suite A Santa Fe, New Mexico 87507-3169 505.471.7272 • Fax 505.471.9232 Mon-Fri 8am - 5pm & Sat 10am - 2pm
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PASATIEMPO | November 7 - 13, 2014
Tickets: 5055-9 988-12334 www.Tick ketsSantaFe.org service charges apply at all points of purchase
th e lensic is a non profit, member-supported organ ization
Do you suffer from?
Leg Pain Skin Discoloration Swollen Legs
Restless Legs Varicose Veins Venous Ulcers
*** New Mexico's Most Experienced Treatment Center *** Board Certified Surgeon With Ultrasound Credentials *** Insurance Advocate and In-House Financing *** Over 5000 Patients Treated Successfully *** Onsite Vascular/Ultrasound Laboratory *** Joseph M. Smith, M.D., F.A.C.S., R.V.T. R.P.V.I., R.P.h.S. 505-995-VEIN (8346) 490-B W. Zia Road, Suite 1 Santa Fe, NM
His Legacy Continues in making things FUN and SIMPLE!
Anonymous 4
tuesday, december 9, 2014 | 7:30 pm tickets: $17–65 location: cathedral basilica of st. francis
Medigap Insurance Whether you are newly eligible or want to change plans, we WELCOME YOU!
Health Care Reform Founder, Ken Truse with his grandchildren. 1946-‐2014
ADVANTAGE FINANCIAL SERVICES INC. Ken Truse & Associates Building on over 30 years of agency expertise. 1421 Luisa St., Suite O, Santa Fe • Phone Us! 505-984-0163
Helping you with the changes, choosing a plan and enrollment. Open Enrollment begins November15th.
No charge for our services. We are compensated by our contracted insurance companies.
S E R E NATA
of Santa Fe
The Art of BACH
SERENATA OF SANTA FE presents
Sunday, November 16, 2014 | 3:00pm
First Presbyterian Church, 208 Grant Ave, Santa Fe
The Goldberg Variations, BWV 988 goes rogue,
Elena Sopoci for & Michael violin | Sitkovetsky Shanti Randall, viola arranged stringsShu, by Dmitry Dana Winograd, cello | James Shields, clarinet L.P. violinsoprano | Christof| Jeff Huebner, viola |percussion Felix Fan, cello GailHow, Springer, Sussmann, FOR TICKETS CALL: 505-989-7988 or e-mail serenataofsantafe@gmail.com For more information visit: SERENATAOFSANTAFE.ORG
Don’t miss this world-famous a cappella group in their final Santa Fe performance. TicketssantaFe.org | 505 988 1234 PerformancesantaFe.org | 505 984 8759
Partially funded by the City of Santa This project is supported in part by New Mexico Arts, a division of the Department Fe Arts Commission of Cultural Affairs, and by the National and the 1% Lodgers’ Tax. Endowment for the Arts.
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IN OTHER WORDS book reviews This Changes Everything: Capitalism vs. the Climate, by Naomi Klein, Simon & Schuster, 566 pages It comes as no surprise that Naomi Klein’s new book, This Changes Everything: Capitalism vs. the Climate, swoops in from the far left to make the case that too little is being done to slow global warming. Klein has made a name for herself as one of the premier progressive voices in contemporary nonfiction. Her earlier work — most notably The Shock Doctrine — squarely blames the free-market ideals conservatives hold so dear and privatization of government’s missions (especially in the defense arena) for social injustices against largely voiceless populations in America and abroad. So anyone on the fence about whether human activity affects the climate can stop reading now and need not bother to pick up the book. The same goes for advocates of fossil-fuel extraction who think its economic benefits outweigh the environmental consequences. These camps will find no validation in the pages of This Changes Everything. The book clearly targets a liberal audience but poses a tough question. The author asks why even the most committed progressives tend to shy away from making climate change their pet cause, and she confesses she once fell into that category herself. After all, who has time to rail against the mighty oil and gas companies over a threat that might not fully manifest itself for years — even decades, if not centuries — when there are whales to save right now, foreign poor who are hungry today, and marginalized groups in our own backyard whose recompense in some cases is centuries overdue? Everyone should take time to ponder climate change, Klein argues, or time will run out before society can remedy any of the other problems in its dizzying array of worries. Klein makes a case that widely varied progressive causes ranging from the fight against genetically modified food to domestic and international social justice, preservation of ancient cultures, and concern for animals all intersect with slowing the progress of climate change. Klein sees the need for a deep bench of no-names instead of a rich roster of superstars. She stops bludgeoning the obvious climate-change villains long enough to shame self-proclaimed champions of the environmental movement whose actions contradict their words. The Nature Conservancy, which has allowed oil drilling on a Texas nature preserve, and Virgin empire magnate Richard Branson, who Klein says has broken promises to promote a more carbonprudent world, don’t get free passes.
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PASATIEMPO I November 7-13, 2014
It’s with stories like these that This Changes Everything gains steam, an engrossing reward for pressing on through the first 200 pages of dense reportage. Although wry at times, the first third of the book was necessary for Klein to lay the historic and scientific foundations to clarify what’s at stake. She walks us back more than 200 years to the smoky belch of the first steam engine, a milestone in man’s compulsion to master nature with coal as his partner. Fast-forward to today, when we stand just a few degrees Celsius from world-altering climate change, according to the science Klein cites. When Klein spotlights the tendency of polluting industries to find welcoming homes in economically depressed outposts far from metropolises and out of sight of the cities where business and publicpolicy decisions are made, it’s hard not to think of the parallels in New Mexico. This state, as much as any, has wrestled with the riddle of the well-paying jobs that nuclear waste handling and oil extraction bring to poorer areas and the inherent threats to health that come with them. But fossil fuel extraction’s new frontier isn’t hidden on desolate prairies. As oil rigs inch closer and closer to homes in North American suburbs, their neighbors aren’t just silent tumbleweeds. Rather, increasingly vocal everyday citizens are telling their elected leaders and the oil companies that they object to the intrusion. And This Changes Everything pegs this new brand of activist as the catalyst capable of slowing climate change. Klein has no illusions about who’s calling the shots. She acknowledges that the oil and gas industry wields potent influence in city halls, state legislatures, Congress, and the White House as well as in international free-trade agreements that trump even the most adamant local objections to some extraction activities. Even so, Klein points out, carbon bigfoots are facing greater opposition than ever. Colleges and other institutions are dumping their investments in oil and gas companies. Indigenous people are uniting to protest enterprises they see as harmful to the environment. The sweater-vested suburban masses are signing petitions calling for bans on hydraulic fracturing. Just a few years ago, that wasn’t the case. Klein may not convince climate-change deniers that they’re wrong or change the minds of anyone whose livelihood depends on the deep pockets of the oil and gas industry. But she could very well sway some progressive thinkers to reconsider their priorities on climate change. In that sense, This Changes Everything isn’t just tilting at windmills. — Patrick Malone
SUBTEXTS Big Little Italy in the Mile Square City Inside each of us is at least one great story. The challenge is to put pen to paper — or fingers to keyboard — and write it. In 2009, after a 20-year career that included marketing, event planning, AIDS activism, and serving as deputy mayor of Hoboken, New Jersey, Laurie Fabiano self-published Elizabeth Street, a novel about her Italian immigrant family, on Amazon. Based on the experiences of her great-grandmother, Elizabeth Street begins in the early 1900s in the small Italian village of Scilla, with the wedding of Giovanna Costa and her cousin, Nunzio, and follows Giovanna and her family as they immigrate to New York City. There, Giovanna is kidnapped when her family is extorted by the Black Hand, the precursor of the Mafia. After its initial publication, Elizabeth Street garnered enough viral buzz to be picked up for wider distribution by AmazonEncore. Though based on true events, this book falls in the genre of fiction because Fabiano shaped the story with a dramatic arc in mind, which meant cutting some of her relatives out of the action and compressing plotlines, but the historical aspects are based on research and interviews. Fabiano writes with attention to sensory detail, imbuing necessary exposition with the voice of a sure-footed storyteller. It’s a historical crime novel as well as a tale of the immigrant experience, where language barriers, illiteracy, and fear laid the groundwork for so much of the organized crime. Fabiano does not glamorize the Black Hand but instead portrays the fear of the innocents upon whom they preyed. Fabiano gives a reading from Elizabeth Street on Monday, Nov. 10, at 7 p.m., at the Jean Cocteau Cinema (418 Montezuma Ave.) followed by a conversation with George R.R. Martin. Admission is $10 ($5 with the purchase of the paperback; no charge with the purchase of the hardcover). For more information, visit www.jeancocteaucinema.com or call 505-466-5528. — Jennifer Levin
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MUSEUM OF INDIAN ARTS AND CULTURE 710 Camino Lejo (off Old Santa Fe Trail) 505-476-1250 indianartsandculture.org PASATIEMPOMAGAZINE.COM
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W
ar, they say, is helll. And the seemingly unending conflicts the U.S. maintains in the Middle East have made war a speccial kind of hell for the people f ighting it. The occurrence and intensity of compllex injuries and psychological trauma suffered by ourr soldiers seem to be surpassing anything this country has ever experienced. Ann Jones, an author and jourrnalist who made a name for herself in 1980 with th he publication of Kill, book women Women Who a about who kill their abusers in self-defense, has spent much of the last decade investigating and writing abo out the effects of on and She’ war soldiers civilians. s not interested in who’s winning or which country’s pollitical or religious ideologies survive the battles. Jones is looking at the damage war wreaks on bodies and psyches as well as n war zones, those at the quality of life for those living in fighting for our freedoms, and the civilian contractors tasked with everything from cleaning military bases to office administration to seccurity patrol. She has written three books about her time working as a journalist, researcher, and humaniitarian volunteer in war-torn regions: Kabul in Wintter: Life Without Peace in Afghanistan; War Is Not Oveer When It’s Over:
PA I N F U L R E A L I T Y C H E C K S O N O U R M I D D L E E A S T I N VA S I O N S
Jennifer Levin I The New Mexican
Women Speak Out From the Ruins off War; and They Were Soldiers: How the Wounded Returrn From America’s Wars — The Untold Story. out her work on Jones reads from and speaks abo Nov. 12, the Wednesday, at Lensic Performing Arts part of Lannan Center, as the Foundaation’s In Pursuit of Cultural Freedom series. She is join ned by Andrew J. author The of Bacevich, of Limits Poower: The End of American Exceptionalism; The New Am merican Militarism: How Americans Are Seduced by War; an nd most recently, Breach of Trust: How Americans Failed Their Soldiers and Their Country, which received the 2014 American Book Award. Bacevich’s conversation with h Jones promises be and provocati to learned possibly ive. Jones comes place of advocacy for u from a the nderdog, while Bacevich reached his current points of view within the system, as a graduate of the U.S. Milittary Academy. He matic history from holds a doctorate in American diplom Princeton University and has taugh ht at West Point, Johns Hopkins University, and Boston University. “The picture we get of the militaryy from the usual media stories is so superficial and so skewed that it’s more like an advertising campaaign than a real picture of what the soldiers’ lives aree like,” Jones told Pasatiempo. “The reporting is meant to be good news to recruit people to support our tro oops and recruit kids to sign up for this very undersstaffed volunteer Army. I’m trying to give vivid picturess of what actually happens to people in war.” They Were Soldiers, published by Dispatch Books in 2013, is a forthright, unsentimenttal portrait of the ways in which those who survive are wounded, beginning with the military personnel asssigned to collect and transport the dead from the battlefield back home to their families. Often, the bodies are so mangled or blown apart that families only receive a token piece of a loved one. The solemnity with which dead
soldiers — or warriors, as they are now called, according to Jones — are transported back home is sometimes not extended to these bits of flesh and bone. In 2011, a mortuary at Dover Air Force Base in Delaware was found to have incinerated parts of soldiers that had been gathered too late to include with the officially shipped remains. Dealing with the dead affects the Mortuary Affairs specialists in a variety of ways. Though they may not have seen actual battle, many develop symptoms of post-traumatic stress disorder (PTSD) and have to seek therapy after their service. Some turn to drugs and alcohol, and others are living in poverty because of their inability to cope with what they have seen. Warriors wounded in battle are airlifted to hospitals in Germany before they are eventually flown back to the United States. Military doctors do the best they can to keep severely injured patients alive in those initial hours, but that window of time is critical, and with someone who has been blasted by an improvised explosive device (IED), it’s difficult to determine all of the damage that’s been done and what is putting their survival most at risk. A soldier might be missing one or more limbs. He or she might have suffered a concussion or traumatic brain injury, symptoms of which will later be nearly impossible to distinguish from PTSD and will make treatment even more complicated. Jones believes PTSD is so commonly diagnosed in veterans these days that the concept of exactly what it is has gotten muddy. “In the course of my research, I visited many VA hospitals in the country where there were leading researchers, well known in the field and publishing their findings, and I rarely talked to two people who had the same opinion. I think that PTSD is such a broad cover for things, and they just don’t know how to talk about it,” Jones said. Some people are diagnosed with limited criteria; Jones sounds dismissive of her own diagnosis of PTSD, based on her hypervigilance after spending extended time in Afghanistan: “I’ve never carried a gun or shot anybody.” PTSD is a physiological response to fear in which traumatic a event has a lasting detrimental effect on the nervous system, to the point that long after the event is actually over, even innocuous stimuli can be perceived as life-threatening. In War Is Not Over When It’s Over, Jones, now seventy-five, mentions that her father, a veteran of World War I, emotionally and physically abused her and her mother during her childhood. Many psychologists would say that that early trauma laid the groundwork for developing PTSD in Afghanistan — and that is the trouble with diagnosis and treatment. Because everyone’s life experiences have affected them differently, everyone experiences their trauma differently. Some people will suffer annoying but relatively minor elevated startle responses, while others will relive their fear forever in their body, as in the case of an Iraq veteran named Charlie, who is profiled in They Were Soldiers. When he came home in 2004, things seemed fine at first. He got a job and a house and a car, but then he plunged into a deep depression that left him bedridden for three years. He finally joined a support group. But at the first meeting, one of the men there flew into such a rage that the terrified veteran went back to his bed. “His body grew bloated yet remained on constant alert, so that even after three years of bed rest his muscles were tense and hard as rock,” Jones writes.
“The doctors could not explain why his body was becoming so acidic that it began to destroy itself.” Victims of rape and sexual assault in the military also often end up with PTSD. When rape happens within the chain of command, the relationship prior to the violation is so familial that Jones equates such a crime with the betrayal of incest. When trying to report rape, many female soldiers are branded mentally unstable and then easily silenced and ignored. The culture of basic training reinforces a misogynistic mentality in soldiers, Jones said, and rapists operate with impunity in the military. Many officers assigned to sexual-assault prevention or investigation duties have themselves been accused of harassment, assault, and in one case, running an on-base prostitution ring. But more than half the victims of rape in the military are men — singled out by their peers or commanding officers for seeming weaker or different — which means that this isn’t a new problem growing from increasing numbers of women in the military. Women are
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A N D R E W J. B A C E V I C H A N D A N N J O N E S simply more used to admitting they’ve been raped. Men who are raped, Jones said, are more likely to kill themselves. She gave the example of nineteen-year-old Private Danny Chen, who was found shot in the head at a base in Kandahar in 2011 after enduring a racist hazing campaign that included beatings and multiple gang rapes. Though speculation that his death was not a suicide but a murder does continue, there is no debate that the soldiers’ commanding officer used Chen’s torture as some sort of bonding activity for the squad. When asked what aspect of her work makes her the saddest, Jones paused for several moments. “I don’t know that I can pin that down. I will say that in all the books I’ve written, I’ve written about underdogs — some group of people getting the short end of the stick. As a young writer, you think you’re going to change the way people think about something and it’s really going to change things. I guess what makes me sad is that after writing about all these people who are underdogs, they’re still underdogs. Things haven’t changed. If anything, they’ve gotten worse, with the kind of income inequality you see in the U.S. now and, really, the breakdown of American democracy.” Jones grew up in Wisconsin and has lived in New York most of her life. But for the last three years, she has been living in Oslo, Norway, having traveled there originally on a Fulbright Research Grant and then staying on because it’s such a nice place to live. Jones wanted to give herself a break from the near-constant conflict she’d been living amid since turning her attention, after 9/11, to war zones. “I wanted to live in a peaceable place, and Norway works actively on peace,” she said. She admires the country’s political and economic structures so much, she’s writing a book about them. “I wanted to write something that allows me to present a positive side of things, so I’m writing about a country that has constructed a democracy that works to the benefit of all its citizens.” ◀
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details ▼ Ann Jones with Andrew J. Bacevich, a Lannan Foundation In Pursuit of Cultural Freedom event ▼ 7 p.m., Wednesday, Nov. 12 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $6, $3 students & seniors; 505-988-1234, www.ticketssantafe.org
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Adele Oliveira I The New Mexican
MAGICAL THINKING
W
hen Hollis Walker, a lifelong writer, was diagnosed with breast cancer in the fall of 2012, she instinctively began to blog and journal her way through the illness. She dubbed regular email updates to friends and family “the Booby Blog” and simultaneously kept a personal cancer journal. Published together in a slim volume that describes her season with cancer, The Booby Blog: A Cancer Chronicle (published by Osiris House) is at once humorous and existential, a practical guide to an imperfect, fragmented health-care system and a meditation on mortality. Walker is a journalist, hospital chaplain, and interfaith minister, and her approach to cancer is similarly multidisciplinary: she considers the emotional, spiritual, and physical effects of breast cancer and is consistently, challengingly reflective. The Booby Blog reveals that she is nothing if not selfaware. Walker acknowledges that, in certain ways, her illness was “cancer-lite.” Her treatment — a lumpectomy and a few months of radiation — was straightforward, and she had much support. But regardless of its severity, cancer is difficult, and a desire to connect with others affected by the disease is The Booby Blog’s dominant theme. On Thursday, Nov. 13, she signs books and engages in conversation with author Carmella Padilla at Collected Works Bookstore.
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PASATIEMPO I November 7-13, 2014
Kitty Leaken
Pasatiempo: Early on in your Booby Blog emails, you wrote that you considered posting the updates on your website but that you didn’t want everyone knowing about your personal journey. What changed your mind? Hollis Walker: The responses I was getting from people who were on the Booby Blog email list. People were writing back, mostly women, and telling me about similar experiences. Or they were sending the Booby Blog on to others. I felt that there was value in what I was writing about, the day-today experience of walking through breast cancer. Pasa: How did your relationship to your body change during your illness and treatment? Walker: After I had surgery, I was really surprised at how I didn’t look at my scar. It was almost like, if I don’t look at it, I won’t have to think about this anymore. But I also understood for the first time that who I am is not this body, and yet it is. I have a heightened awareness that this container holds me, and I need to be paying attention to it and taking care of it in a very serious way. Pasa: While some of your doctors and health-care providers sound great, you also describe many inadequacies of health care and its shortcomings in treating the “whole” patient. What did you learn about navigating the medical system?
Walker: I let go of the idea that any of these people are experts on my body. I’m the only expert on my body. They’re well-trained people who’ve learned a lot of information and are basically plugging you into their model. I gave myself permission to make decisions that were the opposite of what my doctor might recommend to me. I could say, “Great, I appreciate that that’s the protocol that you prescribe for people in my situation, but I’m not going to do that.” Or, “I’m going to do something different.” Pasa: You mention several times in the book the way health-care professionals fell short on an emotional scale, like being dismissive or inconsiderate. Why is the emotional aspect of health care so important?
Hollis Walker’s cancer chronicle
Walker: If you were lucky enough as a child to have had a mother that was loving and nurturing and took care of you when you were sick, you know, then, that just as important as the drugs she gave you was her touch and her kind voice telling you that she would be there. I believe that human connection is just as important to healing as any treatment or drug or protocol. It’s common sense. If that part of caregiving is ignored, you’re robbing the patient of potential for healing. Pasa: After your surgery but before you began radiation, you wrote in your journal that “there is also an urge, sparked in part by discussions with other women who have had breast cancer, to diminish the whole thing.” Where do you think this impulse comes from? Walker: Even today as women, we’re still raised to be primary caregivers for others and take care of the emotions and needs of other people. So when we are sick, we often diminish our own illness because of our feelings of obligation to those around us. It’s also another version of denial. Like, “I had [cancer], I’m done with it now, and I’m OK.” That’s one method of coping with having a life-threatening illness. And for some people, it works. For me, it wouldn’t work. Pasa: Something I think we all struggle with but that is particularly acute when going through crisis is the idea of control, namely that we have very little. You acknowledge throughout the book that there are no guarantees, that even if you do everything right, the cancer might come back. It’s so hard to come to terms with this idea. How did you get there, or at least get closer to accepting it? Walker: James Fixx is always my favorite example. He wrote The Complete Book of Running. He was the guy who started running in the United States as a sport, and he dropped dead of a heart attack at 52. He did everything right, and he was felled quite young. I could walk out the door and be my healthy cancerfree self, and a Mack truck could run me over. The Tibetan Buddhist meditates on death all the time, but most of us can’t tolerate that. I certainly can’t. Pasa: What’s the first thing you’d say to a woman who’s just learned she has breast cancer? Walker: This is going to change your life in bad ways, and it’s going to change your life in good ways. And you’re just at the beginning. Sit down, tighten your seat belt, and get ready for a ride. ◀
details ▼ Hollis Walker, author of The Booby Blog, reads from and discusses her book with Carmella Padilla ▼ 6 p.m. Thursday, Nov. 13 ▼ Collected Works Bookstore, 202 Galisteo St., 505-988-4226
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Partially funded by the City of Santa This project is supported in part by New Mexico Arts, a division of the Department Fe Arts Commission of Cultural Affairs, and by the National and the 1% Lodgers’ Tax. Endowment for the Arts.
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LISTEN UP
Maria Budtova
James M.Keller
Atrium String Quartet
Russian summit
I
t looked odd on paper, the program the Atrium String Quartet offered on Oct. 24 in the Great Hall of St. John’s College (in a co-presentation by the college and Performance Santa Fe): four works, each in a minor key. Since most composers have written in major keys far more often than in minor ones, it is no surprise that the former make up the bulk of our listening, with minor-key works providing occasional spice and variety. But speaking from the stage, the ensemble’s second violinist, Anton Ilyunin, observed that, for his group, minor keys were pretty much the usual order of business. On reflection, that seemed credible. This is, by majority representation, a Russian ensemble. Three of its members — first violinist Alexey Naumenko, violist Dmitry Pitulko, and cellist Anna Gorelova — were born in the Russian city of St. Petersburg (then called Leningrad), and the fourth, Ilyunin, hails from Ashkhabad, Turkmenistan (then also part of the Soviet Union). The foursome came together at the St. Petersburg Conservatory in 2000, and although they later studied in the Netherlands and Germany and now reside in Berlin, they are born of the Russian tradition. For whatever reasons, minor keys seem to figure more prominently in Russian music than they do in that of more westerly nations, so a piling-up of such keys might indeed seem less remarkable to Russian musicians. Many experienced listeners perk up at the idea of minor-key pieces. This has nothing to do with their presumed emotional essence — that major keys are “happy” and minor keys “sad,” as music appreciationists
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PASATIEMPO I November 7-13, 2014
used to say — but rather with the fact that they operate according to different harmonic rules and therefore invite composers to devise different solutions to compositional problems. Minor-key pieces tend to exhibit greater contrast in their architecture. A splendid example of major-versus-minor harmonic surprise informs the very outset of the first piece the Atrium played, Haydn’s Quartet in B minor (Op. 33, No. 1). From the way the piece begins, anyone would assume that it is cast in the major mode — specifically, in D major. After a few measures, however, the path grows confusing, and 11 measures into the piece, everything lands firmly and unambiguously in B minor, which anchors the rest of the composition. Haydn was playing a trick on his listeners, capitalizing on their propensity to assume that pieces are more likely to be in the major than in the minor and to interpret ambiguities in a way that supports that presupposition. The Atrium abetted him deftly, boosting the passage with hearty cheerfulness.
T
he group’s playing combines power with finesse. Rather than strive for unanimity of tone, these players expand their sonic realm through their differences, though while keeping their individual timbres in balance. First violin tends toward brightness, and Naumenko did not hold back at all in the concerto-like virtuosity that spotlighted his part in the last movement. Second violin cultivates a generally warmer tone, although when Ilyunin was swept into some of the snazzy banter of that finale, the two violins accorded precisely in timbre and attitude. Viola was by
turns solid and playful — though Pitulko’s moments to shine really came later in the program — and cello was generally deferential, with Gorelova providing a deep-seated sense of good behavior. The Atrium’s wide-spanning approach to sound and standpoint served well in two monumental pieces that followed, Shostakovich’s Quartet No. 8 in C minor and Mendelssohn’s Quartet No. 6 in F minor. The latter stood on the second half of the concert, where the printed program showed that it would be preceded by the same composer’s Capriccio in E minor, a standalone movement written for uncertain purpose and published posthumously. The group flipped the order of the two Mendelssohn pieces without announcing their intent. This understandably confused many in the audience, but it also turned the Capriccio into a virtual encore, dwarfed by one of the genre’s greatest and most potent masterworks. The F-minor Quartet is Mendelssohn’s swan song, written soon after the death of his beloved sister and shortly before his own. It received a dramatic reading, filled with shivers and shudders, the Trio section of the Scherzo movement proving downright spooky in its timbral coloring. It was arguably over the top to place Mendelssohn’s final quartet on the same program with Shostakovich’s Eighth Quartet, which wrings as much or more out of audiences. This is a work of witness, serving as testimony and indictment of crimes against humanity, both direct and oblique. Shostakovich composed it in a white heat of inspiration in 1960, in the course of only three days, while staying just outside a still bombed-out Dresden to work on the score for a film about that city’s destruction in World War II. It must be a work of autobiography, riddled with a four-note motif that is a musical encryption of the composer’s own name. At the work’s opening, the Atrium played this motif almost nonchalantly, apparently not wanting to freight it with more import than it already possesses. The musicians proved to be master storytellers, by turns expressing raw anguish, frenzied terror, macabre cheerfulness, and, ultimately, dazed survival. Each of the piece’s five movements, packed without break into a span of only 20 minutes, contains allusions to other Shostakovich works. The most gripping of these comes in the second movement, with the recollection of material that had figured memorably in his E-minor Piano Trio of 1944; there it was presented as a Jewish dance tune, its appearance at that time coinciding with the Soviet army’s discovery of major Nazi extermination camps. The ensemble let out all the stops here. I can’t imagine that anyone actually enjoyed being in the room at that point, to the Atrium’s credit. This work marks the midpoint of Shostakovich’s 15 quartets. By the time he wrote his last, in 1974, he had produced 10 in major keys and five in minor keys, but he expressed the hope that he would live to compose a quartet in each of the major and minor keys, which would have evened out the balance. Although his
ensuing quartets would contain much variety, their overall spirit is in no way optimistic. The Atrium has made a project of performing all 15 back-to-back in the course of a single day, an undertaking the group recently presented in Russia, France, Iceland, and Japan and will continue in upcoming seasons. I’m not sure I would survive it without irreparable damage to the psyche. I recall my fellow journalist Robert Sherman n’s report of such an undertaking by the Manhattan Strin ng Quartet in 1995: “The first quartet began shortly affter 10 a.m. [and] the 15th ended just about 12 hours later. There were no encores.”
S
hostakovicch stands at the center of a new book by Brian Moynahan with a mouthful of a title: Leningrad — Siege and Symphony: The Story of the Great City Terrorized by Stalin, Starved by Hitler, Immortalized byy Shostakovich (released last month by Atlantic Mon nthly Press). This is one scary book. Most potential readers will already possess general awareness of thee Siege of Leningrad, which lasted from September 1941, when Nazi troops cut off the last road to Russia’s urban n jewel, through January 1944, when the tide of Worlld War II shifted in favor of the Allies and the endgam me began to play out in Europe. This nightmare was memorialized through Shostakovich’s Leningrad Symp phony, his Seventh, the composition and performancce of which took on immense political significance amo ong the Soviets and abroad. Having producced three previous books on 20th-century ry Russian history, Moynahan writes with authority about the Stalinist pollice state that kept Russia under tight rein in the years leading up to World War II. He draws ounts from contemporary diaries and heavily on acco later memoirs th hat bring the era alive on a personal level. Soviet lifee seems to unroll before our eyes, but his deft presentaation helps the reader see beneath the surface to appreeciate just how Stalin exerted control. Space, for instan nce. Leningrad didn’t have enough of it. “Denouncin ng a neighbor meant the chance of more living space,” states Moynahan, who then digs deeper by explaaining the various sorts of denunciations that were possible, each with defined risks and benefits to the denouncer and the denouncee. Why were there denu unciations in the first place? Because Stalin derived power from the fear instilled as the NKVD (the pred decessor to the KGB) arrested people on often flimsy, unpredictable, illogical pretexts. The reader grows fam miliar with the pattern: arrest leads to interrogation, to orture, and execution. Most arrestees are pummeled in nto identifying other malefactors. One forced confessio on after another leads to endless rings of presumed eneemies of the state, endless abductions in the middle of the night, endless underground inquisition roo o ms and torture chambers, endless overpacked prissons, endless corpses. This continues throughout the siege and, indeed, beyond the war. At some point, the repetition of these scenarios lulls the reader into a sorrt of complacency that may suggest, in some minusculee way, what happened to people who actually lived th hrough it. Moynahan is an expert in military history, and he recounts in conssiderable detail the step-by-step thrusts of Hitler’s armiees and the parries of Stalin’s. “Soviet songs are weapo ons to be used in battle,” proclaims the Union of Art Workers. “It is our duty to forge them
with total passion, pouring into them all our talent, skill and knowledge.” Stalin appreciates the status of artists in Russian society, and he makes sure to evacuate the city’s leading cultural figures as the Germans approach. Shostakovich is among those shipped off to safer climes, where he manages to complete the symphony he has been working on amidst all the dire developments. The book succeeds in maintaining clarity while i n t e rt w i n i n g t h e s t o r i e s o f S h o s t a k o v i c h ( i n h i s manageable life in protected circumstances) with the cataclysmic battles of the Eastern Front, Stalin’s breathtaking incompetence as a military strategist, and the unimaginable horrors of life in Leningrad, whose residents now must cope with the double terror of Hitler and Stalin. Moynahan’s prose is vivid, and his
accounts are not for readers with weak stomachs. A central player in his saga is Leningrad’s second-string Radio Orchestra, outranked and left behind when the more prestigious Leningrad Philharmonic is evacuated. The Radio Orchestra soldiers on, its ranks decimated by bombardment, starvation, deprivation, violence, and disappearance, its rehearsals cut short when too many exhausted players fall off their chairs. Its goal is to perform Shostakovich’s Seventh Symphony, and against all odds, the orchestra pulls it off. It is one of Shostakovich’s most famous compositions. You may think you know it pretty well. When you finish Moynahan’s harrowing book, you will want to listen to it again. You will find fresh tears that you had not previously shed. ◀
Dmitri Shostakovich in 1942; below, the original score from the composer’s Seventh Symphony and tickets being sold for the symphony’s Aug. 9, 1942, premiere in Leningrad
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Annual
WRITING CONTEST Prose or poetry: fiction, nonfiction — satire, fantasy, memoir, etc. What you write about is up to you. Just send us your best work and keep it tight. Winning entries will be published in Pasatiempo on Friday, Dec. 26. Winners get prizes.
Guidelines: Flash prose: up to 500 words Poetry: up to 20 lines One submission per entrant only.
Please make sure to include the following information with your submission: Age group: Adult (19+), teen (13–18), or child (5–12). Author’s name, address, phone number, and email. Entries from schools should also include the school name, grade, and teacher’s name.
Email entries to: writingcontest@sfnewmexican.com. Email submissions are preferred. Mail entries to: 2014 Writing Contest c/oThe Santa Fe New Mexican 202 E. Marcy St. Santa Fe, N.M. 87501
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PASATIEMPO | November 7 - 13, 2014
Entries must be received by 4 p.m. on Monday, Dec. 1. No exceptions. Do not submit previously published material. We reserve the right to edit work for publication. Submissions cannot be returned.
Thanksgiving Buffet 2014 Thursday, November 27• 11am - 3pm Appetizers
Mixed greens salad with assorted dressings Caesar Salad with Queso Cotija dressing Baby Spinach Salad with Hot Bacon Dressing, Toasted Walnuts, Red Onions, Dried Cranberries and Manchego Cheese Assorted Domestic and Imported Cheese Platter Fresh Seasonal Fruit and Berries Bowl Vegetable Crudité with Hummus and Ranch Dip Grilled Shrimp Salad Sweet & Spicy Deviled Eggs
LeopoLdo the Frog sunday, november 9 | 4:oo pm
tickets: $10 per person with a child $25 per adult without a child location: united church of santa fe
Entrées
Roasted Turkey with Giblet Gravy and Orange-Cranberry Relish Baked Ham with Red Eye Gravvy us Roasted Prime Rib with Au Juus Pan Seared Salmon with Roastted Shallot-Tarragon Butter Saucce Apple-Cornbread Dressing Roasted Garlic-Buttermilk Mashed Potatoes Smashed Yams and Butternut Squuaassh Baked Spaghetti Squash Sautéed Green Beans Almondinne
Desserts
Pumpkin Pie, Caramel Apple Pie, Blueberry Bread Pudding, Assorted Cupcakes, Assorted Dessert Bars, Assorted Mous usse opttions andd Freshhly Bakkedd Cookkies e
Captivating Tales from the Opera Swamp!
featuring the hall ensemble
Freshly Baked Bread and Sweet Cream Butter
$49/ Adult $45/Senior $18 for children 12 & under
Reservations ns: 505.995.2334 isco Street, Santa Fe, NM 100 E. San Francis asantafe.com www.lafondas
ticketsSantaFe.org | 505 988 1234 performanceSantaFe.org | 505 984 8759
Partially funded by the City of Santa This project is supported in part by New Mexico Arts, a division of the Department Fe Arts Commission of Cultural Affairs, and by the National and the 1% Lodgers’ Tax. Endowment for the Arts.
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PASATIEMPO I November 7-13, 2014
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BONNIE “PRINCE” BILLY Singer’s Grave/ A Sea of Tongues (Drag City) If you’re in the mood for a nice sulk, then Will Oldham, who records as Bonnie “Prince” Billy, has got a record for you. “My father’s house is gone, and all the houses in his town have crumbled,” he sings in “There Will Be Spring.” In “Quail and Dumplings” he offers, “Holes in our ceiling, we’ve got holes in our roof/Hope that we’ve got it made has gone in a poof.” And then there’s the song titled “We Are Unhappy” — a banjo-led waltz that builds to the lines “The mind, it is going, and faith is destroyed/An emptiness showing God’s cruelty deployed.” Somehow, however, the song is not sad; it’s a nod to growing older in troubled times that is reassuring in its forthrightness, crafted with a charming choir that makes your heart swell. The beautiful instrumentation throughout the album points out the hope that is visible just beneath the dismay, evident in the love letter of “Whipped” and the boxer’s confidence in “Old Match.” The record is so dense that you’ll miss many details on the first dozen listens. As with Oldham’s best work, Singer’s Grave /A Sea of Tongues borrows from many American traditions while not quite following in any footsteps; it recalls Neil Young’s Harvest Moon in that regard. This is an album with deep, dark tones, but that only makes the light shine brighter. — Robert Ker LOVE SUPREME COLLECTIVE Love Supreme Collective (Ropeadope) It takes a courageous tenor player to reimagine John Coltrane’s 1965 masterpiece A Love Supreme. Frank Catalano’s attempthasitshighsandlows,butastrictcomparisontotheoriginal can only end in disappointment. Coltrane’s recording features his definitive quartet, with McCoy Tyner (piano), Jimmy Garrison (bass), and Elvin Jones (drums), all titans of their individual instruments. That Catalano brings in guitarist Chris Poland for one song, “Psalm for John,” is an indication that the saxophonist approaches his tribute project nonstringently. More jarring is drummer Jimmy Chamberlin’s rhythmic work. Best known for playing with Smashing Pumpkins, Chamberlin was jazz-trained when young and cites Jones as an influence. There’s no clear reflection of this influence in his primarily straight-ahead, backbeat-heavy playing on the four tracks of this album (which share portions of their names but little else with their antecedents). Catalano is a highly accomplished and proficient musician. He strives with some success to match and occasionally quote Coltrane’s frenetic lines, but just as Chamberlin’s playing lacks swing, Catalano’s lacks space and breath. The long takes on Coltrane’s album (none of which run under seven minutes) mesmerize partly because each is incredibly turbulent — musically and emotionally. Clocking in at 21:58, a full 10 minutes shorter than its predecessor, Love Supreme Collective is static enough that it feels twice as long. — Loren Bienvenu
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K
eyboardist and composer Dave Grusin remembered his first encounter with guitarist Lee Ritenour. “I met Lee when he was nineteen, playing guitar with Sérgio Mendes,” he told Pasatiempo in a phone call from his seasonal home in McLeod, Montana. “It was probably at Donte’s [a now-defunct Los Angeles jazz club]. He was a local Southern California kid, was at U.S.C. and teaching guitar. I started calling him for a few dates; he called me to play dates. He got to be the first guy I called for studio work.” Ritenour recalled a meeting when he was younger still. “We definitely met when I was nineteen, like Dave says,” the multifaceted musician explained in a phone call from Los Angeles, “but we briefly said hello sometime before that. Starting around the time I was sixteen, I was a huge fan of [guitarist] Howard Roberts. And Howard would play with Dave — Dave on organ, of all things — and I used to go in to see them. Dave was doing studio work that had Roberts blowing guitar over car chases and shootouts and all over police shows. And I thought, Wow, these cats are really cool. So I introduced myself. Later, when I was working with Sérgio, I got invited to this party where Sérgio was jamming with the band, and I met Dave formally. That was also the night I met Antônio Carlos Jobim. I’ll never forget it.” Grusin has had a prolific career as a performer, arranger, producer, and composer and has written a number of film and television scores, including for the Oscar-winning Milagro Beanfield War. Ritenour is among the most visible and recorded jazz-fusion guitarists since the late 1970s, known for his work with the all-star group Fourplay as well as a host of recognized recordings in various styles under his own name. Those first meetings, however they went down, led to a decades-long association. Grusin was on Ritenour’s breakthrough 1977 recording, Captain Fingers, and again on Ritenour’s 1979 acoustic album, Rio, released by Grusin’s recording company (with Larry Rosen), GRP Records. Their song “Early A.M. Attitude,” from 32
PASATIEMPO I November 7-13, 2014
CLASSIC COLLABORATION GUITARIST LEE RITENOUR & PIANIST DAVE GRUSIN
Bill Kohlhaase I For The New Mexican their 1985 jazz-fusion date, Harlequin, won a Grammy Award for best arrangement on an instrumental. Their most ambitious projects are the two recordings they did of various classical pieces and originals arranged for Grusin’s piano, Ritenour’s guitar, and strings. The first, 1999’s Two Worlds, includes works by J.S. Bach, Villa-Lobos, and Bartók. Violinist Gil Shaham and vocalist Renée Fleming appear as guest artists. Grusin and Ritenour followed this up in 2008 with Amparo, a recording that has works by Fauré, Ravel, and Jobim as well as Grusin’s Three Latin American Dances and Ritenour’s “Echoes.” Performers include violinist Joshua Bell, jazz trumpeter Chris Botti, soprano Fleming, and folk-rocker James Taylor. Grusin and Ritenour perform selections from these two works with a string section and flutist Carol Redman at the Lensic Performing Arts Center on Sunday, Nov. 9, in a benefit for the Assistance Dogs of the West program. When they first put Two Worlds together, both musicians were “probably thinking of their fathers,” Grusin said. Grusin’s late father, a classical violinist, encouraged his son’s pursuit of music. “I thought, Wow, maybe if Dad knew about this project, I’d be vindicated for all those years I spent doing jazz.” Ritenour, who said his dad was “an amazing amateur
Lee Ritenour with July
pianist,” took a wider view of music. “My dad was a little more supportive. He paved the way for me to find and study all the right things on the guitar. When I started expressing an interest in music, he was very helpful in finding all the right teachers. In those days, in Los Angeles, you could go to the phone book and call [jazz guitarists] Joe Pass or Barney Kessel and ask about getting a lesson, even if you were only twelve years old. My dad helped me get into the Stan Kenton Clinic and in joining a big band when I was thirteen. When it was recommended I study classical guitar, he found Chris Parkening, who was also from L.A.” Two Worlds was suggested to Ritenour by Chris Roberts, a friend and president of Universal Music Group’s classics and jazz division. “Chris is a musician and pianist as well as a big fan of Dave’s,” Ritenour said. “He’s also heavily into classical music. Both Two Worlds and Amparo turned out to be major undertakings. These projects were very time-consuming because there was so little repertoire for classical guitar and piano. When we looked at what we could find, it didn’t resonate with us.” “I wanted to come up with pieces that were somewhat accessible, that people would know,” Grusin said. “But there was no way to take the music as it existed and just pass it out and play it. We had to reconfigure and transcribe almost everything in there. It’s a sort of crossover recording in that Dave still sounds like Dave, and I still sound like me,” Ritenour said of both their classical projects. “The way we recorded, our particular technique, our touch and interpretation is from Lee Ritenour and Dave Grusin, not from classical music. We wanted to be respectful to the original music but also wanted it to resonate with us and our styles. Between the two of us, we spent hours, days, weeks putting arrangements together.” “I felt like I was back in school, doing an arranging assignment for piano, guitar, and strings,” Grusin continued. “Actually, that part of it was fun. I didn’t feel like I was violating anybody’s idea of what the
Rob Shanahan; Grusin photo Matthias Heyde
Dave Grusin with Abuquiu
Heather Roan Robbins Astrologer, Intuitive, and Ceremonialist Author of Pasatiempo’s “Starcodes.” Readings by phone and Skype. 30-plus years experience in NM, MN, NYC. Your chart is a map, a brilliant navigational tool. It’s an honor for me to walk with you into your inner workings, offer you a perspective to help understand the past, open up the future, and make dynamic choices.
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pieces should sound like. I tried to stay close to the original intent.” Still, the music took on a different personality. “When we did the Bartók Romanian Folk Dances, with Gil Shaham playing the violin, I thought of Bartók out collecting folk music. Parts of it felt like we were somewhere in Eastern Europe, just playing this stuff like a Gypsy band.” Ritenour has explored a variety of music over a nearly 40-year recording history and has done studio work for everyone from the Mamas and the Papas to Pink Floyd. His last several albums have included forays into the music of Wes Montgomery, Bob Marley, Jobim, and Motown. “When I was a kid, I didn’t know how you trained to be a studio musician. I listened to everything and ended up loving anything that was played by somebody well known on guitar. That time, in the ’60s and ’70s, when I was getting an education, was an amazing time for guitar. It was an equally great time for jazz, country, blues, and folk, and it didn’t matter what kind of guitar you were talking about. It was all great. Being inspired by all these different styles, that’s stayed with me for a lifetime.” In 2010, Ritenour founded the Six String Theory Guitar Competition, which has expanded to include a rhythm-section competition for piano, bass, and drums. This year’s winners received scholarships to the Berklee College of Music and a chance to open for Ritenour at the Montreux Jazz Festival. “It’s really great to be able to give back. It’s something I hope to keep going in my sunset years.” Half of Sunday’s show — when Grusin and Ritenour work in a quartet with bassist Tom Kennedy and his brother Will Kennedy on drums — will be dedicated to jazz. “Putting a band like this together is a huge logistical challenge,” Grusin said. “Everyone’s totally busy, and we just try to snag them at an opportune time. ◀
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The reciprocal affection dogs and masters have for one another is an effective tool when training animals to assist owners with disabilities or other life-complicating issues. But along with being loving, helpful canines need to learn many skills before joining the working-dog world. Assistance Dogs of the West, founded in 1995 by its current program director, Jill Felice, has trained some 300 service animals to assist individuals with mobility impairment, seizure disorders, autism, diabetes, post-traumatic stress disorder, and other difficulties. The organization also trains dogs for social roles. The Courthouse Dogs program, for instance, is designed to help children with the stress that comes from involvement with the judicial system. The Warrior Canine Connection teaches veterans with combat injuries to train dogs for other disabled service men and women. Each of the service dogs learns a minimum of 90 commands and gains proficiency in the particular tasks they will be called on to perform. For information on becoming an assistance dog trainer or on volunteering for other programs, contact Assistance Dogs of the West at 505-986-9748 or visit www.assistancedogsofthewest.org. — B.K.
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Open Forum & Workshop Linda Biehl & Ntobeko Peni with panelists Jerome Bernstein & Barry Williams, Jungian analysts
Open Forum: Forgiveness Is Nowhere Near as Hard as the Work of Restorative Justice
Friday, November 14th 7-9pm $10 2 CEUs Amy Biehl, Santa Fe HS graduate, Stanford alumna, white American Anti-Apartheid activist in South Africa on a Fulbright Scholarship, was killed in August 1993 at age 26 in Cape Town by a mob of Pan Africanist Congress (PAC) youth militants. The four men convicted of her murder were released as part of the Truth and Reconciliation process that had been negotiated during the lead up to the historic 1994 South Africa elections, and was actually created as an act of Parliament after the elections. Desmond Tutu was asked to be TRC chairman as he felt that such a process could “help” heal the nation, and that the spirit of “Ubuntu” (underpinnings of South African tribal cultures) would be important to the TRC processes. Amy’s parents were the only Americans among about 22,000 cases that came before the Commission regarding amnesty. Since then, they have been active in providing assistance to communities in South Africa to encourage respect for one another’s differences through engaging in meaningful dialogue and working collectively in the wake of the end of Apartheid. They met with the four men directly involved in Amy’s murder, two of whom now work with Amy’s mother, Linda, through a foundation established in Amy’s name, both in SA and in the US. This talk will focus on the difference between “forgiveness” and “restorative justice” and the importance of reparation in restorative justice work. Amy’s story has been afforded significant media attention: ABC’s “Turning Point” (4/94), CBS’s “60 Minutes” and “60 Minutes II” (1/99, 2/00), ABC’s Oprah Winfrey (5/99), IRIS Film’s Sundance Award winning “Long Night’s Journey Into Day” (1/00) and NBC’S “Today Show” (3/04) CNN’s Paula Zahn Show (2004), CNN’s Anderson Cooper (2005), NBC Nightly News (6/2007) and CNN’s Morning News (6/2007).
Workshop
Saturday, November 15th 9am-4:30pm $80 6 CEUs Discussion will continue Friday’s theme and will focus on the African concept of “Ubuntu,” literally translated as “generosity of spirit” and the importance of learning to “clean each other’s wounds.” There will be open dialogue between attendees, Linda Biehl & Ntobeko Peni (one of the South African men working with her), and attending Jungian analysts regarding the struggles in their personal transformations as sentient human beings. Both events take place at Center for Spiritual Living, 505 Camino de los Marquez, Santa Fe
For details & workshop pre-registration call Jerome Bernstein, 505-989-3200 For expanded program details go to www.santafejung.org
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PASATIEMPO | November 7 - 13, 2014
RANDOM ACTS Aged to perfection
If you love Neil Young enough to wish there were two of him, Israel Nash and his new album, Rain Plans, will probably fulfill your longings. Rain Plans was recorded at Nash’s home in Dripping Springs, Texas, without the use of any digital technology. One cut, “Mansions,” was recently featured on NPR’s “Heavy Rotation — 10 Songs Public Radio Can’t Stop Playing.” The music has an old-fashioned richness that is usually missing from much indie revival-rock, which mimics sounds from the ’60s and ’70s but doesn’t always understand why the innovations were meaningful in the early decades of rock-and-roll. Nash is the real thing — clearly inspired by luminaries but fully his own artist. This music — categorized as Americana — is made for grown-ups (children are welcome, though). Nash plays at Skylight, 139 W. San Francisco St., on Wednesday, Nov. 12, at 7:30 p.m. (doors open at 6 p.m.). Tickets for this all-ages show ($9; fees apply) are available at www.skylightsantafe.com. — Jennifer Levin
THIS WEEK
It’s an Arlen fest: Asher & Harold
The Harold Arlen songbook is immense, filled with wonders like “Stormy Weather,” “Over the Rainbow,” and “Blues in the Night.” Winds master Arlen Asher — working with Jim Ahrend, piano; Colin Deuble, bass; and John Trentacosta, drums — plays a selection in a Santa Fe Music Collective concert at 7 p.m. Friday, Nov. 7, at the Museum Hill Café (710 Camino Lejo). Asher said the playlist includes Arlen tunes he knows well and others he has not played before. On Oct. 30, he still had to figure out what instruments to use for particular songs: he plays the flute, alto flute, and bass flute; saxophones, including the baritone; and various clarinets. Tickets for the performance are $25; call 505-983-6820 for reservations. Coming up, SFMC offers concerts featuring singer Barbara Bentree on Nov. 21 and saxophonist Doug Lawrence on Dec. 12. Visit www.santafemusiccollective.org. — Paul Weideman
AP P photo, courtesy S.A. Music Co.
The Dakar chorale globetrotters
Harold Arlen
The Senegal St. Joseph Gospel Choir, more than a dozen strong, performs at 7 p.m. Tuesday, Nov. 11, at the Lensic Performing Arts Center (211 W. San Francisco St.). The choir was founded in 1950 by Julien Jouga, who was a UNESCO Ambassador Artist for Peace. The group offers traditional gospel songs like “The Storm Is Passing Over,” masses composed by Jouga (1931-2001), and arrangements of folk songs, such as the one sung in the Ouolof dialect to give young women courage for a traditional tattoo ceremony. When not on the road, the chorale group, now led by Ambroise N’Diong, performs on Sundays at the Cathedral of St. Joseph’s of Medina in Dakar, Senegal. Tickets are $15 to $35; call 505-988-1234 505 988 1234 or visit www.ticketssantafe.org. — P.W.
Fin de siècle revamp
From 1918 to 1921, Arnold Schoenberg presided over a Viennese society that offered carefully pre pared concerts at which challenging modern works were often included. Economics limited the number of performers, so many pieces were given in reduced orchestrations prepared by Schoenberg or his colleagues. Schoenberg’s pupil Erwin Stein wrote an arrangement of Mahler’s Fourth Symphony, but the society ceased operations before it was performed, and the score went missing. Santa Fe Pro Musica Orchestra presents an arrangement of that work created in 2007 by German conductor Klaus Simon, in the spirit of the Schoenberg-era arrangements and apparently mirroring Stein’s forces of men 14 players plus singer. Thomas O’Connor conducts mezzo-soprano Deborah Domanski (pictured) and m ds her voice in the finale. Also on the program lend is Scchoenberg’s string sextet Verklärte Nacht (Traansfigured Night), in his own upscaling for strin ng orchestra. Performances take place Saturday, Novv. 8, at 4 p.m. and Sunday, Nov. 9, at 3 p.m. in the St. Francis Auditorium at the New Mexico Musseum of Art (107 W. Palace Ave.). Tickets ($10 0 to $65) are available through SFPM (505 5-988-4640; www.santafepromussica.com) or Tickets Santa Fe at th he Lensic (505-988-1234; www w.ticketssantafe.org). — Jaames M. Keller
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T H E S A N TA F E O P E R A
greatly appreciates THESE BUSINESSES whose generosity and support helped make our 2014 season a success! Photo: Robert Godwin
We recognize with gratitude the members of the Business Council, Advertisers, Opening Nights Sponsor and Preferred Hotel Partners - those local, regional and national business leaders who acknowledge and appreciate the economic and cultural impact The Santa Fe Opera has on Santa Fe and the region. Your loyal and generous contributions and support are deeply appreciated. We also thank the Business Council Committee members for their fundraising efforts in the Santa Fe and Albuquerque communities: Chair, Paul Margetson, Hotel Santa Fe; Co-Chair, Beth Van Arsdel, PCBB Capital Markets; Chip Chippeaux, Century Bank; Nedra Matteucci, Nedra Matteucci Galleries; Max Myers, New Mexico Bank & Trust; Dan C. Perry, Dan C. Perry Mineral Management; Elizabeth Pettus, Things Finer; Randy Randall, Tourism Santa Fe; Ben Saiz, The Santa Fe Opera; David Stone, La Posada de Santa Fe; Michael Trujillo, Michael Trujillo Ventures and Mary Walta, Mary E. Walta PC. *ENCORE CLUB The Santa Fe Opera extends a special thanks to the loyal contributors who have made gifts to the Business Fund for the past four or more consecutive years.
Aqui Santa Fe
Zaplin Lampert Gallery
Ashley Margetson, CRS, GRI -
Stein & Brockmann, P.A.*
Business Donors
Back at the Ranch
Matiz Architecture and Design
Ten Thousand Waves*
Aegis Capital Management*
Belle Jewelry
Morris, Hall & Kinghorn
The Dunn Group
Business Products Supply
Kristen L. Biggs, MD,
Santa Fe New Mexican*
Laura Comeau, D.D.S., P.C.
The Shed/La Choza*
Dressman’s Gifts
Things Finer
Dunkin’ Donuts
Troutstalker Ranch LLC
High Desert Healthcare & Massage
Bon Appétit
Opera Philadelphia
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Century Trust and
Mary E. Walta, P.C.*
Melanie Peters & Associates
Southwest Care Center
Sotheby’s International Realty
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Skin Care & Vein Centre, PC The Bishop’s Lodge Ranch Resort & Spa
Sotheby’s International Realty LewAllen Galleries Los Alamos National Bank
Nedra Matteucci Galleries Old Santa Fe Inn Omaha Steaks Opera Colorado
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Rosewood Inn of the Anasazi
Constellation Home Electronics*
Great Performance Tours*
Corporate Producers
A. Charles Forte/Morgan Stanley*
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The Owings Gallery, Inc.*
Ink & Images, Inc.*
International, Ltd. American Institute of Medical Education
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Furniture Design
Sanbusco Market Center
Jack Stamm
Constellation Home Electronics
Santa Fe Chamber Music Festival
State Bar of New Mexico
Contemporary Hispanic Market
Santa Fe New Mexican
Sunwest Construction Specialties, Inc.
Courtyard by Marriott Santa Fe
Santa Fe Sage Inn
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Inn of the Governors*
Community Bank*
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Egolf + Ferlic + Day
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American Airlines*
Michael Trujillo Ventures*
Katz Ahern Herdman &
Dougherty Real Estate Co., LLC*
Aetna Foundation, Inc.
El Castillo
The Santa Fe Symphony
Business Partners
Gusterman Silversmiths*
Applied Materials
Eldorado Hotel & Spa
Santa Fe Weaving Gallery
Corporate Benefactors
Kleinfeld Commercial
J & L Self Storage & Vans LLC*
The Boeing Company*
El Rey Inn
SOMERS Jewelry and Sculpture
Eldorado Hotel & Spa*
Acosta Strong Fine Art
J P Stone Community Bank*
ConocoPhillips*
Fairmont Heritage Place
Sotheby’s International Realty
Garcia Hyundai Santa Fe &
Aon Risk Solutions*
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Rothstein, Donatelli, Hughes,
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Garcia Nissan Santa Fe*
Aranda’s Plumbing,
Lockwood Construction
Inn and Spa at Loretto*
Heating & Supply
Brokerage, LLC*
Company
GE Foundation
First National Santa Fe
Ten Thousand Waves
& Bienvenu, LLP*
IBM International Foundation*
Four Seasons Resort
Thornburg Investment Management
AV Systems*
Malouf on the Plaza
James H. Russell Agency, Inc.*
Bank of Albuquerque
Modrall, Sperling, Roehl,
Tecolote Cafe*
Resort & Spa*
Barker Realty/David & Lisa Barker
Harris & Sisk, P.A.*
Johnson & Johnson Family of Companies*
Rancho Encantado Santa Fe
Wade Wilson Art
Theo Raven Consulting*
Macy’s Foundation*
Georgia O’Keeffe Museum
Walter Burke Catering
Barraclough & Associates, P.C.
Montgomery & Andrews, P.A.
Elizabeth Van Arsdel*
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Berardinelli Funeral Home and
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Zia Trust, Inc.
Thyssen Petroleum USA Corp.
Green River Pottery
Woods Design Builders
UBS Financial Services
Harris Consultants
McGee Cremation Services Kristen L. Biggs, M.D.,
Business Patrons
Skin Care & Vein Centre The Bishop’s Lodge Ranch
Act 1 Tours* Enterprise Holdings Foundation* First National Santa Fe*
Resort & Spa* Michael S. Bottrill/Santa Fe
The Hacienda and Spa* Santa Fe Sage Inn* Thornburg Investment Management*
New Mexico Bank & Trust*
Business Contributors
New Mexico Educators
Page Allen Studio*
Opening Nights Sponsor
Aria Tours
Four Seasons Resort Rancho
Federal Credit Union Ortega’s Weaving Shop, Inc.*
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Osteria D’Assisi/
Creative Travel Arrangers
Heidi Loewen Porcelain
Encantado Santa Fe
Preferred Hotel Partners
The Inn of The Five Graces
Maritz Travel
Eldorado Hotel & Spa
Inn on the Alameda
Catron, Catron, Pottow
PNM Resources
Ovation Opera Tours
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Inn on the Paseo
Premier Motorcars of Santa Fe
Pinkoyote
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James Reid Ltd
Coronado Paint & Decorating, Inc.
Prull Custom Builders
Nicholas Potter Bookseller*
Mark C. Wipf, LLC
Dahl Plumbing & Heating
Santa Fe Sage Inn*
Rosewood Inn of the Anasazi
DeWitt Stern Group, Inc.
Santa Fe Dining
Santa Fean Magazine
Business Leaders
Advertisers
El Rey Inn*
Shamrock Foods
Susan’s Christmas Shop*
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Enterprise Rent-A-Car*
Sommer, Udall, Hardwich,
Turquoise Butterfly
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Bernard Ewell Art Appraisal*
Le Rossignol, 2014
Ahern & Hyatt, LLP
For advertising opportunities, please contact Kathy Murphy Prenevost at 505-986-5911 or kmurphy@santafeopera.org
Tickets for the 2015 Season are available! www.SantaFeOpera.org 505-986-5900
Hotel Santa Fe, The Hacienda and Spa
Wells Fargo Bank*
Charitable Trust*
or phunter@santafeopera.org
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& Glassman, P.A.*
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Gallery & School
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contact Paula Hunter at
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of Business Council membership,
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To learn more about the benefits
Synch Agency
Dahlstrom, Schoenburg
a Luxury Collection
La Posada de Santa Fe,
El Corazon de Santa Fe
PLEASE SUPPORT THE OPERA’S 2015 SEASON!
Patina Gallery
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MacGillivray PC
PASATIEMPO | November 7 - 13, 2014
American Airlines
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of New Mexico*
Corporate Founders
Encantado Santa Fe*
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Lehrer & Earley Luxury Brokers –
White & Luff Financial
Southern Wine & Spirits
a Luxury Collection Resort & Spa
Kaune’s Neighborhood Market La Fonda on the Plaza La Posada de Santa Fe, a Luxury Collection Resort & Spa
Photo: Ken Howard
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Need an Audiologist? We hear you! • Only locally owned and operated Audiology practice in the Santa Fe area • Full audiology services from diagnostic hearing testing to hearing aid sales and service • Offering hearing screening, tinnitus evaluation and hearing aid repair • Lowest prices – we’ll beat any price in town, guaranteed! Call
PASA REVIEWS
505-466-7526 for an appointment
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Andrew Beath Book Signing at The ARK 12 to 2 Sunday November 9th Transgender + Jewish = Kosher? Join Rabbi Neil Amswych for a series of talks at Temple Beth Shalom
November 14-15 Friday 6:30 pm during Shabbat Services Saturday 7:00 pm ($15 suggested donation)
Festive refreshments included Y All are welcome! Temple Beth Shalom 205 E Barcelona Rd Santa Fe NM 87505 joy.rosenberg@sftbs.org YYY 982.6161
Career Counseling
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PASATIEMPO I November 7-13, 2014
King Lear, Shakespeare’s Globe Lensic Performing Arts Center, Oct. 30
Kelly Heyman, AuD
Roving royals
S
ince it opened in London in 1997, the reconstructed Shakespeare’s Globe has explored the Bard’s plays through the prism of the performance practices of his day in a theater of Elizabethan design. In 2007, the company expanded its activities to include worldwide touring, and on Oct. 30 it landed for the first time in Santa Fe, presenting King Lear on the stage of the Lensic Performing Arts Center, courtesy of Performance Santa Fe. An introductory essay in the printed program offered a comment that was startling and to the point: “It is difficult for people to remember that English theatre used to be about touring and nothing else. Before the construction of the Rose and the Globe [at the end of the 16th century] all our dramatic experiences were about companies trucking up to strange towns, and performing in inn yards, in churches, in guildhalls, in fairs and at any other number of strange venues under the canopy of the sky.” The production the company trucked up to our strange town was cleverly crafted, eminently portable, and scarcely what audiences expect of King Lear. The set did indeed evoke a hastily erected construction, its rough-hewn wooden planks suggesting an interior room with a second usable level on the roof, some of its parts easily reassembled to imply new locations. Costumes were unremarkable, and director Bill Buckhurst was happy to revisit cost-efficient clichés of stage representation if they were useful, like having actors shake a sheet to depict wind. Though shorn of anything spectacular, the physical presentation was honest and sincere. The production conveyed something of the company’s goal to recapture the populist spirit of Shakespeare-era theater. Actors strolled the aisles and conversed with attendees at the outset while a cast member entertained with accordion tunes from the stage; elsewhere, they played melodies on a variety of instruments and joined together for songs. The thespians accentuated the broad vulgarity of the play’s comedic moments (which seemed here more numerous than one might have predicted), and they delivered its ghastly violence with what seemed a knowing wink. The dramatis personae of King Lear lists 20 parts (not counting miscellaneous attendants, knights, and so on), but here that was reduced to 16 roles handled by just eight actors. Blocking was planned with choreographic precision, and the same must have been true behind the set, as actors transformed themselves into various characters in the blink of an eye. The single point at which one actor doubling multiple parts had to be on the stage in two roles at once — it was Daniel Pirrie as Edmund and Oswald — became a comical turn involving leaping back and forth across the stage while changing hats. The acting troupe was generally well matched, the gentlemen on the whole outshining the ladies. (The company’s aspirations to authenticity do not extend to banning women from the stage.) The title role is central to defining this play’s flavor, to be sure, and it cannot be said that Joseph Marcell devised a Lear for the ages. His voice was gravelly rather than sonorous, and he was given to barking that admitted rather little nuance. Yet the flavor of the production overall was specific, unaccustomed, consistent, and ultimately affecting. This swift-flowing, up-tempo rendition knocked King Lear off its venerable pedestal without showing disrespect. — James M. Keller
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BOOK TALK Nov. 8, 6:00 pm THE ARK BOOKSTORE
www.laarkmaa.com
TRANSFIGURED NIGHT SATURDAY, NOVEMBER 8 at 4PM SUNDAY, NOVEMBER 9 at 3PM St. Francis Auditorium
New Mexico Museum of Art, Santa Fe Plaza
SANTA FE PRO MUSICA ORCHESTRA Thomas O’Connor, conductor Deborah Domanski, mezzo-soprano
SCHOENBERG Transfigured Night, Op. 4 (Verklärte Nacht) MAHLER (arr. Klaus Simon, 2007) Symphony No. 4 in G Major Meet the Music one hour before each concert. Learn more about the music you love!
$20, $35, $45, $65 Santa Fe Pro Musica Box Office: 505.988.4640 (ext.1000), 800.960.6680 Tickets Santa Fe at the Lensic: 505.988.1234 www.santafepromusica.com The 2014-2015 Season is partially funded by New Mexico Arts (a Division of the Department of Cultural Affairs) and the National Endowment for the Arts.
Lodging Sponsor:
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Michael Wade Simpson I For The New Mexican
Physical identities/propensities
BodyTraffic dance company
Tomasz Rossa
Kollide, with Tina Finkelman Berkett and Guzmån Rosado; opposite page, left, o2joy; opposite page, right, And at midnight, the green bride floated through the village square‌
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PASATIEMPO I November 7-13, 2014
Photos Christopher Duggan
W
hen Lillian Barbeito graduated from Santa Fe High School about two decades ago and headed to New York City on a full ride to the dance program at the Juilliard School, she had no idea what kind of competition she was about to face. “It’s not a nurturing environment. There is the intensity of being surrounded by the best of the best,” she said. “They’re not trying to cultivate individual voices there — they’re training dancers to be able to do anything, to be perfect in any style. “I went in as a ballet dancer and came out a contemporary dancer. I remember taking a Graham class with kids who had already studied the technique for years. I was trying to jump through the air and contract, but I didn’t have the life experience or inherent angst to understand.” Barbeito’s journey, which ultimately led her to Los Angeles, co-founding the dance company BodyTraffic with Tina Finkelman Berkett in 2007, began at the age of five in the dance studios of Santa Fe, where she studied with Kim Caffrey, Gloria de Santa-Silver, Nancy Onizuka Waterman, and Gisela Genschow. After two years of struggling at Juilliard, she figured out that “it became not about pleasing my teachers but getting the information I needed to do what I wanted in my career.” In New York she saw some of the world’s best dance companies and realized that work by such experimental choreographers as Pina Bausch and William Forsythe (both based in Germany) appealed to her. Barbeito got a job in Germany and performed there for a few years before returning to New York, where she worked as a freelance dancer until shortly after 9/11, after which she and her husband, a filmmaker, moved to Southern California. Los Angeles has long been a home to commercial dance — feeding the film and television industries — but until recently, the city was considered a backwater by many in terms of contemporary dance and ballet. That has changed, though, with the recent formation of high-profile dance groups, including the L.A. Dance Project, co-founded by former New York City Ballet dancer Benjamin Millepied (who recently
became director of the Paris Opera Ballet); Ate9, led by Danielle Agami; and Diavolo Dance, which describes its work as “architecture in motion.” Other factors, such as the major endowment of a dance department and studios at the University of Southern California and the sharing of the Los Angeles Ballet’s artistic directorship by dance-world power couple Thordal Christensen and Colleen Neary, mean that things are looking up for all kinds of dance in L.A. BodyTraffic is part of the city’s dance transformation. Shortly after moving to Southern California, Barbeito began teaching at U.C.L.A. and met Finkelman Berkett, another exiled New York dancer. Their concept for a new company was simple — commission works from cutting-edge choreographers they really wanted to work with and perform with a hand-picked group of professional dancers. Since 2007, they have commissioned works by such up-and-comers as Kyle Abraham (who was awarded a MacArthur Fellowship in 2013), Yale-educated dance-theater artist Sidra Bell, Belgian choreographer Stijn Celis, and Americans with overseas pedigrees, including Richard Siegal and the American-Israeli artist Barak Marshall. Local artists have also been well represented, including avant-gardist Sarah Elgart, who created a piece with seven maximum-security inmates at the California Institute for Women called Marrying the Hangman. According to Barbeito, it took successful engagements on the East Coast to help BodyTraffic win recognition at home and get grants. The company has appeared at the Joyce Theater in New York and at Jacob’s Pillow Dance Festival in Massachusetts. At the Lensic Performing Arts Center, the company presents Once again, before you go, a world premiere by Victor Quijada, a street-dancer-turned-contemporarydance choreographer. “Some of the dancers said it is one of the hardest pieces they’ve ever danced because they first had to develop the strength to do the floor work,” Barbeito said. The first three or four days of rehearsal were purely a workout — an introduction to hip-hop and break dancing taught by Quijada. He
grew up dancing on the streets of L.A., began studying technique at L.A. County High School for the Arts, and eventually became a professional ballet dancer, working for Twyla Tharp and Les Grands Ballets Canadiens de Montreal. He currently co-directs Rubberbandance Group in Montreal and creates pieces for companies around the world. Opening the program in Santa Fe is And at midnight, the green bride floated through the village square... by Barak Marshall. In the program notes, Marshall wrote that the piece for 10 dancers is a morality tale based on the story of a family living near his mother, who grew up in Aden, Yemen. “The house they lived in became known as ‘the burning house’ because of the fighting, screaming, and cursing that was heard coming from it during all hours of the day and night.” Marshall’s mother, Margalit Oved, appeared as the narrator at the premiere at the Joyce Theater and her voice will be heard as part of the soundtrack along with “traditional Yiddish, Ladino, and Judeo-Arabic sayings and songs.” “Barak was not trained as a dancer,” Barbeito said. “The piece uses talking and gesture as dance. These are hyperspeed gestures. Learning the piece, I became addicted to mastering it. I would go outside and practice in the driveway at 1:30 in the morning, trying to get the gestures as fast as I could. It’s a lot of fun.” O2joy by Richard Siegal completes the program. Siegal has made a name for himself as a Paris-based multimedia and conceptual artist However, for this piece he returned to his roots in dance — tap and jazz. The work, with music by Ella Fitzgerald, Billie Holiday, Glenn Miller, and the Oscar Peterson Trio, is Siegal’s take on classic jazz dance, Barbeito said, but jazz dance informed by ballet and hip-hop. ◀
details ▼ BodyTraffic: mixed repertoire ▼ 7:30 p.m. Friday, Nov. 7 & Saturday, Nov. 8 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. $15-35; 505-988-1234, www.ticketssantafe.org
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Winterlife 2 0 1 4 -1 5 W I N T E R G U I D E to S a n ta Fe a n d N o rt h e r n N ew M ex i c o
HOT SPRINGS in winter
SNOWMOBILING how, where, why CUP O’JOE where to go
TAOS REBOOT & regional ski resort news THE SANTA FE NEW MEXICAN santafenewmexican.com
Packed with a season-full of fun, including: Local Ski Area Information Lectures and Museum Exhibits Hearty Feasting Fare Santa Fe Coffeehouses Hot Springs and Bathouses
Sunday, November 9 in the
Snowmobiling Adventures Classical Performances Calendar Contemporary Art Galleries And More! …and online for all of our out-of-town readers at santafenewmexican.com/magazines
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PASATIEMPO | November 7 - 13, 2014
WE’RE MAKING SURE THIS CLASSIC STAYS ONE. THE 20% CLASSIC CAR SERVICE DISCOUNT FOR ALL 1999 AND OLDER BMW’S.
We’re offering a 20% discount on all 1999 and older BMW models*. Our BMW trained technicians know these vehicles better than anyone and we appreciate that cost is a deciding factor when choosing a service facility. Schedule your classic for a complimentary multi-point inspection and make sure it remains the Ultimate Driving Machine. Santa Fe BMW 2578 Camino Entrada | Santa Fe, NM 87501 | SantaFeBMW.com *Excludes tires. Must be original BMW parts. Cannot be combined with any other discount. Offer good through September 30, 2014.
A Community Benefit Event for the Young Adult Scholarship Program for Healing Movement Arts
Friday November 14 7:30pm
The Lensic Performance Center Performance, Art Exhibition & Dance Celebration A Sacred & Sensuous Feast of Music, Dance & Art
Tickets at The Lensic, 988-1234 | More Info: www.SacredBodySantaFe.com PASATIEMPOMAGAZINE.COM
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PROFILES IN
NATIVE WOMEN SCULPTING WOMEN
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PASATIEMPO I ????????? ??-??, 2014
K
Paul Weideman I The New Mexican
athy Whitman-Elk Woman’s exuberant, outlandish Dancing With the Heartbeat of My Ancestors, an 80-inch-tall sculpture in bright silvery steel, is the first eyecatcher in the new exhibition Courage and Compassion: Native Women Sculpting Women at the Museum of Indian Arts & Culture. But each of the other pieces is equally arresting; all but two of the featured artworks are placed in the museum’s outdoor Arnold & Doris Roland Sculpture Garden. Guest curator Letitia Chambers said the show is the first of its kind: monumental sculptures by the leading American Indian women artists. The 10 works by eight sculptors run the gamut from realistic to abstracted. “Native American identity is shaped by ways of knowing and being that are of the past but persist to the present; thus there is a strong element of tradition in Native art in the 21st century,” Chambers writes in the exhibition catalog. “However, the 19th- and 20th-century restraints and battles over what constitutes ‘authentic’ American Indian art are basically over, and Native artists are free to express themselves as artists, integrating indigenous traditions with that of other influences.” Tammy Garcia (Santa Clara Pueblo) has long been known for her large pots covered with deeply carved figures, but in recent years she has expanded into bronze and glass and has developed a singular “Neo-Pueblo design vernacular,” as Blue Rain Gallery describes her approach. While still working in more traditional ceramics, she also indulges a predilection for asymmetry and abstraction in which she asserts her artistic freedom and an alliance with modernity. She is represented in Courage and Compassion by two bronze-patina sculptures. Andrea, planted in the Roland Sculpture Garden, depicts a woman participant in the Butterfly Dance. “This dance is usually done in the harvest season, or it could be done in the springtime as well,” Garcia told Pasatiempo. “A lot of the Pueblo dances — the Deer Dance, the Buffalo Dance, the Rain Dance — all will have various meanings, but primarily the butterfly symbolizes pollination. All the dances are performed as a way to give thanks to the Creator for the various blessings we have.” Garcia’s Sisters (inside the museum) incorporates two figures of women with representations of dancers’ colorful garments, and it’s also a very cool shape, a rolling, curvy, tapered column. “I started making the form because I liked the shape — I liked the type of canvas that I would get from this shape; it would allow for a very stylized representation of women figures performing dances. I started out making coil-built pottery, and working with oil-based clay with the intention of creating a sculpture is very different from making a ceramic pot. It allows me to have this very contemporary form and to work in large scale.” Garcia is now at work on two commissions — ceramic vessels about 15 inches and 18 inches tall. Each of these vessels will take more than a year to complete, she said. “So far, I’ve gone back and forth with bronze, pottery, and some glass projects. I was offered a five-day residency at the Museum of Glass in Tacoma, so I’m looking forward to that in September.” She
Clockwise from top left; Retha Walden Gambaro, circa 1983, photo Steven Gambaro; Rose B. Simpson and Roxanne Swentzell, 2014, photo Kitty Leaken; Tammy Garcia, 2006, photo Sara Stathas; opposite page, Kim Seyesnem Obrzut: Greeting the Sun (detail), 2001, bronze; courtesy Museum of Indian Arts & Culture
will have something in mind when she travels to Tacoma. “I would like to show up there with to-scale drawings in hand and be ready. I’ll have the names of the colors, the dimensions. But it will definitely be an in-the-moment process.” Dancing With the Heartbeat of My Ancestors is one of two mixed-media sculptures built by Kathy WhitmanElk Woman (Mandan/Hidatsa/Arikara) during the eight months preceding this exhibition. The other, Standing Strong With My Feet Rooted to Mother Earth, is also a dazzler but has the bright reds of sealed, rusted steel. In both figures, the appearance of sharp metal contrasts with the faces, beautifully carved out of Portuguese rose marble. “I work intuitively, so I’m not planning it out. I just like to go with the flow and spontaneously work on it,” said the artist, who creates one to three monumental sculptures a year. Born in Bismarck, North Dakota, she was given her Indian name, Elk Woman, during a 1977 Sundance ceremony. Her first artistic expressions were made in painting, but today she is known for her metal and stone sculptures — including using recycled aluminum cans — as well as for jewelry. For large pieces such as those in the Santa Fe show, she employs a welder and a plasma cutter. Whitman-Elk Woman, a Phoenix resident (who is poised to move to Santa Fe), said she references North Dakota in her work. “That is where my reservation is, and it’s where I grew up, and it’s what I draw from. It’s plains, and on my reservation, which is on the western
edge of the state, there are trees and hills and there used to be the Missouri River before they built a dam. We were agricultural people and great traders. Our gardens were in the bottomlands, and our villages were on the hill above in the summer; then in the winter we moved into the trees. “I was excited about working with the Courage and Compassion theme because a lot of times Native women, and all women, aren’t acknowledged as much for courage. Compassion may be a given, but I really wanted to portray the warrior in us, that our people will stand up for our families, that we’ll do whatever it takes to defend our families and provide for them, and also spiritually, so that’s why [Standing Strong] has the staff with eagle feathers as well as the bow.” The figure’s face has a peaceful expression, but she’s also ready to fight if need be. “The show is about peace and loving and the warrior, but I wanted the dancer because that’s the feeling of bliss that you really enjoy, that you gain from dancing. It’s that thing of dancing to the heartbeat of our ancestors. It’s like a connection. And I wanted to show the joy and good feeling also.” The overall concept for the installation in the sculpture garden is life cycles, said Chambers, the former president and CEO of the Heard Museum in Phoenix, who also founded an influential public-policy consultant firm and was once staff director of the U.S. Senate Committee on continued on Page 46
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Tammy Garcia: Sisters, 2008, bronze; right, entrance to the museum’s sculpture garden
Native N Women Sculptors, continued c from Page 45
L Labor and Human Resources. The cycle begins on the leeft as you enter the garden with the wonderful figurattive abstraction Greeting the Sun, a Hopi maiden with a ggourd-shaped body, by Kim Seyesnem Obrzut (Hopi). “Many “ Indian cultures had a greeting-the-sun ritual and a person tasked with greeting the sun,” Chambers said. Next to that is Morning Prayer by Estella Loretto ( Jemez Pueblo). This realist vision is a serene, proud figure, f a robed woman holding a cornmeal vessel for a blessing. Roxanne Swentzell (Santa Clara Pueblo) is represented by Child. “Her concept is a mother holding up a child to greet the sun in a child’s naming h cceremony,” Chambers said, adding, “Roxanne conveys sso much emotion with her pieces.” Continuing the cycle after the dance figures by G Garcia and Whitman-Elk Woman are a pair of sculpttures making statements about the strength of women: Whitman’s Standing Strong With My Feet Rooted to W Mother M Earth and the centrally placed Courage by Retha R Walden Gambaro (Muskogee Creek). “Gambaro died d last year at age ninety-five. She and her husband had a gallery in Washington, D.C., and featured many h of the Indian contemporary artists,” said the curator, o who was a friend of Gambaro’s and organized a onew woman show of her work at the Heard. “Courage is w ssuch a strong piece, part of a series she did in marble 46
PASATIEMPO I N November b 7 7-13, 13 2014
that she referred to as ‘Attitudes of Prayer.’ Retha said part of her goal was to create maximum emotion with a minimum of lines or details.” The cycle concept in the gardens ends with Gambaro’s Acceptance, depicting a sitting woman holding a leaf. “She told me the story of the time when she was eighty and she took a walk in the woods in the fall,” Chambers said. “She picked up a leaf and sat on a stump. She didn’t know how much longer she could sculpt, what life would bring, but as she sat there, she experienced a great feeling of acceptance, and then she went back to her studio and began this piece. It’s basically a self-portrait.” Also inside the museum is the collaborative mixedmedia piece Grace Adorned by Swentzell and her daughter, Rose B. Simpson (Santa Clara Pueblo). The symbolically complex piece, which they created especially for Courage and Compassion, “will be some people’s least favorite piece and some people’s very favorite piece,” Chambers predicted. ◀
details ▼ Courage and Compassion: Native Women Sculpting Women ▼ Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill ▼ Exhibition through Oct. 19, 2015 ▼ By museum admission; 505-476-1250
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SHAKESPEARE: THE HISTORY PLAYS Friday, November 14, 4-6 p.m., Shakespeare’s Richard II Saturday, November 15, 10 a.m.-Noon, Shakespeare Henry IV, Part I Led by: St. John’s College President Mike Peters and tutor Lise van Boxel
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Cost: $125 for Friday and Saturday sessions. This month, Richard II and Henry IV, Part 1 will comprise a two-seminar series. In the spring semester, Henry IV, Part 2 and Henry V will comprise a second two-seminar series. Shakespeare’s second tetralogy plays covering “The War of the Roses” offer remarkable insight into the overlapping intricacies of the political and the personal with action ranging from the courts to the battlefields to the flea-bitten inns of London. High politics, shrewd statecraft, low comedy, and memorable characters all find keen expression in these plays. Teachers receive half off the seminar price. Juniors and seniors in high school attend free. Community members can sign-up for one or both series.
SECOND SERIES Friday, February 13, 4-6 p.m., Henry IV, Part II Saturday, February 14, 10-noon, King Henry V. Please call 505-984-6118 or email Yoshi Gruber at ygruber@sjc.edu to register for any of the seminars, or go to www.sjc.edu and click on “Programs and Events.”
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The village witch
Artist Erika Wanenmacher’s web of interconnections
Michael Abatemarco I The New Mexican
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PASATIEMPO I November 7-13, 2014
but also he’s working from shamanic knowledge. When ethnobotanists would go to South America and ask the people, ‘How did you know to use that plant for this or use these two plants together?’ they would look at them like, ‘Well, the plants told us.’ ” In Incorporate, Wanenmacher explores the symbiotic relationships she sees between plants and other organisms. The sculptural works include the likenesses of a large nightshade flower fashioned from found pieces of leaded glass and a larger-than-life-size hawk moth. Hawk moths are attracted to the datura via its sweet fragrance, possibly becoming addicted to alkaloids in the nectar. This is an evolutionary adaptation that ensures such plants’ continued pollination (the pollen-covered moths move from flower to flower). As she has done in previous works, for her Incorporate installation, Wanenmacher takes aspects of a microcosmic world and magnifies them to a human scale. The show is Wanenmacher’s first solo exhibit since 2010, when she was represented by art dealer and
former Santa Fe gallerist Linda Durham. Wanenmacher’s mother died since that show, leading the artist, who was the executor of the estate, to divide her time between New Mexico and California, where her mother had lived. In 2012, she moved to a new studio and closed Ditch
Photos James Hart
thnobotanists study the use of plants in traditional societies for medicinal, religious, and domestic purposes. Sometimes these cultures possess an understanding of plant properties that goes beyond what is known in Western biology — and sometimes their knowledge can help expand our own understanding of and relationship to plants. But what ethnobotanists often uncover, particularly in regions of the world where shamanic practices are more common, such as in the Amazon rain forest, is a metaphysical connection. Santa Fe artist Erika Wanenmacher finds these affinities magical, exploring them as part of her large-scale installations in Incorporate, a show of her sculpture and paintings at Phil Space through Nov. 29. “There’s an herbalist whose work I’ve been reading a lot of lately,” Wanenmacher told Pasatiempo. “His name is Stephen Harrod Buhner. He talks about the electromagnetic fields that every organism has, and one thing that blew my mind was the idea that your heart is the governor of your electricity in the body, not your brain. Your heart sends the information to your brain first. Electromagnetic fields, when organisms are in proximity, overlap. There’s information exchanged in those fields, and that’s the first perception that you get before your brain registers the visual. This is what he talks about, especially in work with plants. He’s working from a chemical background as an herbalist,
Erika Wanenmacher at work; top, Incorporate, 2014, installation; opposite page top, Spider, 2012, gouache on an archival digital image from the Hubble Space Telescope; bottom, Little Blue Eyes (detail), 2014, found leaded glass
Witch, a store on Baca Street where she sold her own line of incense and performed custom “spells” for customers. (Wanenmacher, who considers herself a witch, uses the hybrid term culture witch on her website.) She has exhibited several pieces in group shows since her last solo outing, but Incorporate marks Wanenmacher’s return to self-styled exhibit themes. For the artist, every piece is first envisioned as a spell. Known for her expert use of wood for carving elaborate sculptures, she also experiments with many nontraditional materials to realize her visions. “In the last show I had at Linda’s, I had some leaded-glass pieces. But since then, I’ve been using this rad plastic that comes in pellets — and you heat it in hot water. It melts at like 140 degrees, and you can keep remelting it, reusing it.” Several human and animal forms in the current show are made from the melted plastic that Wanenmacher bends and shapes after she’s applied it, with a heat gun, to an underlying frame. “You have to keep heating it. The melted plastic reminds me of ectoplasm. When people ask what it is, I say, ‘It’s ectoplasm.’ ” Aside from the ghostlike human forms, another partly translucent, “ectoplasmic” sculpture in Incorporate is a to-scale representation of a Mesohippus, an extinct genus of early horse that lived in the later Eocene epoch. The work was inspired by a dream about the Mesohippus’ smaller, older cousin, the Eohippus. “In the dream, I was walking through a city street, like in New York or L.A. somewhere, in a dead-end alleyway, and there’s an Eohippus standing there. I’m like, ‘What are you doing here? C’mon!’ I picked up a piece of rope and put it around his neck and said, ‘Let’s go.’ ” A large-scale sculpture of a spider hangs from the ceiling, each of its eight legs dangling a pair of scissors hand-cut roughly from steel. The conceit is intriguing: the spider, weaver of intricate, symmetrical webs, has in its grasp the power to cut the very strands it spins. “She’s the fate spider. The spider represents the fates, spinning the web and clipping the web at any time.” It was part of The Armory Show, an exhibit the Center for Contemporary Arts held earlier this year that featured more than 100 Santa Fe-based artists. A related piece, one of four mixed-media works on paper included in Incorporate, shows another spider, an orb weaver, painted in gouache over a photographic print of a spiral galaxy — an image taken by the Hubble Space Telescope. The other two-dimensional works also superimpose organic life-forms over Hubble images of celestial bodies in deep space. Wanenmacher, it seems, perceives a kind of natural order that operates on both micro and cosmic scales. In her artistic rendering of this order, several ideas she had for separate exhibits came together. “I have this backlog of like four shows in my head that I want to do. That’s one reason this one is called Incorporate; it’s a couple of different but related ideas incorporated into one.” The humans portrayed in Incorporate amount to slightly amorphous figures whose appendages and facial features — except for their glass eyes, a type used for dolls, and their nubby glass teeth — are only partially formed. From the heart of one emerges a flock of leaded-glass birds. Inspired by Buhner’s theories, Wanenmacher gives the heart central importance in her current body of work. “He talks a lot about using
Wanenmacher perceives a kind of natural order that operates on both micro and cosmic scales. “That’s one reason this one is called Incorporate,” she said.
your heart as a primary sense of perception. It’s all really science-based. That kind of research underlies all my work, not just the New Age science and the mythic — my work has been pretty archetypal since the beginning — but the hard science too.” ◀
details ▼ Incorporate: New Work by Erika Wanenmacher ▼ Exhibit through Nov. 29 ▼ Phil Space, 1410 Second St., 505-983-7945
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It’s Princess Aurora’s 16th Birthday and you’re invited! Nov. 14, 15, 16, 22, 23 Fri @ 7:00 pm Sat & Sun @ 2:00pm
Santa Fe Jewish Film Festival
Season Begins!
November 8 - 12 CCA Cinematheque Tickets at: www.SantaFeJFF.org 505.216.0672
For Tickets & Info (505) 982-3327 Performances @ The James A. Little Theatre
1st 100 kids get in free, 1st Sat & Sun only
Regarding Susan Sontag “Compelling!”
Sukkah City
New York Times
“one of a kind!” Atlantic Monthly
Winter Market at El Museo E v ery w e e ken d
November 1, 2014 to March 19, 2015 Saturday 8 - 3 pm, Sunday 9 - 4 pm
Art, Textiles, Jewelry, Books, Antiques, Furniture and much, much more from around the corner and around the world
El Museo Cultural de Santa Fe 555Camino de la Familia, Santa Fe, NM 87501 (In the Railyard across the tracks from the Farmer’s Market)
Info call: Steve at 505-250-8969 or Lesley at 760-727-8511 50
PASATIEMPO | November 7 - 13, 2014
AKA Doc Pomus “ ‘Doc’ doc rocks!” Huffington Post
FROM THE CREATORS OF SPIRITED AWAY,
MY NEIGHBOR TOTORO AND THE WIND RISES
T H E TA L E O F
THE PRINCESS KAGUYA A FILM BY ISAO TAKAHATA “THE BEST ANIMATED MOVIE OF THE YEAR!” “A STAGGERING MASTERPIECE!” “A VISIONARY TOUR-DE-FORCE!” “WONDROUS! A MARVEL!” - AV Club
- RogerEbert.com
© 2013 Hatake Jimusho - GNDHDDTK
www.ThePrincessKaguya.com
STARTS TODAY!
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In Pursuit of Cultural Freedom
A lecture series on political, economic, environmental, and human rights issues featuring social justice activists, writers, journalists, and scholars discussing critical topics of our day.
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Explore Santa Fe’s Best Calendar on
ANN JONES with ANDREW
BACEVICH
WEDNESDAY 12 NOVEMBER AT 7PM LENSIC PERFORMING ARTS CENTER This book…is not about war itself, nor even about soldiers as they are trained to see themselves and we, in turn, are taught to see and support them. It is about the damage done to soldiers, their families, their communities, and the rest of us, who for another half-century at least will pay for their care, their artificial limbs, their medications, their benefits, their funerals, and the havoc they dutifully wrought under orders around the world.
— From They Were Soldiers: How the Wounded Return from America’s Wars — The Untold Story © 2013
Ann Jones is a journalist, photographer and the author of numerous works of nonfiction, including Women Who Kill, Kabul in Winter, and War Is Not Over When It’s Over. She has worked intermittently as a humanitarian volunteer in conflict and post-conflict countries in the Middle East, sub-Saharan Africa, and Central and South Asia and has reported from Afghanistan and the Middle East on the impact of war on soldiers and civilians. Jones also writes for The Nation, The Guardian, and TomDispatch.com.
TICKETS ON SALE NOW
ticketssantafe.org or call 505.988.1234 $6 general / $3 students / seniors with ID Video and audio recordings of Lannan events are available at:
www.lannan.org PASATIEMPOMAGAZINE.COM
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MOVING IMAGES
“LUSHLY ROMANTIC. Far from a traditional suspense movie. SUPERB.” – Jordan Mintzer, The Hollywood Reporter “REMARkABLE, VITAL AND VERY CARNAL. Mathieu Amalric is fearless.” – Boyd Van Hoeij, IndieWIRE
film reviews
I’m too sexy for my shirt: Matthew McConaughey
A fault not in our stars Friday and Saturday at 2:30 and 6:00 • Sunday at 4:00 Monday through Thursday 2:30 and 6:00
SANTA FE’S BIGGEST HIT Friday and Saturday at 4:15 and 7:45 Saturday at 12:00, 4:15 and 7:45 Sunday at 2:00 and 5:45 Monday through Thursday at 4:15 and 7:45
Balanchine MILLEPIED (Paris Opera Ballet) Sunday at 11:15 am Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®
D I G I T A L
SURROUND•EX
SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com
Bargain Matinees Monday through Friday (First Show ONLY) All Seats $8.00 52
PASATIEMPO I November 7-13, 2014
Interstellar, space epic, rated PG-13, Jean Cocteau Cinema & Regal Stadium 14, 2.5 chiles Interstellar is one of the most phenomenally silly movies ever made. It is utterly ridiculous, but it has a strange majesty. This combination gives it a certain kind of standing. It’s like 2001: A Space Odyssey as conceived by three college-sophomore philosophy majors on acid and a junior from the physics department. It’s filled with earnest hokum and riddled with theoretical physics chatter, most of which can’t be understood because Hans Zimmer’s raging score and the thundering sound effects are at a perpetual death struggle with the (mostly mumbled) dialogue. If I had written the screenplay, I would ask for my money back. But the writing fell to the director, Christopher Nolan (abetted by his brother Jonathan), so he has no one to blame but himself. And it may well be that he decided that a certain amount of confusion and unintelligibility would be all to the good. He starts us off in a landscape reminiscent of the Midwest prairie Dust Bowl. We see talking heads of old people remembering what it was like, and we assume they’re speaking about the 1930s, when improvident farming methods stripped the land bare and brought on epic storms. But then, at a local baseball game, we see a black mountain of dust approaching, and we realize that the time is now, now being sometime in an unspecified but not-too-distant future when climate-change deniers have been in power long enough to wreak ultimate havoc. Cooper (Matthew McConaughey) is a widower farmer raising two kids, son Tom (Timothée Chalamet, later Casey Affleck) and daughter Murph (Mackenzie Foy, later Jessica Chastain). He’s also a former astronaut, and this will play into his future and the future of all humanity when he and Murph decipher the coded signals being sent by the ghost in her bookshelf and uncover a hidden NASA facility where a rocket is being prepared by an old professor (Michael Caine) with a beautiful daughter (Anne Hathaway) to send a probe into another galaxy to save mankind. Yes. It would be foolish to try to lay out more of the plot. Suffice it to say that Cooper turns out to be the only person who can lead this mission, and off he goes with a small crew (that includes Hathaway) to look for survivors of previous space missions sent to discover whether there is an inhabitable world through a wormhole in space in another galaxy. On a theoretical-physics level, Interstellar is all about relativity and the oddity that time bends and proceeds more slowly when you’re hurtling through space than when you’re stuck back on the farm. On an emotional basis, it’s all about father-daughter bonds and the power of love. Nolan and his tech crew work some visual magnificence, but the story skips along at the speed of light, blithely and infectiously skimming over plot points that would not survive much scrutiny. It can be ridiculously entertaining, and its nearly three-hour running time goes by relatively quickly. But 2001 it ain’t. — Jonathan Richards
THE CINEMATHEQUE
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November 7 - 13
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Santa Fe’s only not-for-profit, community-supported independent theater, showing the best in cinema since 1983 Jason
GHIBLI CELEBRATION Film Series Oct 25 - Dec 9
Elisabeth Jonathan Krysten
SCHWARTZMAN MOSS PRYCE RITTER
THE TALE OF PRINCESS KAGUYA
“EXHILARATING. A sharp, dyspeptic, sometimes gaspingly funny exploration of art and life.’’ – Manohla Dargis
“A
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Brilliantly conceived by indie auteur Perry and audaciously played by Schwartzman.’’
A new masterpiece!! Santa Fe exclusive!!
– Betsy Sharkey, Los Angeles Times
Critic’s pick
HHHH. RIOTOUS’’.
“
– Joshua Rothkopf
Regarding Susan Sontag
The KINGDOM of DREAMS and MADNESS
“Compelling!” New York Times
7:30 PM Sat Nov 8: SOLD OUT 5:00 PM Wed Nov 12: On Sale
Hayao Miyazaki
Toshio Suzuki
Sukkah City
Isao Takahata
“one of a kind!”
Written and Directed by
The Definitive Studio Ghibli Documentary
ALEX ROSS PERRY
Atlantic Monthly
4:30 PM Sun Nov 9
HELD OVER BY POPULAR DEMAND!
with exhibit of selected submissions
AKA Doc Pomus
Presented by Santa Fe Climbing Center
“ ‘Doc’ doc rocks!” Huffington Post
8:00p Thurs, Nov 13!
7:00 PM Sun Nov 9 optional DJ Pizza Party at 6:00 PM
$12 in advance (call 986-8944)
Tickets: www.SantaFeJFF.org or 505.216.0672 A presentation of the Santa Fe Jewish Film Festival Friday Nov 7
Sat Nov 8
Sun Nov 9
Mon-Tues Nov 10-11
Weds Nov 12
11:00a - Princess Kaguya 12:30p - Listen Up Philip* 1:45p - Overnighters 2:45p - Princess Kaguya* 4:00p - Sagrada: Mystery of Creation 5:30p - Princess Kaguya* 7:00p - Kingdom of Dreams and Madness 8:15p - Listen Up Philip*
11:00a - Princess Kaguya 12:15p - Kingdom of Dreams and Madness* 1:45p - Overnighters 2:45p - Princess Kaguya* 4:00p - Sagrada 5:30p - Princess Kaguya* 7:30p - SFJFF: Regarding Susan Sontag 8:15p - Listen Up Philip*
11:00a - Princess Kaguya 12:15p - Kingdom of Dreams and Madness* 1:45p - Overnighters 2:45p - Princess Kaguya* 4:30p - SFJFF: Sukkah City 5:30p - Princess Kaguya* 7:00p - SFJFF: AKA Doc Pomus 8:15p - Listen Up Philip*
5:00p - Sagrada 5:30p - Princess Kaguya* 7:15p - Overnighters 8:30p - Listen Up Philip*
5:00p - SFJFF: Regarding Susan Sontag 5:30p - Princess Kaguya* 7:15p - Overnighters 8:30p - Listen Up Philip*
Thurs Nov 13 5:00p - Sagrada 5:30p - Princess Kaguya* 8:00p - Reel Rock 9: Valley Uprising 8:30p - Listen Up Philip*
*indicates show is in The Studio at CCA
COMING SOON to CCA: Citizenfour The Great Invisible Keep On Keepin’ On Art & Craft The Homesman...& more
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MOVING IMAGES
film reviews
Little sprout in blossom shower: Princess Kaguya
The teardrop explodes The Tale of the Princess Kaguya, animated fantasy/drama, rated PG, Center for Contemporary Arts, 3.5 chiles
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PASATIEMPO I November 7-13, 2014
As part of its Ghibli Celebration, which includes five classic films by Japan’s famed Studio Ghibli, the Center for Contemporary Arts features a premiere screening of The Tale of the Princess Kaguya, a poetic, beautifully animated feature with plenty of the magic for which the studio is known. Directed by Isao Takahata, this film is his best since Grave of the Fireflies (1988), and this English version features a stellar cast that includes voice work by Lucy Liu, George Segal, Beau Bridges, and Oliver Platt, among others. The Tale of the Princess Kaguya tells the sweeping, epic tale of a supernatural princess who is born in a bamboo shoot and discovered by Okina, a kindly bamboo cutter (voiced by James Caan). Small enough at first to fit in the palm of his hand, the foundling transforms into a human infant before his very eyes. Okina and his wife (voiced by Mary Steenburgen, who also narrates), name her Kaguya and raise her as their own daughter. Later, when Okina discovers gold in the bamboo stand, he takes it as a sign of Kaguya’s royalty and uses his newfound riches to set her up in a palatial residence in the region’s capital. Meanwhile, Kaguya (Chloë Grace Moretz), who was living a free-spirited, active life with her close friend, Sutemaru (Glee’s Darren Criss), in the bamboo cutter’s humble village, has grown amazingly — supernaturally — quickly into a beautiful young lady. In time, numerous suitors vie for her hand. The simple story is rich with contrasts between Princess Kaguya’s idyllic childhood and the oppressively staid life she leads in the royal court at the capital, where custom and formality rule over feelings. The setup makes for a critique of women’s roles in Japanese society. Working methodically at her loom, Kaguya steadfastly rejects each of her suitors — even the emperor — much to the chagrin of Okina, who, coming to envision himself as an aristocrat, clumsily and comically puts on airs. Even the emperor cannot sway Kaguya’s heart, and she grows more and more despondent. She appeals to the moon for help, setting up the film’s concluding chapters, in which myth and fairy-tale enchantments take center stage and the princess’ spiritual origins and reason for being on earth (a punishment for a past sin) are finally made known. Kaguya wants only to return to Sutemaru, for whom she feels the most love. Takahata has crafted a film that is enchanting, if at times slow and overly long for young children. The animation is hand-drawn in soft watercolors that lend the story a bucolic feel. The themes of free will and the longings of the heart, even when they go against destiny, lend later scenes a somber melancholy. Kaguya wants her happiness, and we cannot help but want it for her. Larger themes emerge, such as the transience of our existence. One can only wonder if the gifts awaiting us in the realm of the divine are any greater than those here on earth. The answer comes in the form of a falling tear. — Michael Abatemarco
HIGH SCHOOL OPEN HOUSE NOV 12
EARLY CHILDHOOD OPEN HOUSE NOV 15
6:30-8:30pm
10:30am-12:30pm
VETERANS DAY
FURNITURE SALE 15%0FF
RSVP
505.467.6431
www.santafewaldorf.org
OMNIA, WHITTIER, FLEXSTEEL
NOW THROUGH
MONDAY
NOV.17TH
/FURNITURE
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Frontiers in Science
Public Lecture Series
Lensic Presents
Sponsored by the Fellows of Los Alamos National Laboratory
B ROADC AST I N H D F RO M LONDO N
S KY L I G HT CAREY MULLIGAN | BILL NIGHY NOV. 18 | 7 PM | $22*
Does One Big
Earthquake
Lead to Another?
Paul Allan Johnson, Geophysics Group While large earthquakes have occurred throughout the Earth's history, their number has dramatically increased in the last ten to fifteen years. What is it that makes the earth move under our feet? How is it that earthquakes can cause other earthquakes? Can human activities, such as “fracking,” also trigger earthquakes? Join us for an educational and earthshaking presentation.
BROAD CAST IN H D F ROM BR OADWAY
OF
MICE AND MEN
Wednesday, November 12, 2014 at 7 p.m. New Mexico Museum of Natural History and Science, 1801 Mountain Road NW Albuquerque, NM Monday, November 17, 2014 at 7 p.m. Crossroads Bible Church 97 East Road, Los Alamos, NM (Note: location)
ee Admission is fr ! nd ie fr a Bring
Tuesday, November 18, 2014 at 7 p.m. James A. Little Theater New Mexico School for the Deaf 1060 Cerrillos Road, Santa Fe, NM
SPONSORED BY
*DISCOUNTS FOR LENSIC MEMBERS
Tickets: 505-988-1234 www.TicketsSantaFe.org w
ENT OF E N TM
SSERVICE CHARGES APPLY AT ALL POINTS OF PURCHASE
M
TE
D
ER
ICA
GY ER
DEP AR
Watch video
UNI
For more information, call (505) 665-9196 or (505) 667-7000 or go to http://frontiers.lanl.gov
JAMES FRANCO | CHRIS O’DOWD NOV. 19 | 7 PM | $22*
A ST AT E S OF
National Nuclear Security Administration
Two Treats, One Trip
t h e l e n s i c i s a n o n p r o f i t, m e m b e r- s u p p o rt e d o r ga n i z at i o n
Friday, November 7
5–8 pm, on the Santa Fe Plaza
It’s Free First Friday Night
at your favorite downtown museums.
Be among the first to see these great exhibits.
A R T I S T C A R D S F R O M H O L I D AY S P A S T
Recently acquired works
See handmade cards from
by Ansel Adams, Gustave
Baumann, Olive Rush, Willard
Baumann, Woody Gwyn,
Clark, Will Shuster and more.
Betty Hahn and more.
Curators Tom Leech and
Enjoy the music of Mary Linda
Jean Moss sign copies of
Gutierrez and Susan de Jong plus
their companion Museum
refreshments courtesy of
of New Mexico Press book.
the Women’s Board of the Museum of New Mexico.
Joyce Neimanas, Girl with Squirrel (from the series Dog Show) © Joyce Neimanas
56
PASATIEMPO | November 7 - 13, 2014
Sample some gingersnaps and root beer—Baumann-style.
Harold West, relief print, 1940
Thanksgiving Dinner 2014 All Natural Free Range Diestel Turkey Dry Rubbed with Sage Cornbread, Toasted Pine Nut and Green Chile Stuffing - or Classic Herb Bread Stuffing with Celery and Sautéed Onions Walter’s Home-style Pan Gravy Russet Potatoes Whipped with Parsnip Puree and Crème Fraiche French Green Beans, with Grilled Pancetta and Roasted Red Pepper Glazed Yams with Brown Sugar and Pecans Fresh Cranberry Orange Relish Herb Buttermilk Biscuits -or- Roasted Fennel Cornbread Desserts (Please choose one) Bourbon Pecan Pie Deep Dish Pumpkin Pie
Rustic Apple Tart Farmer’s Market Apples, Candied Green Chile and Caajeta Fresh Whipped Cream with all Desserts $39.00 per person / 6 person minimum Additions or changes available at an additional cost Delivery ($50) or Pickup at our Office on Wednesday the 26th or before noon on Thanksgiving Day
phone: (505) 473-9600 fax: (505) 473-1080
www.walterburkecatering.com
One Enchanted Evening Dave Grusin
and
Lee Ritenour
LegendaryjazzmusiciansDave GrusinandLeeRitenour assembleamagical,not-to-bemissedconcertbenefitingAssistance DogsoftheWest withbassistTom KennedyanddrummerWillKennedy. A16-memberclassicalstringsection andflutistwilljointhemfor selections from their Grammy-nominated album, “Two Worlds.” F o r As s i s t a n c e D o g s o f t h e W e s t
The Lensic
Santa Fe’s Performing Arts Center Tickets 505-988-1234 tickets.ticketssantafe.org
S unday • Nov. 9 7pm • Santa Fe George and Honey Pie. Photo by Jane Bernard.
PASATIEMPOMAGAZINE.COM
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MOVING IMAGES chile pages
— compiled by Robert Ker
LAGGIES Keira Knightley plays a woman who is somewhat directionless at around age 30 and who panics when her boyfriend proposes. Because this is an indie comedy, she moves in with a teenage girl she just met named Annika (Chloë Grace Moretz) and gets to know her new friend’s shaggy daddy (Sam Rockwell). Lynn Shelton (Touchy Feely) directs. Rated R. 99 minutes. Regal DeVargas, Santa Fe. (Not reviewed)
It’s a Bibendum, it’s a Stay Puft: Big Hero 6, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española
opening this week A.K.A. DOC POMUS Jerome Solon Felder, a fat Jewish kid from Brooklyn, contracted polio at age six and spent the rest of his life on crutches and with his legs in braces. His life changed when he discovered the blues — he reinvented himself as a singer and renamed himself Doc Pomus. This engrossing documentary features a wealth of rare footage and interviews with famous musicians, Pomus’ two children, and his wife. Directors Peter Miller and Will Hechter have done a great service in putting together this tribute. Screens as part of the Santa Fe Jewish Film Festival’s “New York Triptych,” which also includes Regarding Susan Sontag and Sukkah City (with separate times and admissions). Not rated. 98 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) BIG HERO 6 The Disney acquisition of Marvel Entertainment has resulted in several massive superhero films, but here is the first movie using a Marvel property that looks like a classic Disney film. It’s an animated adventure about a boy named Hiro (Ryan Potter) who invents an inflatable robot called Baymax 58
PASATIEMPO I November 7-13, 2014
that’s capable of fitting into a suit of armor and battling bad guys. And so that’s what Hiro and Baymax do, along with a whole team of other amateur crime fighters. Rated PG. 108 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE) Michael Keaton played Batman in the 1990s and didn’t play anything or anyone particularly prominent in the 2000s. In the latest film by Alejandro González Iñárritu (Babel), he takes on the role of a washed-up actor who once played a hero named Birdman and is now putting on a play to revive his career. Now that’s a stretch! Zach Galifianakis, Edward Norton, Emma Stone, and Naomi Watts co-star. Rated R. 119 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THE KINGDOM OF DREAMS AND MADNESS With screenings timed to coincide with The Tale of the Princess Kaguya and the Ghibli Celebration film series at the Center for Contemporary Arts, this documentary looks at the celebrated Japanese animation studio, in particular the lives of founders Hayao Miyazaki and Isao Takahata. Not rated. 118 minutes. In Japanese with subtitles. Center for Contemporary Arts, Santa Fe. (Not reviewed)
THE OVERNIGHTERS Jesse Moss’ must-see documentary is a timely, powerful, emotionally charged look at the negative impact of Lutheran church pastor Jay Reinke’s controversial Overnighters program on the town of Williston, North Dakota. After unemployed laborers flood the town seeking jobs in the oil industry, there’s a housing crisis. Reinke risks his reputation, his congregation, and his family when he transforms his church into a haven for the homeless and needy. The Overnighters focuses on Reinke and a few of the men he takes in, and their stories of survival and despair are at the core of this boom-andbust saga. The extent to which Williston’s residents and city officials go to get the program shut down will leave you reeling long before heartbreaking events — and uncomfortable secrets — take a devastating toll. Rated PG-13. 102 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with performances by the Paris Opera Ballet: George Balanchine’s Le Palais de Cristal, set to music by Bizet, and Benjamin Millepied’s Daphnis et Chloé, with music by Ravel. 11 a.m. Sunday, Nov. 9, only. Not rated. 120 minutes. The Screen, Santa Fe. (Not reviewed) REEL NEW MEXICO The monthly series showcasing independent films with a New Mexico connection continues with Bagdad Cafe, the 1987 comedy about a German woman who finds herself running a motel-restaurant on the edge of the Mojave Desert. 7 p.m. Thursday, Nov. 13, only. Not rated. La Tienda Performance Space, 7 Caliente Road, off Avenida Vista Grande, Eldorado. (Not reviewed) THE TALE OF THE PRINCESS KAGUYA When an old bamboo cutter discovers a miniature girl in a bamboo grove, he raises her as his own daughter. As Kaguya grows older and the man comes into unimaginable wealth through supernatural means, he becomes convinced she is of divine origin. He sets her up in a palatial home, where she spurns numerous suitors, longing only for her lost childhood love. She appeals to the moon for help, setting in motion a series of
magical events as she races to free herself from the restrictions of courtly life. Director Isao Takahata’s beautifully animated feature is an enchanting, poetic tale for the ages with a stellar cast that includes James Caan, Mary Steenburgen, Oliver Platt, and Chloë Grace Moretz, to name a few. Rated PG. 137 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) See review, Page 54.
now in theaters ALEXANDER AND THE TERRIBLE, HORRIBLE, NO GOOD, VERY BAD DAY Steve Carell and Jennifer Garner are parents to Alexander (Ed Oxenbould) in this loose adaptation of the picture book of the same name. When the entire family has a bad day all at once, they learn that the terrible, horrible, no good, very bad days make the excellent, incredible, not bad, very good ones that much sweeter. Rated PG. 81 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) ANNABELLE The creepy doll from 2013’s The Conjuring has its own spinoff movie. Annabelle Wallis and Ward Horton play young parents who think it’s a good idea to buy their unborn child a scary-looking vintage doll in a wedding dress. Spoiler alert: it was not a good idea. Rated R. 98 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) AWAKE: THE LIFE OF YOGANANDA This documentary walks us through the life of Paramhansa Yogananda, the Indian guru who introduced millions of people in the Western world to meditation and yoga through his book Autobiography of a Yogi. The story follows him from his youth in India to his move to America in the 1920s. Not rated. 87 minutes. The Screen, Santa Fe. (Not reviewed) BEFORE I GO TO SLEEP Nicole Kidman plays a character who suffers from a strange disorder that causes her to wake up every morning with no memory. Could it have something to do with that accident she suffered? Definitely. What about that suspicious husband (Colin Firth)? Possibly. Rated R. 92 minutes. DreamCatcher, Española. (Not reviewed) THE BEST OF ME In the latest adaptation of a Nicholas Sparks weepie-romance novel, young Dawson (Luke Bracey) meets Amanda (Liana Liberato), and they fall into deep, profound love. Alas, Amanda’s daddy doesn’t like the cut of Dawson’s jib or the model of his pickup truck, so the lovers are torn apart. Fast-forward 20 years, and the couple (now played by James Marsden and Michelle
Monaghan) reunite. Rated PG-13. 117 minutes. Regal DeVargas, Santa Fe; DreamCatcher, Española. (Not reviewed) THE BLUE ROOM Belgian crime novelist Georges Simenon was a prolific writer, turning out a few hundred novels and numerous short stories. This adaptation of his work feels like a slender French paperback, its brief running time pulling us through a shuffled narrative and fractured chronology so swiftly that by the time we figure out what’s going on, it’s over. Mathieu Amalric directed and co-wrote the script with Stéphanie Cléau (his real-life partner), with whom he also co-stars. It’s a steamy tale of sexual passion and murder that is less of a whodunit than a what-happened. We start in a blue hotel room, where two lovers writhe in carnal embrace on a rumpled bed; by the end, we’ve been drawn into a nightmare from which a man gradually understands he will not wake up. Not rated. 76 minutes. In French with subtitles. The Screen, Santa Fe. ( Jonathan Richards) THE BOOK OF LIFE The Day of the Dead gets its own mainstream movie, produced by Guillermo del Toro and directed by Jorge Gutierrez. The story centers on a reluctant bullfighter named Manolo (voiced by Diego Luna), who competes with his friend and rival (Channing Tatum) over the woman they both admire (Zoe Saldana) until Manolo is killed. All is not lost, however — he can travel through fantastical worlds to return to her. The visuals, inspired by Mexican folk art, are colorful, imaginative, and highly atypical of current animated films. That and the swift pacing go a long way, but the corny jokes and lame use of modern pop songs get in the way of the filmmakers’ best intentions. Rated PG. 95 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) DEAR WHITE PEOPLE Justin Simien wrote and directed this campus-set comedy about current race relations. Geeky outsider Lionel (Tyler James Williams), political activist Sam (Tessa Thompson), appearance-fixated black-Barbie-wannabe Coco (Teyonah Parris), and athletic go-getter Troy (Brandon P. Bell) are the four characters through whom Simien filters different aspects of the modern black experience. Rated R. 100 minutes. Regal DeVargas, Santa Fe. (Not reviewed) DRACULA UNTOLD Long before he “vanted to suck your blood,” Count Dracula was a man named Vlad the Impaler (Luke Evans) who made a Faustian bargain to gain a bunch of CGI-infused powers to fend off enemies and protect his people. What’s the downside? That’s where the blood-sucking comes
Birdman
in. Rated PG-13. 92 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) FURY War is hell, and writer-director David Ayer puts us through it in this dense, dark, claustrophobic, sometimes riveting, sometimes trashy adventure. Much of the action takes place in an American tank in the waning months of World War II, as the Allies are pushing toward Berlin. Brad Pitt is Wardaddy, a sergeant who is tough as nails, except when he’s showing his sensitive side. The audience surrogate is Norman (Logan Lerman), a clerk-typist thrust into combat. There’s some fine acting from the core group, filled out by Shia LaBeouf, Jon Bernthal, and Michael Peña, who mostly rise above the typical war-movie roles they’re given. Rated R. 134 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) GONE GIRL This twisted noir from David Fincher is based on the bestseller by Gillian Flynn, who penned the screenplay, boiling her own work down to its deep, dark, gripping essentials. Amy Dunne (Rosamund Pike) mysteriously disappears, leaving her husband, Nick (Ben Affleck), as a possible murder suspect. The story unfolds forward and in flashback and is told by two unreliable, unlikeable narrators. It’s strategically assembled and briskly continued on Page 60
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paced and weaves in commentary on our gossip-fueled news cycle. Pike brings an icy perfection to Amy, while Affleck makes Nick simultaneously amiable and untrustworthy. Rated R. 149 minutes. Regal Stadium 14, Santa Fe. (Laurel Gladden) INTERSTELLAR Christopher Nolan’s space epic is one of the most phenomenally silly movies ever made. But it has a strange majesty. It’s like 2001: A Space Odyssey as conceived by three college sophomore philosophy majors on acid and a junior from the physics department. It’s filled with earnest hokum and riddled with theoretical-physics chatter, most of which can’t be understood because Hans Zimmer’s raging score and the thundering sound effects are at perpetual death struggle with the (mostly mumbled) dialogue. On a theoretical-physics level, it’s all about relativity and the oddity that time proceeds more slowly when you’re hurtling through space than when you’re stuck back on the farm. On an emotional basis, it’s about father-daughter bonds and the power of love. Rated PG-13. 168 minutes. Jean Cocteau Cinema, Santa Fe; Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) See review, Page 52. JOHN WICK If you abhor violence, don’t see this movie. Bodies pile up with abandon after the son (Alfie Allen) of a crime boss (a superb Michael Nyqvist) takes a fancy to a ’69 Mustang belonging to ex-hitman John Wick (Keanu Reeves). He steals the car and does something else so vile it brings Wick out of retirement with a stylish vengeance. This movie is the spectacular directorial debut of Chad Stahelski, who was Reeves’ stunt double in movies like The Matrix. He knows his action, and he knows when the movie should talk and when it should shut up. Derek Kolstad’s dialogue is spare, but it’s choice and often very funny. John Leguizamo, Ian McShane, and Willem Dafoe do fine work. Reeves is at his best — taciturn, athletic, and cool. Rated R. 101 minutes. Regal Stadium 14, Santa Fe. ( Jonathan Richards) THE JUDGE Robert Downey Jr. climbs out of his Iron Man suit long enough to play a smooth-talking lawyer who returns home from the big city to defend his father, played by Robert Duvall, a grumpy judge who
spicy bland
medium
mild
heartburn
Read movie reviews online at www.santafenewmexican.com/pasatiempo
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PASATIEMPO I November 7-13, 2014
is suspected of murder. Will father and son put aside their differences? Vera Farmiga, Vincent D’Onofrio, and Billy Bob Thornton co-star. Rated R. 141 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) LISTEN UP PHILIP This is a great sendup of literary novels and writing culture. Awaiting publication of his second novel, Philip Lewis Friedman ( Jason Schwartzman) meets a luminary novelist named Ike Zimmerman ( Jonathan Pryce). Fame has made them both crazy. Philip keeps looking for the woman who can set him on the path to righteousness, except that he hates women — and himself and really everyone else, too. The subversion here is that this brilliant movie refuses to give Philip what he desires. Not rated. 108 minutes. Center for Contemporary Arts, Santa Fe. ( Jennifer Levin) THE MAZE RUNNER In the latest film adaptation of a popular young-adult-novel series, Thomas (Dylan O’Brien) wakes up in a giant maze with some other boys, none of whom remember their previous lives. One day, a girl (Kaya Scodelario) appears. Thomas can read her thoughts, and there’s one they share: “Let’s get out of here!” Rated PG-13. 113 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) MY OLD LADY Veteran playwright Israel Horovitz makes his feature-length-film directorial debut with this comedy about a man (Kevin Kline) who inherits an apartment in Paris and intends to sell it but can’t until the current tenant dies. That tenant is played by the immortal Maggie Smith, so he has a long wait. He’ll just have to pass the time falling in love with a character played by Kristin Scott Thomas. Rated PG-13. 107 minutes. Regal DeVargas, Santa Fe. (Not reviewed) NIGHTCRAWLER Jake Gyllenhaal plays a sleazy young man who finds his way into the world of nighttime crime journalism in Los Angeles. After covering accidents, murders, and fires for long enough, he finds himself manipulating the stories to boost his career. Rated R. 117 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) OUIJA A group of teenagers gets together to test out a Ouija board that supposedly had something to do with the death of a young woman. Sure enough, they summon a dark spirit that starts picking them off, particularly when they look in mirrors or through the hole on the board’s planchette. This ain’t no Parker Brothers. Rated PG-13. 89 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) PRIDE Based on real events, this pointed comedy is set in 1984, when British coal miners were on strike. A
group of gay and lesbian activists in London, spearheaded by a young man named Mark Ashton (Ben Schnetzer), decides that downtrodden and persecuted peoples need to rally for one another’s causes, and they travel to Wales to support a small mining community that is not at all sure it wants the help. Smart writing and the steady hand of director Matthew Warchus keep the film from becoming cloying, and a cast of unknowns mixes flawlessly with British greats Imelda Staunton, Paddy Considine, Andrew Scott, and Bill Nighy. Rated R. 120 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) SAGRADA: THE MYSTERY OF CREATION The church of La Sagrada Família in Barcelona is actually a construction site. Begun in 1882 by architect Antoni Gaudí, it remains a half-completed exercise in artistic astonishment. Stefan Haupt’s documentary serves as an intriguing biography of the building, its story made personal through interviews with spiritually invested architects and artisans. Not rated. 89 minutes. In French, Spanish, and Catalan with subtitles. Center for Contemporary Arts, Santa Fe. ( James M. Keller) ST. VINCENT Bill Murray plays Vincent, a surly, dirty, alcoholic old-timer who is tasked with taking care of the child ( Jaeden Lieberher) of the single mother (Melissa McCarthy) who lives next door, and teaches the kid how to fight and totes him along to the racetrack. Vincent has to satiate his gambling addiction, but no regular moviegoer would bet against the eventual reveal that this hermit has a heart of gold. The story plays out exactly as you’d expect, and Naomi Watts’ Russian prostitute seems to belong in another story entirely. The film’s saving grace is McCarthy’s affecting performance as a hardworking woman at the end of her rope. Rated PG-13. 102 minutes. Regal DeVargas, Santa Fe. (Robert Ker)
other screenings Center for Contemporary Arts, 505-982-1338 Reel Rock 9 Film Tour; Santa Fe Jewish Film Festival presents Regarding Susan Sontag and Sukkah City. Jean Cocteau Cinema, 505-466-5528 Earth 2 (1994). Regal DeVargas, 505-988-2775 On Any Sunday: The Next Chapter. Regal Stadium 14, 505-424-6296 Dumb and Dumber To. ◀
WHAT’S SHOWING Call theaters or check websites to confirm screening times. CCA CINEMATHEQUE AND SCREENING ROOM
1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org A.K.A. Doc Pomus (NR) Sun. 7 p.m.
The Kingdom of Dreams and Madness (NR) Fri. 7 p.m. Sat. and Sun. 12:15 p.m. Listen Up Philip (NR) Fri. 12:30 p.m., 8:15 p.m. Sat. and Sun. 8:15 p.m. Mon. to Thurs. 8:30 p.m. The Overnighters (PG-13) Fri. to Sun. 1:45 p.m. Mon. to Wed. 7:15 p.m. Reel Rock 9 FilmTour:Valley Uprising (NR) Thurs. 8 p.m. Regarding Susan Sontag (NR) Sat. 7:30 p.m. Wed. 5 p.m. Sagrada:The Mystery of Creation (NR) Fri. and Sat. 4 p.m. Mon. and Tue. 5 p.m. Thurs. 5 p.m. Sukkah City (NR) Sun. 4:30 p.m. The Tale of the Princess Kaguya (PG) Fri. to Sun. 11 a.m., 2:45 p.m., 5:30 p.m. Mon. to Thurs. 5:30 p.m. JEAN COCTEAU CINEMA
418 Montezuma Avenue, 505-466-5528, www.jeancocteaucinema.com Interstellar (PG-13) Fri. 2:30 p.m., 6 p.m., 9:20 p.m. Sat. 11 a.m., 2:30 p.m., 8:30 p.m., 11:50 p.m. Sun. 11 a.m., 2:30 p.m., 6 p.m. Mon. 3 p.m., 9:20 p.m. Tue. to Thurs. 2:30 p.m., 6 p.m., 9:20 p.m. Earth 2 (NR) Sat. 6 p.m REGAL DEVARGAS
562 N. Guadalupe St., 505-988-2775, www.fandango.com The Best of Me (PG-13) Fri. to Thurs. 12:10 p.m., 6:10 p.m. Birdman (R) Fri. and Sat. 12:15 p.m., 3:15 p.m., 6:15 p.m., 9 p.m. Sun. to Thurs. 12:15 p.m., 3:15 p.m., 6:15 p.m. Dear White People (R) Fri. and Sat. 3:10 p.m., 9:15 p.m. Sun. to Thurs. 3:10 p.m. Laggies (R) Fri. and Sat. 12:30 p.m., 3:30 p.m., 6:30 p.m., 9:05 p.m. Sun. to Thurs. 12:30 p.m., 3:30 p.m., 6:30 p.m. My Old Lady (PG-13) Fri. to Thurs. 12 p.m., 6 p.m. On Any Sunday:The Next Chapter (PG) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:20 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m. Pride (R) Fri. and Sat. 3 p.m., 9:10 p.m. Sun. to Thurs. 3 p.m. St.Vincent (PG-13) Fri. and Sat. 12:40 p.m., 3:40 p.m., 6:40 p.m., 9:15 p.m. Sun. to Thurs. 12:40 p.m., 3:40 p.m., 6:40 p.m. REGAL STADIUM 14
3474 Zafarano Drive, 505-424-6296, www.fandango.com Alexander and the Terrible, Horrible, No Good, Very Bad Day (PG) Fri. to Wed. 12:35 p.m., 3 p.m.,
5:10 p.m., 7:45 p.m.
Annabelle (R) Fri. to Sun. 9:40 p.m. Mon. to Wed.
12:05 p.m., 2:30 p.m., 5 p.m., 7:25 p.m., 9:50 p.m. Big Hero 6 3D (PG) Fri. to Sun. 12:10 p.m., 2:50 p.m., 5:30 p.m., 8 p.m., 10:35 p.m. Mon. to Wed. 12:15 p.m., 5:25 p.m., 10:35 p.m. Big Hero 6 (PG) Fri. to Sun. 12:40 p.m., 1:20 p.m., 3:30 p.m., 4 p.m., 7 p.m., 7:30 p.m., 10:10 p.m. Mon. to Wed. 12 p.m., 2:35 p.m., 2:50 p.m., 5:10 p.m., 7:45 p.m., 8 p.m., 10:20 p.m. The Book of Life 3D (PG) Fri. to Wed. 12 p.m., 10 p.m. The Book of Life (PG) Fri. to Wed. 2:30 p.m., 5 p.m., 7:35 p.m.
Dracula Untold (PG-13) Fri. to Wed. 10 p.m. Dumb and Dumber To (PG-13) Thurs. 8 p.m.,
9:30 p.m. Fury (R) Fri. to Wed. 12:50 p.m., 4:05 p.m., 7:10 p.m., 10:15 p.m. Gone Girl (R) Fri. to Wed. 3:50 p.m., 7:05 p.m., 10:20 p.m. Interstellar (PG-13) Fri. to Wed. 12 p.m., 12:30 p.m., 1 p.m., 3:40 p.m., 4:10 p.m., 4:45 p.m., 7:20 p.m., 7:50 p.m., 8:30 p.m. John Wick (R) Fri. to Wed. 12 p.m., 2:25 p.m., 4:55 p.m., 7:25 p.m., 10 p.m. The Judge (R) Fri. to Wed. 12:30 p.m., 3:45 p.m., 7:05 p.m., 10:15 p.m. The Maze Runner (PG-13) Fri. to Wed. 12:20 p.m. Nightcrawler (R) Fri. to Wed. 1:10 p.m., 4 p.m., 7 p.m., 9:50 p.m. Ouija (PG-13) Fri. to Wed. 12:15 p.m., 2:35 p.m., 5 p.m., 7:35 p.m., 10:05 p.m.
big hero 6 2d / 3d 2:00** 4:30 7:00 intersteller 2:15** 4:25 6:45 fury 1:45** 4:20 7:20 nightcrawler 1:50** 4:40 7:10 best of me 1:55** 4:25 6:55 book of life 2d 2:05** 4:35 7:05 alexander & the terrible, 2:10** 4:50 horrible, no good, Very bad day before i go to sleep 7:30 ouija 2:20** 4:55 7:25 **saturday & sunday only *friday & saturday only times for friday, november 7 - thursday, november 13
9:30* 9:25* 4:45/7:35* 9:45* 9:40* 9:35* 9:50* 9:55*
A MUST-SEE.”
“
THE SCREEN
Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com Awake:The Life of Yogananda (PG) Fri. 4:15 p.m., 7:45 p.m. Sat. 12 p.m., 4:15 p.m., 7:45 p.m. Sun. 2 p.m., 5:45 p.m. Mon. to Thurs. 4:15 p.m., 7:45 p.m. The Blue Room (NR) Fri. and Sat. 2:30 p.m., 6 p.m. Sun. 4 p.m. Mon. to Thurs. 2:30 p.m., 6 p.m. Paris Opera Ballet: Balanchine & Millepied (NR) Sun. 11:15 a.m. MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)
15 N.M. 106 (intersection with U.S. 84/285), 505-753-0087, www.dreamcatcher10.com
Alexander and the Terrible, Horrible, No Good,Very Bad Day (PG) Fri. 4:50 p.m. Sat. and Sun. 2:10 p.m.,
4:50 p.m. Mon. to Thurs. 4:50 p.m.
NOW PLAYING AT THEATERS EVERYWHERE! CHECK DIRECTORIES FOR SHOWTIMES • NO PASSES ACCEPTED “FUNNY
AND
chArmiNg– A FEEL-GOOD, CROWD-PLEASING
COMEDY.”
“SAM ROCKWELL L
HAS NEAR R ENDLESS S
APPEAL L .”
Before I Go to Sleep (R) Fri. and Sat. 7:30 p.m.,
9:50 p.m. Sun. to Thurs. 7:30 p.m. The Best of Me (PG-13) Fri. 4:25 p.m., 6:55 p.m., 9:40 p.m. Sat. 1:55 p.m., 4:25 p.m., 6:55 p.m., 9:40 p.m. Sun. 1:55 p.m., 4:25 p.m., 6:55 p.m. Mon. to Thurs. 4:25 p.m., 6:55 p.m. Big Hero 6 3D (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. Big Hero 6 (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. The Book of Life (PG) Fri. 4:35 p.m., 7:05 p.m., 9:35 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:35 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m. Mon. to Thurs. 4:35 p.m., 7:05 p.m. Fury (R) Fri. 4:45 p.m., 7:35 p.m. Sat. and Sun. 1:45 p.m., 4:45 p.m., 7:35 p.m. Mon. to Thurs. 4:20 p.m., 7:20 p.m. Interstellar (PG-13) Fri. 4:25 p.m., 6:45 p.m., 9:25 p.m. Sat. 2:15 p.m., 4:25 p.m., 6:45 p.m., 9:25 p.m. Sun. 2:15 p.m., 4:25 p.m., 6:45 p.m. Mon. to Thurs. 4:25 p.m., 6:45 p.m. Nightcrawler (R) Fri. 4:40 p.m., 7:10 p.m., 9:45 p.m. Sat. 1:50 p.m., 4:40 p.m., 7:10 p.m., 9:45 p.m. Sun. 1:50 p.m., 4:40 p.m., 7:10 p.m. Mon. to Thurs. 4:40 p.m., 7:10 p.m. Ouija (PG-13) Fri. 4:55 p.m., 7:25 p.m., 9:55 p.m. Sat. 2:20 p.m., 4:55 p.m., 7:25 p.m., 9:55 p.m. Sun. 2:20 p.m., 4:55 p.m., 7:25 p.m. Mon. to Thurs. 4:55 p.m., 7:25 p.m.
EXcLUSiVE ENgAgEmENT
STArTS TODAY
Santa Fe UA De Vargas Mall 6 (800) FANDANGO #608
FRI-SAT: 12:30, 3:30, 6:30 & 9:05 PM SUN-THU: 12:30, 3:30 & 6:30 PM
‘‘brilliant on so many levels.’’
eXClUsive enGaGement
starts toDay
Santa Fe UA De Vargas Mall 6 (800) FANDANGO #608
PASATIEMPOMAGAZINE.COM
61
RESTAURANT REVIEW Laurel Gladden I For The New Mexican
Here comes a regular Fire & Hops 222 N. Guadalupe St., 505-954-1635, www.fireandhopsgastropub.com 5-11 p.m. Mondays-Fridays, 2-11 p.m. Saturdays & Sundays; food served until 9 p.m. SundaysThursdays, 10 p.m. Fridays & Saturdays Beer & wine Takeout available Vegetarian options Handicapped accessible Patio dining in season Noise level: festive to rowdy Off-street parking at Bert’s Burger Bowl and Constellation after 5 p.m. and on Sundays Credit cards, no checks
]
The Short Order As its name suggests, Fire & Hops is as interested in beer as it is in food — a fact made obvious by the interesting, fairly aggressive list of brews. But you don’t have to be a beer lover to enjoy yourself here. The menu, which includes small and large plates, is relatively short, and chef Joel Coleman (formerly of Mauka and Koi) is dedicated to seasonality. There are pork rinds, pickles, and potatoes and classics like burgers and ribs. Some dishes, like “fish & chip” fritters and confit chicken wings, show off Coleman’s creativity, and some are reminders of his fondness for Asian flavors. You’ll almost always encounter a crowd, and while the ambience can border on rowdy and the kitchen can get weeded, the mood is always relaxed, comfortable, and familial. Recommended: poutine, arugula salad, Thai beef salad, salt & vinegar potatoes, fish & chip fritters, Cubano, and burgers.
Ratings range from 1 to 5 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value. 5 = flawless 4 1/2 = extraordinary 4 = excellent 3 1/2 = very good 3 = good 2 1/2 = average 2 = fair 1 1/2 = questionable 1 = poor
62
PASATIEMPO I November 7-13, 2014
Home-brewing websites, T-shirts, and bumper stickers frequently misquote Benjamin Franklin as having said, “Beer is proof that God loves us and wants us to be happy.” Ben was actually talking about wine, but I agree with the sentiment anyway. More evidence that the universe is looking out for us (at least where our taste buds are concerned) is the recent collaboration between chef Joel Coleman and Josh Johns to create Fire & Hops, tucked into a tiny casita on Guadalupe Street. As its name suggests, the restaurant is as interested in beer as it is in food — a fact made obvious by the fairly aggressive beer list that includes brews from near (New Mexico and Colorado) and far (Germany, Great Britain, and Italy). You don’t have to be a so-called hophead to enjoy yourself at Fire & Hops, though. It offers a selection of ciders and a balanced list of wines served by the bottle or the glass. The crowd comes in waves at Fire & Hops. At peak times, the ambience can border on rowdy, but it’s usually convivial and festive. The kitchen may still be getting its sea legs: on particularly crowded nights, it gets weeded. Staff members are friendly, even perky, and knowledgeable about both food and beer. They sometimes get distracted chatting with diners, but I found that oddly forgivable since it contributes to the relaxed, comfortable, familial mood. The menu, which includes small and large plates, is relatively short, and Coleman is intent on maintaining a dedication to seasonality. Fire & Hops opened its doors in July, serving a lovely tomato and burrata salad and a deliciously tart, crunchy, peanutty papaya salad. Since then, the menu has morphed to include dishes like a Hubbard squash soup and an arugula, beet, and apple salad. Mushroom risotto with a dollop of bright-green arugula pesto cleverly straddles the seasons. There are pork rinds (crunchy but dull), mixed-vegetable pickles (spicy!), curry nuts (a bargain bar snack), and salt and vinegar potatoes (soft, starchy, and mouthwatering). Or you can go for a bigger plate, choosing a salty-sweet Cubano made with beer-brined pork or a satisfyingly juicy, meaty New Mexico beef burger. You’ll see reminders that Coleman favors Asian flavors. The fulfilling-but-light Thai beef salad features thin slices of meat tossed with a fresh, aromatic blend of cucumber, red onion, and greens, a dusting of crisp puffed rice providing an amusing snap-crackle-pop. We ate our way through a couple of incarnations of the “fish & chip” fritters, which the kitchen seems to be trying to perfect. They’re russet-gold nuggets combining soft, earthy potato and noticeable but not overly fishy cod. One recent batch was shockingly underseasoned (especially given that Coleman has never been afraid of salt). Good thing for the salt & vinegar aioli, which reminded me of tangy, mildly oniony potato-chip dip — and I mean that in the very best way. Some dishes, like the poutine, have been nearly perfect since the beginning. This Canadian comfort combo of french fries, gravy, and cheese curds (among other things) has been showing up on hip menus in the U.S. for a while. Fire & Hops gives it a regional twist, adding tinglingly hot green chile to the salty, creamy blanket that covers the thin golden fries. Bacon confetti gives it all a strong smoky, meaty finish.
Other dishes still need tweaking. The spareribs were impeccably cooked — the meat was tender, moist, and yielding — but the milk-stout-mustard sauce was impressively bland, vaguely sticky-sweet, and despite visible whole seeds, lacking any mustardy tang. This allows you to appreciate pork’s inherent sweetness, but the dish would benefit from salt and acidity. ProbablythebestexampleofColeman’s creativity—inconcept, anyway — are the confit chicken wings. While the meat of every wing we sampled was rich and pulled away from the bone with ease, it was also oddly, disturbingly dry. Perhaps the problem is the battering-and-frying finish. Can something as small as a chicken wing be cooked twice without ultimately being overdone? Desserts need work. Some ice creams we tried — chocolate, coffee, a house version of rocky road, and a salty-sweet redmiso butterscotch, for example — were tasty and rich. But each sorbet we sampled was only partially frozen and had a gelatinous, gummy texture. A recent pumpkin clafoutis — no doubt the result of the seasonal obsession with all things pumpkin — had a perfectly acceptable custard base, but the chunks of pumpkin suspended there were disconcertingly brown, slimy, and unseasoned. The sage crème fraîche sounded intriguing but had an unpleasantly musky tang. That disappointing end to the meal made me think of another popular aphorism: “Challenges make champions.” Coleman is one of our city’s finest talents, and he’ll probably keep working on and perfecting his menu. You certainly won’t catch me suggesting that he won’t eventually get it right. ◀
Dinner for three at Fire & Hops: Pickle plate ...............................................................$ 4.00 Poutine .....................................................................$ 8.00 Confit chicken wings ...............................................$ 8.00 Thai beef salad..........................................................$ 9.00 Cubano.....................................................................$12.00 Burger with green chile and cheese..........................$15.00 Pint, Deschutes Fresh Squeezed IPA ........................$ 5.00 Glass (10 oz), Delirium Nocturnum strong dark ale $ 8.00 TOTAL......................................................................$69.00 (before tax and tip) Dinner for two, another visit: Arugula salad............................................................$ 8.00 Fish & chip fritters...................................................$ 9.00 Spareribs...................................................................$ 8.00 Mushroom risotto.....................................................$13.00 Pumpkin clafoutis ....................................................$ 8.00 Ice cream ..................................................................$ 6.00 Glass, Rosi Mosi rosé................................................$10.00 Glass, Joseph Carr cabernet sauvignon....................$ 9.00 TOTAL......................................................................$71.00 (before tax and tip)
“Newspapers are unable, seemingly, to discriminate between a bicycle accident and the collapse of civilization.”
GEORGE BERNARD SHAW British playw ywright
Freedom of speech. Freedom of the press. Uniquely American.
PASATIEMPOMAGAZINE.COM
63
C A L E N D A R
L I S T I N G
G U I D E L I N E S
• To list an event in Pasa Week, send an email or press release to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. • Send material no less than two weeks prior to the desired publication date. • For each event, provide the following information: time, day, date, venue, venue address, ticket prices, web address, phone number, brief description of event (15 to 20 words). • All submissions are welcome. However, events are included in Pasa Week as space allows. There is no charge for listings. • To add your event to The New Mexican online calendar, visit santafenewmexican. com and click on the Calendar tab. • Return of photos and other materials cannot be guaranteed. • Pasatiempo reserves the right to publish received information and photographs on The New Mexican website. • For further information contact Pamela Beach, pambeach@sfnewmexican.com, 202 E. Marcy St., Santa Fe, NM 87501, phone: 505-986-3019, fax: 505-820-0803.
ARTS AND ENTERTAINMENT CALENDAR
November 7-13
CALENDAR COMPILED BY PAMELA BEACH
FRIDAY 11/7
Pop Gallery
125 Lincoln Ave., Suite 111, 505-820-0788 Pop Goes to the Dogs, paintings by Trevor Mikula; Esoteric Edge, works by David Ho, reception 5 p.m., both exhibits through December.
Gallery & Museum Openings Art Exchange Gallery
60 E. San Francisco St., Suite 210 (second floor) Group show by the Santa Fe Six, reception 4-6 p.m., through November.
Santa Fe University of Art & Design Fine Arts Gallery
1600 St. Michael’s Dr. Birch, works by New Mexico School for the Arts students, reception 5:30-7:30 p.m., call 505-310-4194 for information on the fundraiser.
Back Street Bistro
513 Camino de los Marquez, 505-982-3500 From Within & Without, group show of works by the Santa Fe Art Scape group, holiday bazaar and reception 5:30-7:30 p.m., through Jan. 3.
Sorrel Sky Gallery
125 W. Palace Ave., 505-501-6555 Handwoven horsehair baskets by Jane Chavez, reception 5-7:30 p.m.
Commissioner’s Gallery
New Mexico State Land Office, 310 Old Santa Fe Trail When We Take Care of the Land, the Land Takes Care of Us, exhibit of works by six New Mexico military veterans, reception 3-5 p.m., through Nov. 28.
Tom Ross Gallery
409 Canyon Rd., 505-984-8434 New paintings and sculpture by Elizabeth Hahn, Gail Buono, and Navid Ghedami, reception 5-7 p.m., through Nov. 14.
Crumpacker’s
5 Bisbee Court, Suite 108 Exhibition of works by Institute of American Indian Arts students, reception 2-4 p.m., through November.
Turner Carroll Gallery
725 Canyon Rd., 505-986-9800 Anomaly, new paintings by George Mazilu, reception 5-7 p.m., through Dec. 1.
Downtown Subscription
Verve Gallery of Photography
376 Garcia St., 505-983-3085 Anima, photographs by Todd Williams, reception 4-6 p.m., through November.
219 E. Marcy St., 505-982-5009 Group show including works by Beth Moon, Duane Monczewski, and Jennifer Schlesinger-Hanson, reception 5-7 p.m., through Jan. 10.
Heidi Loewen Porcelain Gallery
315 Johnson St., 505-988-2225 Slice It Open, silver and gold sculptural vessels by Loewen, reception 5:30-7:30 p.m.
Vivo Contemporary
725 Canyon Rd., 505-982-1320 Excavations, group show, reception 5-7 p.m., through Jan. 6.
Henington Fine Art
802 Canyon Rd., 505-690-9160 The Warrior and the Imaginary Maze, works by Gérard Vachez, reception 5-8 p.m.
Classical Music TGIF Chancel Choir
Institute of American Indian Arts
83 Avan Nu Po Rd., 505-424-2300 Annual open house and Allan Houser exhibit 2:30-6:30 p.m.; student-designed and -built project titled IAIA Blood Quantum Drive: Making Relatives viewing 3:30-6:30 p.m.; dedication of the Allan Houser Sculpture and Foundry Building 4 p.m.; visit axleart.com for additional Blood Quantum Drive locations through Dec. 4.
LewAllen Galleries
1613 Paseo de Peralta, 505-988-3250 New paintings by Tracy Rocca, reception 5-7 p.m., through Dec. 7.
Manitou Galleries
123 W. Palace Ave., 505-986-0440 The Western Scene, paintings by J.D. Challenger and Nicholas Coleman, reception 5-7:30 p.m.
Marigold Arts
424 Canyon Rd., 505-982-4142 Folk art and textiles by Middle Eastern, North African, Native American, and New Mexico artists, reception 5-7 p.m., through Nov. 20.
64
PASATIEMPO November 7-13, 2014
Singer/songwriter Patty Griffin performs at 7:30 p.m. tonight at the James A. Little Theater.
New Mexico History Museum/Palace of the Governors
113 Lincoln Ave., 505-476-5200 Gustave Baumann and Friends: Artist Cards From Holidays Past, holiday cards by Baumann and other artists spanning the years 1918-1970, reception 5-8 p.m.; curators Tom Leech and Jean Moss speak at 6 p.m., through March 29.
New Mexico Museum of Art
107 W. Palace Ave., 505-476-5072 Hunting + Gathering: New Additions to the Museum Collection, recently acquired works by Ansel Adams, Gustave Baumann, and others, reception 5-7 p.m., through March 29.
Nüart Gallery
670 Canyon Rd., 505-988-3888 Figurations III, new paintings by six figurative artists, reception 5-7 p.m., through November.
Patina Gallery
131 W. Palace Ave., 505-986-3432 Exhibition of jewelry by Susan Wise and Jeff Wise, reception 2-7:30 p.m.
Photo-eye Bookstore + Project Space
376-A Garcia St., 505-988-5152 Carpoolers, photographs by Alejandro Cartagena, reception 5-7 p.m., through Dec. 6.
First Presbyterian Church Santa Fe 208 Grant Ave. The choir performs Bob Chilcott’s Requiem, 5:30-6 p.m., donations welcome, 505-982-8544, Ext. 16.
In Concert Arlen Asher Quartet
Museum Hill Café, 710 Camino Lejo Featuring the music of Harold Arlen, part of the Santa Fe Jazz Collective Music Café Series, 7 p.m., $25, 505-983-6820, santafemusiccollective.org.
Kalin and Myles
Skylight Hip-pop duo, 7:30 p.m., $18, VIP tickets $60, 505-988-1234, ticketssantafe.org.
Patty Griffin
James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Singer/songwriter, 7:30 p.m., $48, 505-988-1234, ticketssantafe.org.
Outdoors Moonlight Hike
Cerrillos Hills State Park, approximately 16 miles south of Santa Fe off NM 14 Hike under the full frost moon, learn about lunar facts and folklore, and view the moon through a spotting scope, 6 p.m., $5 per vehicle. Meet at the park entrance, one-half mile north of Cerrillos Village on County Road 59.
Nightlife
(See addresses at right)
SATURDAY 11/8 Gallery & Museum Openings Downtown Subscription
376 Garcia St., 505-983-3085 Anima, photographs by Todd Williams, reception 4-6 p.m., through November.
Heidi Loewen Porcelain Gallery
315 Johnson St., 505-988-2225 Slice It Open, silver and gold sculptural vessels by Loewen, reception noon-5 p.m.
Patina Gallery
131 W. Palace Ave., 505-986-3432 Exhibition of jewelry by Susan Wise and Jeff Wise, reception 1-4 p.m.
Classical Music Santa Fe Pro Musica
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Transfigured Night, music of Schoenberg and Mahler, featuring mezzo-soprano Deborah Domanski, 4 p.m., $10-$65, 505-988-1234, ticketssantafe.org.
Café Café
Trio Los Primos, 6 p.m., no cover.
¡Chispa! at El Mesón
Check with venues for updates and sp ecial events Agoyo Lounge
Three Faces of Jazz, featuring guest trumpeter Chief Sanchez, 7:30-10:30 p.m., no cover. Local singer/songwriter Jim Almand, 5 p.m.; Americana band Boris & The Saltlicks, 8:30 p.m.-close, call for cover.
HOW TO TELL A TRUE STORY
Saturdays, Nov. 8 and 15 Santa Fe author James McGrath Morris leads two free writing workshops hosted by the Santa Fe Public Library. A teen writing program is held from 1 to 5 p.m. on Saturday, Nov. 8, at the Southside Branch (6599 Jaguar Rd., 505-955-2820). An adult program is held at the Main Branch (145 Washington Ave., 505-955-6781) from 1 to 5 p.m. the following Saturday on Nov. 15. Registration required.
Duel Brewing
Americana duo Wildwood, 7 p.m.-close, no cover.
El Paseo Bar & Grill
DJ Coda, 9:30 p.m.-close, no cover.
Hilltop Bar at The Lodge at Santa Fe
Pachanga Club Fridays, Latin-dance night with DJ Aztech Sol, 9:30 p.m., call for cover.
La Fiesta Lounge at La Fonda
Buffalo Nickel, boot-scooting music, 8-11 p.m., no cover.
La Posada de Santa Fe Resort and Spa
Theater/Dance
Nacha Mendez Quartet, 6:30-9:30 p.m., no cover.
BodyTraffic
Mine Shaft Tavern
Death and the Maiden
Bluegrass band Railyard Reunion, 4:40-7:30 p.m., no cover; Anthony Leon & The Chain, 10 p.m.-closee, call for cover.
The Lensic Los Angeles-based contemporary dance company, 7:30 p.m., $15-$35, ticketssantafe.org, 505-988-1234, Saturday encore. (See story, Page 40)
Rockabilly band Barnyard Stompers, on the deck, 5 p.m., no cover; Underground Cadence, rock/R & B, 8 p.m.-close, call for cover.
Palace Restaurant and Saloon
Teatro Paraguas Studio, 3205 Calle Marie Teatro Paraguas presents the 1991 play by Ariel Dorfman, 7:30 p.m., $15, discounts available, 505-424-1601, Fridays-Sundays through Nov. 16.
Geist Cabaret with pianist David Geist, 6-9 p.m., call for cover.
Hotline
Second Street Brewery
Greer Garson Theatre, Santa Fe University of Art and Design, 1600 St. Michael’s Dr. Elaine May’s 1995 drama about suicide in modern society; directed by SFUAD student Hamilton Turner, 7 p.m., $15, discounts available, ticketssantafe.org, 505-988-1234, through Sunday.
Quilters
Santa Fe Playhouse, 142 E. DeVargas St. Santa Fe Playhouse presents the 1982 musical by Molly Newman and Barbara Damashek, 7:30 p.m., $20, discounts available, brownpapertickets.com, Thursdays-Sundays through Nov. 16.
Books/Talks Tony Hillerman Writers Conference
Pranzo Italian Grill
Red Racer, classic country/western swing, 6-9 p.m.., no cover.
Second Street Brewery at the Railyard
Jazz ensemble Kodama Trio, 7-10 p.m., no cover.
Shadeh
Clear Channel Radio Rock ‘n’ Roll Night, 9 p.m.-4 a.m., no cover.
Skylight
The Alchemy Party, with DJs Dynamite Sol and Poetics, 9 p.m.-2 a.m., call for cover.
Swiss Bakery Pastries and Bistro
Irish multi-instrumentalist Gerry Carthy, on the patio, 7-10 p.m.
Hilton Santa Fe, 100 Sandoval St. Workshops and lectures on the craft of writing and the business of writing, 7:30 a.m.-9 p.m., visit wordharvest.com for registration prices and details; continues Saturday.
Tiny’s
Tony Stromberg
Pianists Doug Montgomery, 6 p.m., and Kathy Morrow, 8 p.m.; call for cover.
Collected Works Bookstore, 202 Galisteo St. 505-988-4226 The photographer discusses his monograph Horse Medicine, 5-7 p.m.; Stromberg’s photos are exhibited at the bookstore through December.
Singer/songwriter John Carey, 5:30-8 p.m.; classic-rock band The Jakes, 8:30 p.m.-close; no cover.
Vanessie
at the Inn on the Al Mine Shaft Tavern ameda 303 E. Alameda St. 28 46 NM 14, Madrid, , 505-984-2121 505-473-0743 Anasazi Restauran Mu seum Hill Café t & Bar 113 Washington Av 710 Camino Lejo, Mi e., 505-988-3030 lner Plaza, 505-984-8900 Bishop’s Lodge Ra nch Resort & Spa 1297 Bishops Lodg e Rd., 505-983-6377 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Tra The Blue Rooster il, 505-982-1851 101 W. Marcy St., 50 Odd Fellows Hall 5-206-2318 1125 Cerrillos Rd., Burro Alley Café 505-473-0955 207 W. San Francisc Omira Bar & Grill o St., 505-982-0601 1005 St. Francis Dr Café Café ., 505-780-5483 500 Sandoval St., 50 Palace Restaurant 5-466-1391 & Saloon 142 W. Palace Ave., ¡Chispa! at El Mesó 505-428-0690 n 213 Washington Av Pranzo Italian Grill e., 505-983-6756 540 Montezuma Av Cowgirl BBQ e., 505-984-2645 319 S. Guadalupe St. Santa Fe Bar & Grill , 505-982-2565 187 Paseo de Peral Duel Brewing ta, DeVargas Center r, 505-982-3033 1228 Parkway Dr., 505-474-5301 Sa nt a Fe Community Co El Cañon at Hilton nvention Santa Fe Center 100 Sandoval St., 50 5-988-2811 20 1 W. Marcy St., 505-955 Eldorado Hotel & -6705 Spa Santa Fe Sol Stage 309 W. San Francisc & Grill o St., 505-988-4455 37 Fir e Place, solofsantafe El Farol .com Second Street Brew 808 Canyon Rd., 50 ery 5-983-9912 1814 Second St., 50 El Paseo Bar & Grill 5-982-3030 Second Street Brew 208 Galisteo St., 50 er 5-992-2848 1607 Paseo de Peral y at the Railyard Evangelo’s ta, 505-989-3278 Shadeh at Buffalo 200 W. San Francisc Thunder o St., 505-982-9014 Reso rt & Casino High Mayhem Em erging Arts Pojoaque Pueblo, U.S 2811 Siler Lane, 50 . 84/285, 5-438-2047 505-455-5555 Hilltop Bar at The Lodge at Santa Fe Sk ylight 750 N. St. Francis Dr ., 505-992-5800 139 W. San Francisc o St., 505-982-0775 Hotel Santa Fe Sw eetwater Harvest 1501 Paseo de Peral Kitchen ta, 505-982-1200 1512-B Pacheco St. , 505-795-7383 Jean Cocteau Cinem a Swiss Bakery Pastr 418 Montezuma Av ies e., 505-466-5528 401 S. Guadalupe St. and Bistro , 505-988-5500 Junction Taberna La Boca 530 S. Guadalupe St. , 505-988-7222 125 Lincoln Ave., 50 5-988-7102 La Boca Tin y’s 72 W. Marcy St., 50 5-982-3433 1005 St. Francis Dr ive, Suite 117, La Casa Sena Cant 505-983-9817 ina 125 E. Palace Ave., 505-988-9232 The Underground at Evangelo’s La Fiesta Lounge 200 W. San Francisc at La Fonda o St. 100 E. San Francisc o St., 505-982-5511 Upper Crust Pizza La Posada de Sant a Fe Resort and Sp 329 Old Santa Fe Trail, 505-982-0000 a 330 E. Palace Ave., 505-986-0000 Vanessie Lensic Performing 434 W. San Francisc Arts Center o St., 505-982-9966 211 W. San Francisc o St., 505-988-1234 Veterans of Fo reign Wars Low ‘n’ Slow Lowr 370 Montezuma Av ider Bar e., 505-984-2691 at Hotel Chimayó de Santa Fe Wa rehouse 21 125 Washington Av e., 505-988-4900 1614 Paseo de Peral ta, 505-989-4423 The Matador Zia Dinner 116 W. San Francisc o St. 326 S. Guadalupe St. , 505-988-7008
C L U B S, R O O M S, V E N UES
Cowgirl BBQ
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Season of Starlings
El Museo Cultural de Santa Fe, 555 Camino de la Familia A theatrical staged reading of the upcoming Madrid-based feature film, 7 p.m., $5-$10 suggested donation, 505-992-0591.
Books/Talks Beth Moon
Verve Gallery of Photography, 219 E. Marcy St., 505-982-5009 The photographer signs copies of Ancient Trees: Portraits of Time, 1-2 p.m.
The Making of “Ghost Dance”
Ark Books, 133 Romero St., 505-988-3709 The authors discuss their books Remembering Who We Are and Conversations With Laarkmaa, 6-8 p.m., no charge.
Santa Fe Book Arts Flea Market
Meem Room, Palace of the Governors, 110 Washington Ave., 505-476-5100 Arts & crafts supplies, handmade books, paper, and gifts, 10 a.m.-2 p.m., no charge.
Tony Hillerman Writers Conference
Hilton Santa Fe, 100 Sandoval St. Workshops and lectures on the craft and the business of writing, 8 a.m.-7 p.m., visit wordharvest.com for registration prices and details.
High Mayhem Studio, 2811 Siler Lane Performances by Octaveleven, Horned God, Disasterman, and We Drew Lightning, 7:30 p.m., $10 suggested donation, highmayhem.org.
Living Spirit Drummers
Santa Fe Center for Spiritual Living, 505 Camino de los Marquez Healing drum performance in the tradition of the medicine people of the Dagara Tribe of West Africa, 7-9 p.m., $10, santafeharmonycenter.com, 505-989-3507.
Theater/Dance BodyTraffic
The Lensic Los Angeles-based contemporary dance company, 7:30 p.m., $15-$35, 505-988-1234, ticketssantafe.org. (See story, Page 40)
Death and the Maiden
Teatro Paraguas Studio, 3205 Calle Marie Teatro Paraguas presents the 1991 play by Ariel Dorfman, 7:30 p.m., $15, discounts available, 505-424-1601, Fridays-Sundays through Nov. 16.
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PASATIEMPO November 7-13, 2014
Warehouse 21 Johnna Adams’ drama about a student’s suicide, 7:30 p.m., $15, $10 students, Thursdays, Saturdays, and Sundays, through Nov. 16, 505-428-9572.
Hotline
Greer Garson Theatre, Santa Fe University of Art and Design, 1600 St. Michael’s Dr. Elaine May’s 1995 drama about suicide in modern society; directed by SFUAD student Hamilton Turner, 7 p.m., $15, discounts available, ticketssantafe.org, 505-988-1234, continues Sunday.
Jewel Box Cabaret
María Benítez Cabaret at The Lodge at Santa Fe, 750 N. St. Francis Dr. Gender illusion, musical comedy, and burlesque, 8:30 p.m., $10 general admission, $15 VIP seating; call 505-428-7781 for VIP tickets.
Quilters
Santa Fe Playhouse, 142 E. DeVargas St. Santa Fe Playhouse presents the 1982 musical by Molly Newman and Barbara Damashek, 7:30 p.m., $20, discounts available, brownpapertickets.com, Thursdays-Sundays through Nov. 16.
La Posada de Santa Fe Resort and Spa
Pat Malone Jazz Trio, featuring vocalist Whitney Carroll Malone and bassist Jon Gagan, 6-9 p.m., no cover.
Low ‘n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe Irish multi-instrumentalist Gerry Carthy, 7:30 p.m.-close, no cover.
Blues artist Lightening Hall, 4:30-7:30 p.m., no cover.
Pia Orleane and Cullen Smith
High Mayhem Fall Series Night 2
Buffalo Nickel, boot-scooting music, 8-p.m., no cover.
Nasario García
Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 505-476-1250 Discussion and demonstrations on construction of the Hopi maiden butterfly whorl, the Navajo women’s bun, and other Native hairstyles, with historical information on techniques and accessories, 11 a.m.-3 p.m., by museum admission.
Gidion’s Knot
La Fiesta Lounge at La Fonda
Mine Shaft Tavern
Native American Hairstyles: Historic and Contemporary
In Concert
Saturday Cabaret with Jay Boy Adams & Zenobia, soul/rock/blues, 3-6 p.m., call for cover.
American Indian Photography & Art Studio, 1036 Canyon Rd., 505-819-1103 Artist Angel Wynn discusses her show Ghost Dance: Spirits & Angels, 2-4 p.m. Op. Cit. Books, Sanbusco Center, 500 Montezuma Ave. The local author reads from his book The Talking Lizard: New Mexico’s Magic and Mystery, 5 p.m.
Verve Gallery of Photography shows work by Beth Moon, 219 E. Marcy St.
Evangelo’s
Events Lunafest
New Mexico History Museum, 113 Lincoln Ave. Girls Inc. of Santa Fe presents its third annual film festival showcasing films by, for, and about women; kick-off reception at Pop Gallery 5:30 p.m., screenings follow at 7:30 p.m., reception and festival $35, festival only $25, 505-988-1234, ticketssantafe.org.
Nightlife
(See Page 65 for addresses)
Blue Rooster
Trash Disco, with DJ Oona, 8 p.m.-close, call for cover.
Burro Alley Café
Latin Night with DJ Aztech Sol, 9:30 p.m.-2 a.m., call for cover. Free salsa/bachata lessons 8-9 p.m.
¡Chispa! at El Mesón
Jazz pianist John Rangel’s quartet, 7:30 p.m.-close, no cover.
Cowgirl BBQ
Troy Browne Duo, Americana, 2 p.m.; Phil Friendly Trio, rockabilly/traditional country, 8:30 p.m.-close; no cover.
Duel Brewing
Jazz-funk trio Müshi, 7-10 p.m., no cover.
El Paseo Bar & Grill
DJ Spaghetti, 9:30 p.m.-close, no cover.
Shagbark History, on the deck, 2 p.m., no cover; Connie Long & Fast Patsy, 7 p.m.-close, call for cover.
Palace Restaurant and Saloon Pranzo Italian Grill
Geist Cabaret with pianist David Geist, 6-9 p.m., call for cover.
Second Street Brewery
Drastic Andrew Band, indie rock, 6-9 p.m., no cover.
Second Street Brewery at the Railyard
Folk-rock band Handmade Moments, 7-10 p.m., no cover.
Shadeh
Hip-hop night, 9 p.m.-4 a.m., no cover.
Sweetwater Harvest Kitchen
Saturdays with John Serkin on Hawaiian slack-key guitar, 6 p.m., no cover.
Tiny’s
Showcase karaoke with Nanci and Cyndy, 8:30 p.m.-close, no cover.
Vanessie
Pianist Kathy Morrow, 6:30 p.m.; call for cover.
SUNDAY 11/9 Gallery & Museum Openings Contemporary Tapestry Gallery
835 W. San Mateo Rd., 505-231-5904 Fractured Light, works by tapestry artist Mary Cost, reception 3-5 p.m.
Classical Music Santa Fe Pro Musica
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Transfigured Night, music of Schoenberg and Mahler, featuring mezzo-soprano Deborah Domanski, 3 p.m., $10-$65, 505-988-1234, ticketssantafe.org.
Performance Santa Fe: family concert
United Church of Santa Fe, 1804 Arroyo Chamiso Rd. The Hall Ensemble plays Leopoldo the Frog and other selections, 4 p.m., $10 per adult accompanied by a child, $25 otherwise, ticketssantafe.org, 505-988-1234, or performancesantafe.org.
In Concert Dave Grusin and Lee Ritenour
The Lensic Jazz pianist and guitarist, 7 p.m., $25-$100, 505-988-1234, ticketssantafe.org, proceeds benefit Assistance Dogs of the West. (See story, Page 32)
Theater/Dance Death and the Maiden
Teatro Paraguas Studio, 3205 Calle Marie Teatro Paraguas presents the 1991 play by Ariel Dorfman, 2 p.m., $15, discounts available, 505-424-1601, Fridays-Sundays through Nov. 16.
Hotline
Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr. Elaine May’s 1995 drama about suicide in modern society; directed by SFUAD student Hamilton Turner, 2 p.m., $15, discounts available, 505-988-1234, ticketssantafe.org.
Gidion’s Knot
Warehouse 21 Johnna Adams’ drama about a student’s suicide, 4 p.m., $15, $10 students, Thursdays, Saturdays, and Sundays through Nov. 16, 505-428-9572.
Books/Talks David Ranney
Collected Works Bookstore, 202 Galisteo St. 505-988-4226 The author discusses his book New World Disorder; plus, a Q & A moderated by KSFR Radio news director Bill DuPuys, 11 a.m.; presented by Journey Santa Fe.
MONDAY 11/10
Nightlife
WEDNESDAY 11/12
Books/Talks
¡Chispa! at El Mesón
In Concert
Friends of the Wheelwright lecture
Wheelwright Museum of the American Indian library 704 Camino Lejo, Museum Hill, 505-982-4636 Western-films costume designer Cathy Smith discusses her work, refreshments 2 p.m., talk 2:30 p.m., $10.
Hampton Sides
Manitou Galleries, 225 Canyon Rd., 505-986-9833 The artist discusses his work, 2-3 p.m.
Lummox 3
Teatro Paraguas Studio, 3205 Calle Marie Seven poets read from the anthology, 5 p.m., 505-424-1601.
Muse Times 2 poetry readings
Collected Works Bookstore, 202 Galisteo St. 505-988-4226 Emily Kendal Frey and Kim Parko read from their works, 4 p.m.
Events Veterans Day Celebration
Museum of Indians Arts & Culture 710 Camino Lejo, 505-476-1200 Program honoring Native American veterans, 1-3 p.m., by museum admission.
Nightlife
(See Page 65 for addresses)
Cowgirl BBQ
Zenobia, soul/gospel/rock artist, noon-3 p.m.; folk-rock singer/songwriter Dan Tedesco, 8 p.m.-close; no cover.
Duel Brewing
Americana singer/songwriter Joe Cat, 5-7 p.m., no cover.
El Farol
Americana singer/guitarist Gene Corbin, 3-7 p.m., no cover; Anthony Leon and Benito, on the deck, 3-7 p.m., no cover.
Skylight
The Alchemy Party, with DJs Dynamite Sol and Poetics, 7:30 p.m., call for cover.
Vanessie
Pianist Doug Montgomery, 6:30 p.m., call for cover.
Canyon Road Blues Jam, 8:30 p.m., call for cover. Local country artist Bill Hearne, 7:30-11 p.m., no cover.
Skylight
The World Beat Party, rotating DJs and bands, 9 p.m.; call for cover. Open-mic night with John Rives, 7 p.m.-close, no cover.
Vanessie
Pianist Kathy Morrow, 6:30 p.m.; call for cover.
Israel Nash
Skylight Americana singer/songwriter, 7:30 p.m., $9 at the door.
Books/Talks Ann Jones
The Lensic The In Pursuit of Cultural Freedom lecture series continues with journalist/author Jones and political scientist Andrew J. Bacevich, 7 p.m., $6, discounts available, ticketssantafe.org, 505-988-1234. (See story, Page 22)
Lois Ann Abraham and C.B. Anderson Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The authors read from their works Circus Girl and Other Stories and River Talk, 6 p.m., no charge.
Nightlife
(See Page 65 for addresses)
Cowgirl BBQ
Cowgirl karaoke, with Michele Leidig, 9 p.m., no cover.
El Farol
Mondays with Tiho Dimitrov, 8 p.m., call for cover.
La Fiesta Lounge at La Fonda
Local country artist Bill Hearne, 7:30 p.m., no cover.
Vanessie
Pianists Doug Montgomery, 6 p.m., and Kathy Morrow, 8 p.m.; call for cover.
TUESDAY 11/11 Classical Music Heinavanker Estonian Ensemble
Cathedral Basilica of St. Francis of Assisi, 131 Cathedral Place Ancient Estonian songs and folk hymns; the Santa Fe University of Art and Design Chorus also performs, 7 p.m., $15 at the door or through The Screen, 505-473-6494.
In Concert Senegal St. Joseph Gospel Choir
The Lensic Catholic liturgy, indigenous Muslim songs, and traditional Senegalese rhythms, 7 p.m., $15-$35, 505-988-1234, ticketssantafe.org.
The Mexican Inquisition in Early Eighteenth-Century New Mexico
Mine Shaft Tavern
El Farol
Tiny’s
Books/Talks
Country singer Wiley Jim, 7 p.m., call for cover.
Americana singer/songwriter Dana Cooper, 8 p.m., no cover.
Laurie Fabiano
Evangelo’s
La Posada de Santa Fe Resort and Spa
Cowgirl BBQ
La Fiesta Lounge at La Fonda
Nacha Mendez, 7:30 p.m., call for cover. Tone and Company jam band, 8:30 p.m., call for cover.
Argentine Tango Milonga, 7:30 p.m., call for cover.
Owings Gallery, 120 E. Marcy St. The best-selling author speaks about and signs copies of his books at a fundraiser for Veterans Helping Homeless Veterans, 5-6:30 p.m., donations welcome; contact New Mexico Coalition to End Homelessness, 505-982-9000.
Jean Cocteau Cinema The author reads from her novel Elizabeth Street; book signing and an interview with George R.R. Martin follow, 7 p.m., $10 general admission, Elizabeth Ann Galligan $5 with purchase of paperback, no charge with Op. Cit. Books, Sanbusco Center, 500 Montezuma Ave. purchase of hardcover. (See Subtexts, Page 20) The author reads from Secrets of the Plumed Saint, Southwest Seminars lecture 2 p.m. Hotel Santa Fe, 1501 Paseo de Peralta Heidemarie Sieg Water Control in an Uncontrolled Environment: Brigitte Bruggemann Studio, 667 Canyon Rd., Lessons of the Ancient Hohokam, lecture by 505-614-5762 Gary Huckleberry of the University of Arizona, The author reads from and discusses After the 6 p.m., $12 at the door, southwestseminars.org, Bombs: My Berlin, about her memories of Berlin 505-466-2775. during and after World War II, 2 p.m.
Jeff Cochran
(See Page 65 for addresses)
School for Advance Research boardroom 660 Garcia St. SAR Sparks Talk by Linda Tigges and Richard Salazar, 3-4 p.m., no charge, 505-954-7203.
Events Veterans Day Parade and Ceremony
Parade begins at Fire Station no. 1, 200 Murales Rd. Lineup at 9:30 a.m.; parade starts at 10:30 a.m.; ceremony honoring Blue Star Mothers at the All Veteran’s Memorial at the Bataan Building, 407 Galisteo St., at 11 a.m. To participate in the parade or for additional information, call 505-955-6979 or 505-955-6043.
Ellsworth Gallery shows sculptural work by William Dubby Fuqua, 215 E. Palace Ave.
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Evangelo’s
Artists
La Boca
Art on the Edge 2015
Nacha Mendez, 7-9 p.m., no cover.
La Fiesta Lounge at La Fonda
Dance band The Gruve, 7:30-11 p.m., no cover.
La Posada de Santa Fe Resort and Spa
Pat Malone Jazz Trio, with Kanoa Kaluhiwa on saxophone, Jon Gagan on bass, and Malone on guitar, 6-9 p.m., call for cover.
Lodge Lounge at The Lodge at Santa Fe
Irish multi-instrumentalist Gerry Carthy, 7-9:30 p.m., call for cover.
The Matador
DJ Inky Ink. spinning soul/punk/ska, 8:30 p.m., no cover.
Palace Restaurant and Saloon
Limelight Karoake, 10 p.m.-close, no cover.
Pranzo Italian Grill
Pianist Ron Newman, 6 p.m., call for cover.
Skylight
Latin Night, with DJ Danny, 9 p.m.; call for cover.
Swiss Bakery Pastries and Bistro
Guitar duo Wes & Mito, Gypsy Kings-style rhythms, 7:30 p.m.-close, no cover.
Tiny’s
Americana band Santa Fe Revue, 9 p.m.-midnight, no cover.
James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Santa Fe Institute Community Lecture with Richard Rhodes and Ginger Rhodes, 7:30 p.m., no charge, santafe.edu.
Events Santa Fe Children’s Museum Fundraiser and Gingerbread House Display
316 Read St., 505-795-8139 Indoor/Outdoor Screenings, five continuous-loop virtual sculpture videos by Tony Buchen and Jeralyn Goodwin, 5-9 p.m.; today only.
Theater/Dance Gidion’s Knot
Books/Talks
Hollis Walker with Carmella Padilla
La Fiesta Lounge at La Fonda
Collected Works Bookstore, 202 Galisteo St. 505-988-4226 The local authors discuss the Booby Blog Project and The Booby Blog: A Cancer Chronicle, Walker’s book about her journey with breast cancer, 6 p.m. (See story, Page 24)
Dance band The Gruve, 7:30-11 p.m., no cover.
Nightlife
La Posada de Santa Fe Resort and Spa
¡Chispa! at El Mesón
Country singer Wiley Jim, 7 p.m., call for cover.
Palace Restaurant and Saloon
Shiners Club Jazz Band, 9 p.m.-close, no cover.
Skylight
Reggae/World Beat Party, midnight, call for cover.
Vanessie
Pianist Kathy Morrow, 6:30 p.m., call for cover.
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PASATIEMPO November 7-13, 2014
Santa Fe Bandstand 2015
OUT OF TOWN
AVA: A Virtual Space
El Farol
Karaoke Wednesdays with Michelle, 10 p.m., no cover.
Librettists/Performers
Gallery & Museum Openings
Americana singer/songwriter Jeremiah Samartano, 8 p.m.; no cover.
Junction
Tribeca Film Institute, Vision Maker Media, and Institute of American Indian Arts invite designers, technologists, filmmakers, and visual artists to collaborate on producing interactive stories about indigenous culture during a free Hackathon held in Santa Fe Friday-Sunday, Nov. 21-23; visit tribecafilminstitute.org for application forms and details.
Santa Fe Playhouse auditions
The Forum, Santa Fe University of Art & Design 1600 St. Michael’s Dr. A talk by Donald Winkelmann, former director of the International Maize and Wheat Improvement Center, presented by the Santa Fe Council on International Relations, $20, sfcir.org or 505-982-4931.
Midweek rock with the John Kurzweg Band, 8 p.m., no cover.
TRIBEC4H4CKS: NDN Country
Zia Diner
Global Food Security
Cowgirl BBQ
Filmmakers
THURSDAY 11/13
Nightlife
Singer/songwriter Jesus Bas, 7-9 p.m., no cover.
Accepting work in the areas of video mapping, new-media installation, animation, singlechannel production, and multimedia performance (full list of categories available online at currentsnew-media.org); submission guidelines and forms available online; deadline Monday, Dec. 1.
Pianist Kathy Morrow, 6:30 p.m., call for cover.
Warehouse 21 Johnna Adams’ drama about a student’s suicide, 7:30 p.m., $15, $10 students, Thursdays, Saturdays, and Sundays through Nov. 16, 505-428-9572.
¡Chispa! at El Mesón
Currents 2015: International New Media Festival
Vanessie
Santa Fe Children’s Museum, 1050 Old Pecos Trail The museum and Hutton Broadcasting host the event, featuring a live instant auction and gingerbread houses crafted by local chefs; proceeds benefit the museum, 9 a.m.-5 p.m.; santafechildrensmuseum.org, continues Thursday and Friday. (See Page 65 for addresses)
New Mexico Museum of Art and Friends of Contemporary Art + Photography seek portfolio submissions; Arizona, Colorado, New Mexico, Oklahoma, and Utah artists eligible; submissions accepted until Sunday, Dec. 7; visit callforentry.org.
Outside In Productions is accepting applications through midnight Wednesday, Dec. 31; apply online at santafebandstand.org; for information email info@santafebandstand.org.
Doug Lawrence’s Grupo de Jazz Nuevo Mexicano plays on Thursday at Outpost Performance Space, 210 Yale Blvd. S.E., Albuquerque
Why We Kill: Socialization of Violence
PEOPLE WHO NEED PEOPLE
Little Leroy & His Pack of Lies, rock-cover band, 9 p.m.-close, call for cover.
(See Page 65 for addresses) Kirk Kadish Duo, jazz piano and bass, 7-9 p.m., no cover.
Cowgirl BBQ
Americana/pop singer/songwriter Melanie Devaney, 8 p.m., no cover.
El Farol
Guitarras con Sabor, Gypsy Kings-style rhythms, 8 p.m., no cover.
Jazz ensemble Trio Bijou, 6:30-8:30 p.m., no cover.
Albuquerque Pray for Brain
Outpost Performance Space, 210 Yale Blvd. S.E. Santa Fe-based jazz/progressive rock band Pray for Brain, with Mustafa Stefan Dill (guitar, fretless guitar, oud), Jefferson Voorhees (drums, percussion) Christine Nelson (bass), 7:30-9:30 p.m., Saturday, Nov. 8, $10-$15, holdmyticket.com.
Chatter Sunday
The Kosmos, 1715 Fifth St. N.W. Duo Brazilian Brilliance with Cármelo de los Santos on violin and Rúbia Santos on piano; followed by poet Marianne Broyles, 10:30 a.m. Sunday, Nov. 9, $15, discounts available, chatterabq.org.
Chatter Cabaret
Hotel Andaluz, 125 Second St. N.W. Works of Hollywood composers, including John Williams and Bernard Herrmann, 5 p.m. Sunday, Nov. 9, $25-$150, chatterabq.org.
Doug Lawrence
Outpost Performance Space, 210 Yale Blvd. S.E. The saxophonist performs with his Grupo de Jazz Nuevo Mexicano, 7:30 p.m. Thursday, Nov. 13, $15-$20, holdmyticket.com.
Las Vegas FredHead Weekend
Celebration of Fred Harvey’s role in the development of the West, including tours of Harvey’s Castañada Hotel and a screening of The Harvey Girls: Opportunity Bound; Saturday and Sunday, Nov. 8-9; for tickets and details, email mainstreetlasvegas@gmail.com.
Los Alamos Los Alamos Symphony
Crossroads Bible Church, 97 East Rd. Works by American composers, including George W. Chadwick’s Symphony No. 2, 7 p.m. Friday, Nov. 7, donations welcome.
SFP Workshops, 3205-B Richards Lane Community Holiday Show; seeking musicians, carolers, dancers, and storytellers for a Christmas Eve performance; auditions held 3-6 p.m. Saturday, 1-3 p.m. Sunday, Nov. 8-9, santafeplayhouse.org.
Wagner Society of Santa Fe: Write Your Own Prize Song contest
Submit an original English version of Walther’s Prize Song as it appears in Act III of Wagner’s Die Meistersinger von Nürnberg; winner’s work to be performed publicly on Saturday, Dec. 6; submit compositions to and request details from Yoko Arthur at wagnersocietyofsantafe@gmail.com.
UNDER 21
Shokidz “Make Them Remember You” TV/film acting workshop
Warehouse 21 Directed by acting coach Tracy Dunivan, Saturday, Nov. 8: 11 a.m.-3 p.m. session for ages 6-12; 4-8 p.m. session for ages 13-19, $85, register at shokidz.com; call 832-721-4365 for more information.
How to Tell a True Story
Southside Branch Library, 6599 Jaguar Rd. Writing workshop for teens age 13-18; with author James McGrath Morris, 1-5 p.m. Saturday, Nov. 8, no charge, registration requested, 505-955-2820.
PASA KIDS
Performance Santa Fe: family concert
United Church of Santa Fe, 1804 Arroyo Chamiso Rd. The Hall Ensemble plays Leopoldo the Frog and other selections, 4 p.m. Sunday, Nov. 9, $10 per adult accompanied by a child, $25 otherwise, ticketssantafe.org, 505-988-1234, or performancesantafe.org.
Mindfulness for kids
Bee Hive Books, 328 Montezuma Ave., 505-780-8051 A series for ages 4 and up, based on the teaching of Thich Nhat Hanh, including activities and stories, 10:30-11:30 a.m. on Sundays through Nov. 23, $12 per session; $50 for the series. ◀
UPCOMING EVENTS MUSIC
Jamestown Revival
Gig Performance Space, 1808 Second St. Jazz quartet; trumpeter Bobby Shew, guitarist Michael Anthony, percussionist Cal Haines, and bassist Micky Patten, 7:30 p.m. Saturday, Nov. 15, $15 at the door.
Leo Kottke
The Charlie Christian Project
Serenata of Santa Fe
First Presbyterian Church of Santa Fe, 208 Grant Ave. The Art of Bach, with violinist L.P. How, violist Christof Huebner, and cellist Felix Fan, 3 p.m. Sunday, Nov. 16; $15-$30, ticketssantafe.org, 505-988-1234.
Joseph Illick: Notes on Music
Eldorado Hotel & Spa A musically illustrated talk on Johann Strauss’ Viennese Waltz by the performance Santa Fe artistic director; plus, dancing, champagne, and pastries, 4 p.m. Sunday, Nov. 16, $35 in advance, performancesantafe.org or ticketssantafe.org, 505-988-1234.
Skylight Southern-rock duo, 7:30 p.m. Wednesday, Dec. 3, $15 in advance at holdmyticket.com. The Lensic Acoustic guitarist, 7:30 p.m. Saturday, Dec. 6, $29-$52, 505-988-1234, ticketssantafe.org.
Santa Fe Music Collective jazz concerts
Museum Hill Café, 710 Camino Lejo Vocalist Barbara Bentree; Friday, Dec. 12, saxophonist Doug Lawrence; concerts begin at 7 p.m., $25, 505-983-6820, santafemusiccollective.org.
THEATER/DANCE
Sacred Body
The Lensic Presented by New Mexico Dance Coalition, 7:30 p.m. Friday, Nov. 14, performers include Julie Brette Adams, Saltanah Dancers, and Harambe Hip Hop Crew, $25-$60, VIP tickets $75, 505-988-1234, ticketssantafe.org.
National Theatre Live in HD: Skylight
The Lensic A 1995 play by British dramatist David Hare, 7 p.m. Tuesday, Nov. 18, $22, 505-988-1234, ticketssantafe.org.
The Met Live in HD: Il Barbiere de Siviglia
The Lensic Rossini’s comedy, 11 a.m. and 6 p.m. Saturday, Nov. 22, $22-$28, 505-988-1234, ticketssantafe.org.
HAPPENINGS
Ice Cream & Activism Judy Collins
7 p.m. Sunday, Nov. 16, the Lensic, $42-$62, 505-988-1234, ticketssantafe.org.
California Guitar Trio
María Benítez Theater, The Lodge at Santa Fe Instrumental acoustic blues, Americana, and rock ensemble, 7:30 p.m. Wednesday, Nov. 19, $25 in advance online at brownpapertickets.com, $29 at the door.
La Santa Cecilia
La Fonda Los Angeles-based band, 8 p.m. Friday, Nov. 21, $20 in advance at holdmyticket.com, proceeds benefit Duel Language Education of New Mexico Endowment Fund and Janet Montoya Schoeppner Memorial Scholarship Fund.
Evarusnik Orchestra
Iconik Coffee Roasters, 1600 Lena St., 505-428-0996 Alternative folk ensemble with vocals, Brian Haas opens, 7:30 p.m. Saturday, Nov. 22, $10 in advance, brownpapertickets.com, ages 11 and under no charge.
Alexz Johnson
Skylight Canadian singer/songwriter, 7:30 p.m. Monday, Nov. 24, Jared & The Mill opens, $10 in advance at holdmyticket.com.
Santa Fe Community Convention Center Ben Cohen, social activist and cofounder of Ben & Jerry’s, discusses his initiative to remove the influence of corporations in politics, followed by an ice cream social, 6:30-8:30 p.m. Saturday, Nov. 15, $12 and $20, for information contact Glenn Schiffbauer of Santa Fe Green Chamber of Commerce, 505-428-9132, glenn@nmgreenchamber.com.
HOLIDAY FARE
Santa Fe Symphony Orchestra and Chorus The Lensic Orchestra and chorus: Handel’s Messiah, 4 p.m. Sunday, Nov. 23; guest conductor Jason Altieri leads the orchestra in its annual concert of Christmas favorites, 4 p.m. Sunday, Dec. 14, ticketssantafe.org, 505-988-1234.
Wise Fool New Mexico
The Lensic Eleventh Annual Circus Luminous, local acrobats, aerialists, and clowns, 7 p.m. Friday, 2 and 7 p.m. Saturday, 4 p.m. Sunday, Nov. 28-30, $10-$30, 505-988-1234, ticketssantafe.org.
Santa Fe Winter Indian Market
Santa Fe Community Convention Center, 201 W. Marcy St. The ninth annual market runs Thanksgiving weekend, Saturday and Sunday, Nov. 29-30, general admission $10; weekend pass $15; ages 12 and under no charge, tickets available at the door, swaia.org.
New Mexico Performing Arts Society
Immaculate Heart of Mary Chapel, 50 Mount Carmel Rd. Annual Winter Solstice Concerts, featuring New Mexico Bach Chorale, pianist Nancy Brzezinski, and flutist Linda Marianiello, 5:30 p.m. Sunday, Nov. 30, $15-$25, holdmyticket.com.
Glow
Santa Fe Botanical Garden, 715 Camino Lejo, Museum Hill A winter-lights event held 5-8 p.m. on selected evenings, 5-9 p.m. Saturdays, Dec. 4-Jan. 3, $5-$8 online and on-site, early-bird tickets on sale at reduced rates through Nov. 15, santafebotanicalgarden.org, 505-471-9103.
Recycle Santa Fe Art Festival
Santa Fe Community Convention Center, 201 W. Marcy St. The 16th annual market arrives in time for holiday shopping of the green kind, Friday-Sunday, Dec. 5-7, recyclesantafe.org.
Sangre de Cristo Chorale
First Presbyterian Church of Santa Fe, 208 Grant Ave. Darkness Brings Light, 3 p.m., $20, students $10, sdcchorale.org.
Museum holiday celebrations
Museum of International Folk Art, 505-476-1200 and Museum of Indian Arts and Culture, 505-476-1269
MIFA: Winter Celebration, numerous activities held in conjunction with the exhibit Wooden Menagerie: Made in New Mexico, 1-4 p.m. Sunday, Dec. 7; by museum admission; MIAC: Winter Traditions, Native American storytelling, dances, and hands-on activities, 1-4 p.m. Sunday, Dec. 7, by museum admission.
Anonymous 4
Cathedral Basilica of St. Frances of Assisi, 131 Cathedral Place Vocal quartet; medieval carols and motets, 7:30 p.m. Tuesday, Dec. 9, $10-$65, 505-988-1234, ticketssantafe.org.
Young Native Artists Holiday Show and Sale
Meem Community Room and New Mexico History Museum classroom, 113 Lincoln Ave., 505-476-5200 Annual showcase of works by children and grandchildren of Palace of the Governors portal artists, 10 a.m.-4 p.m. Saturday, Dec. 13, no charge.
Las Posadas
The Plaza and Palace of the Governors courtyard Annual candle lit procession of a re-creation of Mary and Joseph’s search for shelter, 5:30-7 p.m. Sunday, Dec. 14, no charge, 505-476-5200.
Santa Fe Desert Chorale: Christmas & Cabaret
Inn & Spa at Loretto, 211 Old Santa Fe Trail A benefit performance, dinner, and auction to kick off the winter festival concert series; sung by Jay Hill and Sarah Weiler, 6 p.m. Tuesday, Dec. 9, $90 in advance at desertchoral.tix.com.
Santa Fe Pro Musica Baroque Ensemble
Loretto Chapel, 207 Old Santa Fe Trail With mezzo-sopranos Deborah Domanski and Drea Pressley, music of Telemann, Handel, and traditional carols, Dec. 19-Dec. 24, $20-$65 in advance at santafepromusica.com or ticketssantafe.org, 505-988-1234.
Aspen Santa Fe Ballet: The Nutcracker
The Lensic A holiday favorite, 2 and 7:30 p.m. Saturday, 1 and 5 p.m. Sunday, Dec. 20-21, $25-$72, 505-988-1234, ticketssantafe.org.
New Mexico Museum of Art: Annual holiday open house
107 W. Palace Ave. Starring the Gustave Baumann Marionettes in two short plays for children of all ages; also, a photo-op with Baumann’s Santa Claus marionette, an arts & crafts project, and refreshments, 1-4 p.m. Sunday, Dec. 21, no charge.
Patrick Nagatani and Lucy Lippard
Armory for the Arts, 1050 Old Pecos Trail The artist and the author in conversation, 6 p.m. Tuesday, Nov. 18, $10, discounts available, call SITE Santa Fe for tickets, 505-989-1199.
Santa Fe Winter Indian Market
Santa Fe Community Convention Center, 201 W. Marcy St. The ninth annual market runs Thanksgiving weekend, Saturday and Sunday, Nov. 29-30, general admission $10; weekend pass $15; ages 12 and under no charge, tickets available at the door, swaia.org.
Tony Furtado Band
Gig Performance Space, 1808 Second St. Bluegrass/roots fusion, 7:30 p.m. Wednesday, Jan. 14, $25 in advance at brownpapertickets.com, $28 at the door.
La Santa Cecilia plays on Friday, Nov. 21, at La Fonda.
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rotating exhibits: Cameraless, photograms by Leigh Anne Langwell, in conjunction with the Focus on Photography exhibit • 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 • New Mexico Art Tells New Mexico History, including works by E. Irving Couse, T.C. Cannon, and Agnes Martin, through 2015 • Spotlight on Gustave Baumann, works from the museum’s collection, through 2015. Closed Mondays; nmartmuseum.org.
Pablita Velarde Museum of Indian Women in the Arts
213 Cathedral Place, 505-988-8900 Harvesting Traditions, work by ceramicist Kathleen Wall, through Jan. 4. Closed Mondays; pvmiwa.org.
Poeh Cultural Center and Museum
Tom Lea (1907–2001): Employment in Public Works, 1934, in the New Mexico Museum of Art exhibit
New Mexico Art Tells New Mexico History.
AT THE GALLERIES
Ellsworth Gallery
215 E. Palace Ave., 505-989-7900 Beyond Reason, sculptural assemblages by William Dubby Fuqua and drawings by Lisa Rainbird, through Nov. 15.
Phil Space
1410 Second St., 505-983-7945 Incorporate, sculpture and paintings by Erika Wanenmacher, through Nov. 29. (See story, Page 48)
MUSEUMS & ART SPACES Santa Fe Georgia O’Keeffe Museum
217 Johnson St., 505-946-1000 Miguel Covarrubias: Drawing a Cosmopolitan Line, mixed media, through Jan. 18. Core exhibit of paintings. Okeeffemuseum.org; open daily.
Museum of Contemporary Native Arts
108 Cathedral Place, 505-983-1777 Rattlebone, paintings and prints by Ric Gendron; The Desert Never Left the City, work by painter Mario Martinez; Saligaaw (it is loud-voiced), mixed media by Da-ka-xeen Mehner; Breach: Log 14, video installation by Courtney M. Leonard; exhibits run through December. Closed Tuesdays; iaia.edu/museum.
Museum of Indian Arts & Culture
710 Camino Lejo, Museum Hill, 505-476-1250 Courage and Compassion: Native Women Sculpting Women, group show, through Oct. 19, 2015 (see story, Page 44) • Footprints: The Inspiration and Influence of Allan Houser, five monumental works by the late Chiricahua Apache sculptor displayed outdoors; accompanied by works of other sculptors, including Houser’s sons Bob Haozous and Philip Mangas Haozous, plus works by Doug Hyde, Estella Loretto, and Robert Shorty; through May • Turquoise, Water, Sky: The Stone and Its Meaning, highlights from the museum’s collection of jewelry, long term • Native American Portraits: Points of Inquiry, vintage and contemporary photographs, through January • The Buchsbaum Gallery of Southwestern Pottery, traditional and contemporary works • Here, Now, and Always, artifacts from the museum collection; open daily; indianartsandculture.org.
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PASATIEMPO November 7-13, 2014
Museum of International Folk Art
706 Camino Lejo, Museum Hill, 505-476-1200 Pottery of the U.S. South: A Living Tradition, stoneware from North Carolina and northern Georgia • Between Two Worlds: Folk Artists Reflect on the Immigrant Experience, exhibit on immigration • Wooden Menagerie: Made in New Mexico, early-20th-century carvings, through Feb. 15 • Brasil and Arte popular, items from the museum’s collection, through Jan. 4 • Multiple Visions: A Common Bond, international collection of toys and folk art; internationalfolkart.org; open daily.
Museum of Spanish Colonial Art
750 Camino Lejo, Museum Hill, 505-982-2226 Secrets of the Symbols: The Hidden Language of Spanish Colonial Art • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation; spanishcolonial.org; closed Mondays.
New Mexico History Museum/ Palace of the Governors
113 Lincoln Ave., 505-476-5200 Gustave Baumann and Friends: Artist Cards from Holidays Past, holiday cards by Baumann and other artists spanning the years 1918-1970, reception 5-8 p.m. Friday, Nov. 7, through March 29 • Painting the Divine: Images of Mary in the New World, rare Spanish colonial paintings, through March 29 • Poetics of Light: Pinhole Photography, through March 29 • Water Over Mountain, Channing Huser’s photographic installation • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe; nmhistorymuseum.org; closed Mondays.
New Mexico Museum of Art
107 W. Palace Ave., 505-476-5072 Hunting + Gathering: New Additions to the Museum Collection, recently acquired works by Ansel Adams, Gustave Baumann, and others, reception 5-7 p.m. Friday, Nov. 7, through March 29 • Syncretism, photographs by Delilah Montoya; Cameraless, group show of photograms • The Photo Lab, mixedmedia photographs from the museum collection; Alcove Shows 1917-1927, works from the museum collection; through Dec. 7 • Focus on Photography,
78 Cities of Gold Rd., 505-455-3334 The P’osuwäegeh Ówingeh Story: Scarcity & Abundance, contemporary pottery, sculpture, and jewelry, through Nov. 14 • The Kee …, 2-D and 3-D video installation by Ehren Kee Natay, through Nov. 14 • Nah Poeh Meng, 1,600-squarefoot installation highlighting the works of Pueblo artists and Pueblo history; poehcenter.org; Also, ongoing sculpture exhibits in the Tower Gallery, 505-455-3037; roxanneswentzell.net; closed weekends.
SITE Santa Fe
1606 Paseo de Peralta, 505-989-1199 SITElines 2014: Unsettled Landscapes, biennial exhibit of contemporary works, through December. Open Thursdays-Sundays; sitesantafe.org.
Wheelwright Museum of the American Indian
704 Camino Lejo, Museum Hill, 505-982-4636 Works by Diné photographer Will Wilson, through April 19. Core exhibits include contemporary and historic Native American art. Open daily; wheelwright.org.
Albuquerque Albuquerque Museum of Art & History
2000 Mountain Rd. N.W., 505-243-7255 Miniatures & More, group show of mixed media, through Dec. 7 • Gods and Heroes: Masterpieces From the École des Beaux-Arts, Paris, through Jan. 4 • Everybody’s Neighbor: Vivian Vance, family memorabilia and the museum’s photo archives of the former Albuquerque resident, through January • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, examples of craftsmanship and design distinctive to the charro. Closed Mondays; cabq.gov/culturalservices/albuquerque-museum.
Indian Pueblo Cultural Center
2401 12th St. N.W., 866-855-7902 Our Land, Our Culture, Our Story, historical overview of the Pueblo world, and contemporary artwork and craftsmanship of each of the 19 pueblos. Weekend Native dance performances; indianpueblo.org.
UNM Art Museum
1 University of New Mexico, 505-277-4001 David Maisel/Black Maps: American Landscape and the Apocalyptic Sublime, photographs by Maisel; Beautiful Disintegrating Obstinate Horror Drawing and Other Recent Acquisitions and Selections From the UNM Art Museum’s Permanent Collection; The Gift, woodcut prints by John Tatschl (1906-1982). Open Tuesday-Saturday; unmartmuseum.org.
Española Bond House Museum and Misión Museum y Convento
706 Bond St., 505-747-8535 Historic and cultural objects exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Call for hours; plazadeespanola.com.
Los Alamos Bradbury Science Museum
1350 Central Ave., 505-667-4444 Environmental Research and Monitoring, an interactive exhibit covering research projects on how to preserve archaeological sites, local wildlife, and fragile ecosystems. Core exhibits on the history of Los Alamos and the Manhattan Project as well as over 40 interactive exhibits. Open daily; lanl.gov/museum.
Los Alamos Historical Museum
1050 Bathtub Row, 505-662-4493 Tradition and Change in Córdova, New Mexico: The 1939 Photographs of Berlyn Brixner & the López Family of Wood Carvers. Core exhibits on area geology, homesteaders, and the Manhattan Project. Housed in the Guest Cottage of the Los Alamos Ranch School. Open daily; losalamoshistory.org.
Pajarito Pajarito Environmental Education Center
3540 Orange St., 505-662-0460 Exhibits of flora and fauna of the Pajarito Plateau; herbarium, live amphibians; also, butterfly and xeric gardens. Closed Sundays and Mondays; pajaritoeec.org.
Pecos Pecos National Historic Park
NM 63, 505-757-7241 Exhibits portraying the history of the Pecos Valley; including ruins, traces of the Santa Fe Trail, and artifacts from the Civil War Battle of Glorieta Pass. Open daily; nps.gov/pecos.
Taos Harwood Museum of Art
238 Ledoux St., 575-758-9826 ¡Orale! Kings and Queens of Cool, a four-part exhibit focusing on Post-Pop and lowbrow art movements, including works by Robert Williams, Gary Baseman, Ron English, and R. Crumb, through Jan. 25. Open daily through November; harwoodmuseum.org.
Millicent Rogers Museum
UNM campus, 1 University Blvd. N.E., 505-277-4405 Archaeology on Ice, exhibit exploring climate change in the Arctic, including tribal artifacts emerging as the ice melts, The museum’s collection includes individual archaeological, ethnological, archival, photographic, and skeletal items. Closed Sundays and Mondays; maxwellmuseum.unm.edu.
1504 Millicent Rogers Rd., 575-758-2462 Looking at Taos Pueblo: Albert Martinez, Juan Mirabal, and Albert Lujan, paintings, through January • Fred Harvey and the Making of the American West, objects drawn from the Harvey family, through January. Historical collections of Native American jewelry and paintings; Hispanic textiles, metalwork, and sculpture; and contemporary jewelry. Closed Mondays; millicentrogers.org.
National Hispanic Cultural Center
Taos Art Museum at Fechin House
Maxwell Museum of Anthropology
1701 Fourth St. S.W., 505-604-6896 ¡Papel! Pico, Rico y Chico, group show of works in the traditional art of papel picado (cut paper). Closed Mondays; nationalhispaniccenter.org.
227 Paseo del Pueblo Norte, 575-758-2690 Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933. Closed Mondays; taosartmuseum.org.
e: Making Relatives (installation detail) 2014 2014, photomontage Shontysa Joe: IAIA Blood Quantum Drive: Axle Contemporary 505-670-5854 or 505-670-7612 Axle Contemporary teams up with students from the Institute of American Indian Arts for IAIA Blood Quantum Drive: Making Relatives. The project, a studentdesigned and -built environment that addresses the themes of controversial and historical indigenous issues, includess the work of Claver Garcia, Shontysa Joe, Monty Little, and others. Students issue “certificates of indigenous blood” to the g public during the run of the show, inviting them to become members of the IAIA tribe. For the opening reception, Axle’s mobile gallery will be at the dedication ceremony for the Allan Houser Sculpture and Foundry Building on the IAIA campuss (83 Avan Nu Po Road) at 3:30 p.m. on Friday, Nov. 7, as part of the institute’s annual open house. For the gallery’s dailyy locations, visit www.axleart.com. Wide Ruins Navajo rug circa 1950 Marigold Arts, 424 Canyon Road, 505-982-4142 Marigold Arts presents Folk Art From Around the World: An Exhibition and Sale. The show includes kilims, pictorial works from Egypt, wood sculpture from New Guinea and Africa, copper vessels from the Middle East, and much more. As part of the exhibit, Marigold Arts features pieces from the estate of folk-art collector Liselotte Kahn. The reception is Friday, Nov. 7, at 5 p.m.
A P E E K AT W H AT’S S H OW I N G A R O U N D TOW N Ruth Weston: Forever Playing 201 2014, glazed stoneware and stone Vivo Contemporary, 725 Canyyon Road, 505-982-1320 Excavations is an exhibit of w works by 14 Vivo Contemporary artissts, including George Duncan, Ilse Bolle, Barrie Brown, Ann Laser, and Ruth Weston. The show, baseed on the premise that “what is visible expresses all which is in nvisible,” includes book art, calliigraphy, collage, ceramics, and pieces in other mediums. Excaavations has a 5 p.m. opening receeption on Friday, Nov. 7.
Tracy Rocca: Dive (detail) 2014, walnut oils and alkyd on polyester over panel LewAllen Galleries 1613 Paseo de Peralta 505-988-3250 Neoimpressionist painter Tracy Rocca’s atmospheric abstractions of landscapes are blurred compositions rendered in saturated, tropical colors. Details are obscured by the applications of colored glazes, walnut oils, and alkyds, which give her paintings a smooth finish. Tracy Rocca: New Work opens with a 5 p.m. reception on Friday, Nov. 7.
Will Wilson: Auto Immune Response #5 2005, pigment print New Mexico Museum of Art 107 W. Palace Ave., 505-476-5072 Hunting + Gathering: New Additions to the Museum’s Collection opens on Friday, Nov. 7, with a 5 p.m. reception. The show, a sampling of artworks that have entered the museum’s holdings in the last five years, includes pieces by Ansel Adams, Gustave Baumann, Betty Hahn, Woody Gwyn, Richard Diebenkorn, and others. The title refers to a curatorial term for the cultivation of museum collections. The art in the exhibit is grouped into themes — “Indeterminate Object” and “Boundary Issues,” for example — to inspire fresh interpretations. Entry is free to the public from 5 to 8 p.m. on Fridays and by admission otherwise.
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PASATIEMPO I November 7 - 14, 2014
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7501 Cerrillos rd.
471-8642