Pasatiempo October 10, 2014

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

Anna Netrebko as Lady Macbeth The Met: Live in HD at the Lensic

October 10, 2014

RESIDE 526 Galisteo Street • 820.0919 www.restaurantmartin.com

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4 Courses / $45. per person (tax & tip additional) Starts Friday, October 10th, 2014 from 5:30

1st Course Granny Smith – Butternut Squash Bisque 2nd Course Salad of Fresh Apple, Frisée & Arugula w/ Warm Herbed Goat Cheese & Chimayo Red Chile Spiced Pecans Entrée Cider – Glazed Pork Porterhouse w/ Green Chile Cornbread Stuffing & Sautéed Rainbow Chard or Roasted Free - Range Chicken w/ Curried Apple Compote & Gingered Sweet Potatoes Dessert Salted Caramel Upside-down Apple Cake w/ Candied Pecans & Crème Chantilly house coffees & teas lunch / dinner / brunch - open every day!

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PASATIEMPO I October 10 - 16, 2014

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Explore wall sconces with innovative combinations of natural materials: forged metalwork, glass, and fine hardwoods…even copper pp and slate.

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museum of indian arts and culture presents

WHAT’S HAppenIng

sunday, October 12th, 1:00–3:00 pm

Lecture by Pat and Chris Pruitt Collaborating artists Pat Pruitt and Chris Pruitt, Laguna Pueblo.

When these two artists come together, their combining skills result in exquisite jewelry that is both contemporary in design, yet grounded in traditional native lifestyle.

Pat Pruitt: Pat uses a combination of machine tools, computer software and industrial fabrication techniques to create contemporary jewelry designs grounded in his modern traditional native lifestyle. He works with stainless steel, titanium, zirconium, gold and silver, often embellishing his pieces with industrial diamonds and other precious stones.

Chris Pruitt: In addition to his skill with silver and gold, Chris is an accomplished lapidarist, using precious and semi-precious stones such as diamonds, turquoise, coral, jade and lapis.

Thank you to everyone who supported and attended Corazón de la Tierra, our fundraising event to celebrate land conservation in New Mexico. The event was a great success!

Thank you to our generous sponsors Trout Stalker Ranch

Next Up

Century Bank

let’s take a look

Dale & Gail Armstrong Sayre & John Gerhart Los Alamos National Bank Jack & Kathy McCarthy Judy Naumburg

PNM Sotheby’s Team Surroundings Studio TLC Plumbing & Utility Western Landowners Alliance

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.

Barraclough & Associates Ethan & Susan Epstein Cullen Hallmark Claudette Horn Peter Ives Michael Scisco & Neri Holguin The Mine Shaft Tavern

NM Tax Credit Alliance The Quivira Coalition David & Ann Simon, Ecothink Elizabeth Richardson Pam Roy Thornburg Foundation Wild Birds Unlimited

wednesday, October 15

th,

12:00–2:00pm

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 4

Conserving Land. Preserving Heritage.

PASATIEMPO I October 10 - 16, 2014

Anna’s Home & Garden Chama Peak Land Alliance Scott Halver Heritage Trust Company of NM KSFR

La Tienda at El Dorado NM Wilderness Alliance Reineke Construction WA Group Wicked Edge

We would also like to extend a special thanks to...

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KGB Spirits - Los Luceros La Cumbre Brewing Co. - Albuquerque The Mineshaft Tavern - MAdrid

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PASATIEMPO I October 10 - 16, 2014

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PASATIEMPOMAGAZINE.COM

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generously underwritten by

presents

UNABRIDGED

The 1st Annual Lambda Literary Authors Series Readings and discussions with nationally acclaimed LGBTQ authors:

Ana Castillo is one of the most powerful voices in Chicana literature. She is the author of So Far From God and Sapogonia, both New York Times Notable Books of the Year, as well as The Guardians, Peel My Love like an Onion, and most recently, Give It To Me published by the Feminist Press. She divides her time between Chicago and southern New Mexico.

Andrew Holleran is the author of Dancer From the Dance, a novel about And pre-AIDS New York, and, most recently, Grief, a novella set in post-AIDS Washington, D. C. An original member of The Violet Quill, he has written two other novels, a book of stories, and a collection of essays. He teaches Creative Writing at American University in Washington, and currently writes for The Gay and Lesbian Review.

Justin Torres is author of the best-selling novel We the Animals, which won the

VCU Cabell First Novelist Award, and has been translated into fifteen languages. He has published short fiction in The New Yorker, Harper's, Granta, Tin House, and The Washington Post. A graduate of the Iowa Writers’ Workshop, he is currently a Cullman Center Fellow at The New York Public Library.

New Paintings & Sculpture by Mark White

Opening Reception Friday, Oct 10, 2014; 5-8pm Exhibition runs Oct. 10-Nov. 10, 2014

MARK

HITE FINE ART

414 Canyon Rd|Santa Fe, NM | 505.982.2073|www.markwhitefineart.com

Moderated by

Amy Scholder has been editing and publishing progressive and literary books

for over twenty years. Her visionary style has brought high visibility to her authors, and has been praised for its contribution to contemporary literature and popular culture. She has served as editorial director of the Feminist Press, editor-in-chief of Seven Stories Press, US publisher of Verso, founding co-editor of HIGH RISK Books/Serpent’s Tail, and editor at City Lights Books.

SATURDAY 25 OCTOBER AT 7:00 PM The Armory for the Arts Theater

1050 Old Pecos Trail, Santa Fe, New Mexico General admission: $25 / VIP - preferred seating with Authors’ & Moderator’s After Party: $150 Tickets and information please call: 505.984.1370 or www.sfperformingarts.org Autographed copies of the authors’ books will be available for purchase through Garcia Street Books at the event.

presented in association with: sponsored by:

www.lambdaliterary.org

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PASATIEMPO I October 10 - 16, 2014

Above: Mark White, Warm Sunset III, Oil on Panel, 24” x 24” Below: Mark White, Yellow Waves I,Oil on Panel, 16” x 16”

FINE SHOPPING & DINING

Bodhi Bazaar • Cost Plus World Market • Dell Fox Jewelry • Eidos Contemporary Jewelry • El Tesoro Cafe • Get It Together • Kioti • Mercedes Isabel Velarde Fine Jewelry and Art • On Your Feet • On Your Little Feet • Op. Cit. Bookstore • Pandora’s • Pranzo Italian Gril • Raaga Restaurant • Rista • Rock Paper Scissor Salon Spa • Santa Fe Pens • Teca Tu - A Paws Worthy Pet Emporium

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PASATIEMPOMAGAZINE.COM

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THE SANTA FE NEW MEXICAN

October 10 - 16, 2014

www.pasatiempomagazine.com

ON THE COVER 32 The worldwide inter-Met This Saturday, New York’s Metropolitan Opera begins its ninth season of simulcasts to theaters around the world through its series The Met: Live in HD. For opera lovers who watch on the big screen at the Lensic Performing Arts Center, it provides an opportunity to enjoy productions as they unroll live on the Met’s stage. The first of the season’s transmissions is Verdi’s Macbeth, with a cast of international all-stars: soprano Anna Netrebko, baritone Željko Lucˇic´, tenor Joseph Calleja, and bass René Pape. Netrebko appears on our cover in a still from the production; photo Marty Sohl/Metropolitan Opera

MOVING IMAGES

BOOKS 18 20 38 40

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In Other Words Being Miss America Fantastic Mr. Grossman The Magician’s Land Station Zed Tom Sleigh Fighting words Max Blumenthal

48 50

CALENDAR

MUSIC AND PERFORMANCE 28 31

56

Pasa Tempos Album Reviews Random Acts Boom Tick Boom

14 17 54

Full Spectrum John Vokoun

CULTURE 24

Pasa Week

AND

ART 22

Santa Fe Independent Film Festival Advanced Style Chile Pages

Mixed Media Star Codes Restaurant Review: Tesuque Village Market

From Pinholes to Black Holes Ed Fenimore

Correction: A September 26, 2014, story about the Miguel Covarrubias exhibit at the Georgia O’Keeffe Museum stated that Covarrubias spent time in the summer of 1929 at the Taos compound of Mabel Dodge Luhan along with “notable guests [that] included D.H. Lawrence, Ansel Adams, and Georgia O’Keeffe,” as written in the museum’s exhibition catalog, Miguel Covarrubias: Drawing a Cosmopolitan Line. Though O’Keeffe visited the Lawrence Ranch, Lawrence was not in Taos during that period. He left New Mexico for the last time in 1925. By 1929 he was close to death and living in Vence, France, where he died in March 1930 at the age of 44.s

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

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

PASATIEMPO EDITOR — KRISTINA MELCHER 505-986-3044, kmelcher@sfnewmexican.com ■

Art Director — Marcella Sandoval 505-986-3025, msandoval@sfnewmexican.com

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Associate Art Director — Lori Johnson 505-986-3046, ljohnson@sfnewmexican.com

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Calendar Editor — Pamela Beach 505-986-3019, pambeach@sfnewmexican.com

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Copy Editor — Susan Heard 505-986-3014, sheard@sfnewmexican.com

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Copy Editor — Sandy Nelson 505-986-3096, snelson@sfnewmexican.com

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© 2014 The Santa Fe New Mexican

STAFF WRITERS Michael Abatemarco 505-986-3048, mabatemarco@sfnewmexican.com James M. Keller 505-986-3079, jkeller@sfnewmexican.com Jennifer Levin, 505-986-3039, jlevin@sfnewmexican.com Paul Weideman 505-986-3043, pweideman@sfnewmexican.com CONTRIBUTORS Taura Costidis, Loren Bienvenu, 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, Steve Terrell, Khristaan D. Villela PRODUCTION Dan Gomez Pre-Press Manager

The Santa Fe New Mexican

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Robin Martin Owner

www.pasatiempomagazine.com

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Ginny Sohn Publisher

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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007

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MARKETING DIRECTOR Monica Taylor 505-995-3824

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RETAIL SALES MANAGER - PASATIEMPO Art Trujillo 505-995-3852

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ADVERTISING SALES - PASATIEMPO Chris Alexander 505-995-3825 Amy Fleeson 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 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

Please Join Us for

OPEN HOUSE

c eLebrATe ShAk e SPe A r e’S 450T h b IrT h dAy w ITh Two S Pe cIA L e ve NT S

Shakespeare’s Globe Theatre on Tour: King Lear thursday, october 30 | 7:30pm tickets: $27–100 location: lensic performing arts center c Joshua Sage 2014

Thursday October 30th 5:30-8 pm

Notes on Theater: King Lear wednesday, october 29, 2014 | 5:30–7:30 p.m. tickets: $60 per person location: hotel santa fe

Light Refreshments at 5:30 pm Program will begin at 6 pm

Come and learn what makes Desert Academy unique and how your child can be a lifelong, passionate learner.

If you think in terms of a year, plant a seed. if in terms of ten years, plant trees; if in terms of 100 years, teach the people.

Confucius

International Baccalaureate World School College Preparatory Grades 6-12 www.desertacademy.org

7300 Old Santa Fe Trail Santa Fe, NM 87505 505.992.8284

Enjoy special insights, lively conversation, hors d’oeuvres, and beverages with Joseph Illick and John Andrews, former Director of Academic Programs at the Folger Shakespeare Library Cast members of Globe Theatre on Tour’s King Lear

PerformanceSantaFe.org | 505 984 8759 performance santa fe thanks thornburg investment management for helping to underwrite this performance.

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.

PASATIEMPOMAGAZINE.COM

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Lensic Presents

This performance is generously sponsored by

The Royal Ballet of

Cambodia With graceful hand gestures, stunning costumes, and remarkable precision, the Royal Ballet of Cambodia performs classical dance associated with the Khmer Court for more than a thousand years.

Los Alamos Artists Studio Tours October 11 & 12, 10 a.m – 5 p.m.

Stars of the Royal Ballet / Choreography by Her Royal Highness Princess Norodom Buppha Devi

October 28, 7 pm $20–$40

Visit 16 exceptional local artists in Los Alamos and White Rock

discounts for Lensic members

A “Masterpiece of Oral and Intangible Heritage” deserving cultural preservation and promotion —UNESCO

FREE SELF-GUIDED TOUR Visit the Historic Fuller Lodge for art demo’s, henna, and, experience samples of various artist’s works.

Tickets: 505-988-1234 www.TicketsSantaFe.org serVice charges apply aT all poinTs of purchase

th e lensic is a non profit, member-supported organ ization

SpOnSORED by the Los Alamos Art Council www.losalamosstudiotours.com

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PASATIEMPO I October 10 - 16, 2014

ken

d!

Autumn Fair Saturday, October 11th 9 am-4 pm

at the Museum of Spanish Colonial Art, Museum Hill

Free Admission to:

• Artisan Market • Fun Kid’s Activities • Used and Rare Book Sale • Museum of Spanish Colonial Art

Traditional Pig Roast!

From 10-2

For Tickets Go to: www.spanishcolonial.org

$16 - Members in adv. $20 - Non-members & at door Kids - $8 each (12 yrs and under)

Featuring Brews from Santa Fe Brewing Company Museum of Spanish Colonial Art • 750 Camino Lejo, Santa Fe • 505.982.2226

NEW MEXICO’S BEST PRICED CADILLACS

at the Auto Park www.chevroletcadillacofsantafe.com

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Saturday, October 18 Food & Music • 6-9:00pm • Farmers’ Market Pavilion

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You be the judge as three of Santa Fe’ s finest chefs compete for your vote in an amazing cook-off.

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The BUSY McCarroll Band

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MIXED MEDIA Master builders en mass

Paul Stevenson Oles remembers that the Louvre Pyramid project was a very difficult one. Everybody hated it except for François Mitterrand, who commissioned the glass structure while he was still the president of France. “The process was similar to what happened here in Santa Fe with the convention center. There were 800 years or so of absolutely precious architecture,” Oles said. “And the French hate everything that’s proposed — the headline was ‘Are we going to let them do this to us?’ They love conflict. They love a fight. But when it’s done, when it’s up, it’s ‘Don’t touch our Eiffel Tower. Don’t touch our pyramid.’ ” Oles’ stunning drawing of the Grand Louvre helped architect I.M. Pei carry out the late-1980s commission. The drawing is included in Truth in Architecture, a Friends of Architecture Santa Fe-sponsored and comprehensive exhibit of Oles’ illustrations at 217 E. San Francisco St., which is adjacent to the Lensic Performing Arts Center. A longtime resident of Santa Fe, Oles earned a bachelor’s degree in archi- The Ronald Reagan Building and International Trade Center tecture at Texas Tech University and a master’s in the same discipline at Yale. He went on to using SketchUp, a 3-D modeling program, teaching work for many years with Pei and to teach at Rhode workshops on techniques for imaging with the softIsland School of Design, Yale, MIT, and Harvard. ware. In the foreword of Oles’ first book, Architectural Among his drawings in the Santa Fe show are Fountain Illustration: The Value Delineation Process, Pei wrote that Place in Dallas and the Ronald Reagan Building and Oles “skillfully, rigorously and with fidelity investigates International Trade Center and the National Gallery of design implications through drawings. He is a valued Art’s East Building, both in Washington, D.C. collaborator in the search for truth in architecture.” of American of Co-founder the Society Architectural Truth in Architecture opens on Wednesday, Oct. 15, Illustrators, in recent years Oles has become expert at with a 5 p.m. reception. The exhibit runs through

Hearts and minds

According to NAMI, the National Alliance on Mental Illness, one in four adults is affected by some form of mental illness in a given year. But many, about one

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PASATIEMPO I October 10-16, 2014

in 17, suffer from serious mental illnesses such as bipolar disorder, schizophrenia, panic disorder, and major depression — disorders that can be debilitating and lifelong, disrupting interpersonal relationships, moods, and feelings, as well as day-to-day functioning. Despite these staggering numbers, there are still stigmas attached to mental illnesses. And because they can be masked or otherwise not immediately apparent, they are often not seen as serious conditions by those who don’t understand the intensity of their effects. Many mental illnesses can be treated, but doing so can be costly. During Mental Illness Week (Oct. 5-11), James Kelly Contemporary (1611 Paseo de Peralta, 505-989-1601) hosts Inside Out, a one-day exhibition of artwork made at various local and regional centers treating and supporting the mentally ill: Casa Milagro, a therapeutic residential program for the formerly homeless; the Lifelink Santa Fe Clubhouse, a rehabilitation drop-in center; ArtStreet, an Albuquerque art-studio program for the homeless, poverty-stricken, and mentally ill; and Casa Cerrillos, a supported-living program for people with disabilities. The event also features photographs from The Untold Mind, a Casa Milagro project for which five

Oct. 31; call 505-428-9056 for more information.

The Santa Fe Community Convention Center (201 W. Marcy St.) opens its show, Art in Architecture, at 5 p.m. on Wednesday, Oct., 15, as well. The exhibit, which features the American Institute of Architects’ Western Mountain Region award entries, is on view through Saturday, Oct. 18, from 8 a.m. to 5 p.m. daily; call 505-577-6545 for more information.

— Paul Weideman residents contributed personally meaningful images they created.

Inside Out opens at 9 a.m. on Saturday, Oct. 11, and includes an artist reception at 4 p.m. A preview fundraiser, catered by Joseph’s Culinary Pub, takes place at 5 p.m. on Friday, Oct. 10. Tickets for the preview are $50 and can be purchased through the event’s website (www.insideoutsantafe.blogspot.com). All proceeds from sales of works go directly to the artists, with additional proceeds going to support nonprofits in Santa Fe that treat mental illnesses as well as Southwestern College’s Art Therapy and Counseling program.

Inside Out includes James Koskinas’ painting Turner, which is featured in his film, The Twilight Angel, a story about an artist working on a series of a dozen paintings of angels — the culmination of his life’s work that is under threat of remaining uncompleted as the artist slips into a depression. The Twilight Angel has its world premiere in Santa Fe at the Jean Cocteau Cinema on Saturday, Nov. 15, at 3 p.m.

— Michael Abatemarco James Koskinas: Turner, 2011, acrylic on canvas

End of Summer OFFSITE Sale!!

70% to 90% OFF 1 DAY 1 DAY Saturday the 11th 10am to 4pm

ONLY!!!

Community LeCtuRe

I Get All the News I Need from the Sports Section

ONLY!!!

Sports players (or teams) are often described as being hot or cold, implying there is something inherently “streaky” about an athlete’s performance that extrapolates to the next try. Using data from 10 seasons of professional basketball and more than a century of major-league baseball, physicist Sid Redner argues that scoring is a memoryless random process — suggesting that the notion of a scoring streak is a fallacy and that win/loss records in professional baseball teams are similarly memoryless. Finally, he shows that our favorite pastime is getting progressively more competitive — no more dynasties or perennial losers.

Wednesday, October 15 7:30 p.m.

James A. Little Theater 1060 Cerrillos Rd., Santa Fe Lectures are free and open to the public. Seating is limited.

Sid Redner is a professor at the Santa Fe Institute.

Sid RedneR

SFI’s 2014 Community Lecture series is generously sponsored by Thornburg Investment Management

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Friday, October 10, 6 pm Armory for the Arts Theater, 1050 Old Pecos Trail

UPCOMING EVENTS

Innovative Thinker Lecture: Kim Kanatani

SPREAD 5.0 Friday October 24, 2014

Shared Authority in the Art Museum: Precedents, Process, and Propositions Kim Kanatani, Deputy Director and Gail Engelberg Director of Education at the Solomon R. Guggenheim Museum in New York. Join us to hear her thoughts on how audience engagement and social change have become both process and content in museum educational goals today.

Small Grants for Big Ideas A Community Dinner at the Santa Fe Farmers Market Pavilion

TICKETS ON SALE MEMBERS: WED. SEPT. 22, 6 PM; PUBLIC: THU. SEPT 23, 6 PM

SPREADSANTAFE . COM

Tickets: $10/$5, please call 505.989.1199 or visit sitesantafe.org Co-sponsored by the Drury Plaza Hotel and Kate Russell Photography.

SITE’s Art & Culture programs are organized in series, including My Life in Art and SITEcenter, and are made possible by a grant from the Marlene Nathan Meyerson Family Foundation. This announcement made possible by the Santa Fe Arts Commission and the 1% Lodgers tax.

1606 Paseo de Peralta, Santa Fe, NM 87501 www.sitesantafe.org

Find Out Why Quail Run is the Perfect Fit! The Club at Quail Run features a fabulous restaurant, indoor ozone lap pool, ProBounce tennis courts, PGA-rated golf course and health club with spa services.

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PASATIEMPO I October 10 - 16, 2014

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STAR CODES Heather Roan Robbins

The stars send conflicting messages this week, as if standing on the gas and the brakes at the same time. One configuration speeds us up and nags us to get on with life, while another slows us down.

An ongoing dynamic, occasionally manic, grand trine with Jupiter, Uranus, and Mars in fire signs continues to rouse the rabble and makes us rebellious where we feel oppressed, depressed where we feel stuck, and excited and engaged where we’re getting somewhere.

This energized vibe can be really helpful when it comes to mobilizing resources and dealing with a true emergency. But it can also nudge us to respond to smaller problems as if they’re an emergency when what is really needed is calm and persistent helpfulness.

Mercury retrograde sends us back to reconnect with the past and can leave us moody and bring us deep within our soul to heal. It’s going to take some patience on our part to mediate these two energies.

The weekend begins under a stabilizing if possessive Taurus moon. Recent discontent can make us look for a change of scenery and greener pastures over the weekend as Venus opposes Uranus.

Monday night the moon enters domestic Cancer and we want to go home and cuddle. Midweek we need to look at how our health is related to everything we do.

Friday, Oct. 10: Slow down, back up, and relax; there’s no point in hurrying. Mercury retrogrades back into Libra and lets us reconsider recent actions from a friendlier perspective. Midday brings goodwill but poor luck; count on work instead. Take each other seriously tonight.

Saturday, Oct. 11: As Venus opposes Uranus, our feelings and focus can be all over the place. Discuss. Explore. Experiment. Move artwork around, but avoid long-term aesthetic or emotional decisions.

Sunday, Oct. 12: We work well with others but may be highly distractible. The conversation is good, but be prepared to release inappropriate assumptions. Clear the mental clutter. Early evening is sociable, so we can get klutzy and cranky later on as the moon opposes Mars.

Monday, Oct. 13: Keep a low-key, flexible schedule. Meander, grow community, reconnect, and then wend homeward as the moon enters domestic Cancer tonight. Notice an existential vulnerability; reach out to those who cannot go home tonight.

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Tuesday, Oct. 14: Reassess this morning; look back at recent decisions and see what’s working and what needs adjustment. Share mutual support midday as Venus conjuncts the north node. People will be open to encouragement but not suggestions.

Wednesday, Oct. 15: Be patient with disorganization this morning but take advantage of productivity midday as the moon trines Saturn.

Odd pressures and communication glitches pepper this afternoon; don’t mention the mistake we just made, because we know about it.

Thursday, Oct. 16: The mood is generous, overstated, and interpersonally demanding; work toward resolution of the story. A little emotional melodrama can help us clarify what we need as long as we don’t take it too seriously. ◀ www.roanrobbins.com

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17

IN OTHER WORDS book reviews Being Miss America: Behind the Rhinestone Curtain

by Kate Shindle, University of Texas Press, 236 pages It’s possible there are two kinds of women in this country: those who aspire to be Miss America — or who at least understand the value of this goal — and those who do not. Some girls grew up watching the annual parade of stunning young ladies as they competed in evening gowns and bathing suits for college scholarships, and others grew up assuming it was either a waste of time or an affront to feminism.

Kate Shindle, Miss America 1998, grew up in such close proximity to the pageant and its historic home in Atlantic City, New Jersey, that she couldn’t help but fall into the first group. Her family served in various volunteer capacities her entire childhood, and when she went off to college at Northwestern University, it seemed a natural next step for her to compete for the title of Miss Illinois and then work her way up to the nationals.

She did this, she points out in her book — which is part memoir of her experience, part history of the contest, and part brand analysis of the Miss America Organization — while taking women’s history and feminist theory courses at one of the nation’s top colleges, so she doesn’t have much patience for self-described feminists who assume she’s an airhead.

The Miss America pageant was created in the 1920s as a way to extend the Atlantic City tourist season by a week. It caught on quickly and became a true American tradition in 1954, when it was televised live for the first time. Being Miss America: Behind the Rhinestone Curtain is an angry, sometimes illuminating book written by a Miss America who didn’t fit the mold. That description might seem counterintuitive to women who don’t understand the point of, or are offended by, beauty pageants. After all, to the untrained eye, each Miss America is the very picture of a cookie-cutter figure incorporating all our culturally imposed beauty ideals — the ultimate Stepford wife.

According to popular wisdom, Miss America is poised, articulate, polite, pretty, slim, and noncontroversial in her lifestyle and opinions. Except, as Shindle explains, there have been plenty of rebellious or controversial Miss Americas, and the political views of the winners have usually leaned left. Indeed, the recently crowned Miss America 2015, Kira Kazantsev, is being pilloried by right-wing pundits because she had a college internship at Planned Parenthood (and was kicked out of her college sorority due to a hazing scandal). Others have been controversial for being outspoken and for, among other things, having their nude photographs 18

PASATIEMPO I October 10-16, 2014

leaked to the public, not wanting to wear evening gown and tiara to every event during their “year of service,” and, in the 1940s, for being Jewish.

Shindle is angry because she feels let down by the Miss America Organization, which she portrays as chronically mismanaged since the 1980s and especially since the late 1990s. She goes into great detail about the various shifts in administration and leadership, and she is not kind to those she believes are inept or even maliciously bad at their jobs, although she glosses over enough specifics that sometimes the book reads more like gossip than an effort at historical scholarship. Her main bone of contention is the confused identity of Miss America. Is she a show pony and sex object, or is she an intelligent young woman with an important platform issue to discuss in venues across the country during her year of service?

Shindle believes that not knowing how to brand the pageant in the face of two different waves of feminism has made the Miss America Organization culturally irrelevant, which, she feels, is a shame. In recent years the platform issue — a topic of social import chosen by each contestant as an educational project — has all but disappeared as an important judging category, but it was integral to the author’s Miss America. That the platform issue is not just a specious stab by the organization at the relevance Shindle desires is the most surprising aspect of Being Miss America.

Less surprising are some of her personal revelations: that winners are often treated like cattle by their handlers, that the year of service is truly grueling and sometimes demeaning, and that Shindle developed an eating disorder from the stress and confusing expectations. Though she knows she grew up with certain physical and material advantages that enabled her to compete in the first place, she never really explores her reasons, for the benefit of readers without a connection to the pageant world, for entering such a competition.

Shindle spent her year of service educating people about AIDS and HIV, from schoolchildren to elected officials. The time she spent volunteering with organizations and researching her platform issue is impressive, and she is correct when she asks, rhetorically, how many college students wield this level of political clout about such an important subject. In addition to the scholarships, the platform issue — with its handsomely paid speaking engagements — is the point of being Miss America. Without the platform issue, she says, the Miss America pageant is nothing but a beauty contest. — Jennifer Levin

SUBTEXTS Two is the loneliest number Some people just aren’t made for monogamy. For Franklin Veaux, the idea that he must limit his heart — and body — to just one woman for the rest of his life never felt true or right for him, starting at an early age. By high school he was engaging in what are now called polyamorous relationships. (The term “polyamory,” which means to have two or more emotionally close relationships with different people, reportedly was coined in 1990 by a neo-pagan priestess named Morning Glory Zell-Ravenheart.) Twenty years ago Veaux started a website, www.morethantwo.com, that has since become the go-to place for people navigating these complicated romantic arrangements, as the “poly” lifestyle has grown in popularity. Now Veaux and one of his partners, Eve Rickert, have written a book based on the site, More Than Two: A Practical Guide to Ethical Polyamory. To engage in plural relationships in a way that is not harmful to any of the participants, communication is key. The goal of More Than Two is to offer advice and dispel common myths, such as the idea that all poly people are kinky swingers. Poly is a relationship style, not a sexual practice, and many configurations exist within it. Being poly doesn’t necessarily involve group sex or anything particularly adventurous in the bedroom, although for some people it does. Poly people are also not all pagan or into New Age spirituality, and many dislike the assumption that they are naturally more emotionally evolved or open-minded than monogamous people.

Successful polyamory requires that everyone in a given relationship be willing to listen, learn, and grow to sustain long-term commitments to one another — the same as in any happy, lasting relationship. Veaux and Rickert read from their book on Saturday, Oct. 11, at 5 p.m. at op.cit.books (500 Montezuma Ave., in Sanbusco Center). For more information, call 505-428-0321. — J.L.

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L

ev Grossman’s 2009 novel, The Magicians, inspired the sort of critical ardor and popular reception that heralded it as a major literary phenomenon. Its influence extended well beyond the initial acclaim: the novel defied any stale assumptions that fantasy novels are less artistic than other fiction genres. The Magicians was the first book in a trilogy that continued with 2011’s The Magician King and has just culminated with the recent publication of The Magician’s Land. All three works have appeared on The New York Times Best Sellers list, with The Magician’s Land debuting at No. 1. Grossman, Time magazine’s book critic, will be at the Jean Cocteau Cinema on Monday, Oct. 13, for an interview and question-and-answer session with George R.R. Martin, and will read from and sign copies of his latest offering. He spoke to Pasatiempo from New York City.

Pasatiempo: Which were the harder parts of The Magician’s Land to write: those set in the fantastical Fillory, or those set in the Northeast United States, in mundane places like a Newark, New Jersey, Marriott?

Lev Grossman: It was all about equally difficult.

What you realize when you start writing about unreal things like magic and enchanted lands and dragons and things like that is that they are exactly as fictional as everything else. A dragon is as fictional as Mrs. Dalloway. The Newark Marriott is as fictional as Castle Whitespire. It’s all unreal. Your job is to make it real. As it turns out, you’re doing the same job in both places.

Pasa: This past August, you wrote in The New York Times, “For me fantasy isn’t about escaping from reality, it’s about re-encountering the challenges of the real world, but externalized and transformed.” What challenges do you find it forces a reader to re-encounter?

Grossman: The reason why fantasy is so compelling is 20

PASATIEMPO I October 10-16, 2014

Grace Labatt I For The New Mexican

The bestselling author comes to Jean Cocteau When The Magicians begins, Quentin Coldwater is a brilliant teenager from Brooklyn who believes that“his real life, the life he should be living, had been mislaid through some clerical error by the cosmic bureaucracy.” He enrolls at Brakebills, a secret college where magic is taught, but even this does not invigorate him.

After graduating, however, he makes a remarkable discovery: Fillory, the fantastical setting of a series of novels Quentin loved as a child, is a real place. The Magicians trilogy moves between Earth and Fillory, as Quentin and his friends engage in battles and encounter wonders in the latter. By the time of the exploits that take place in The Magician’s Land, the trilogy’s denouement, Quentin is a twenty-nine-year-old earthbound teacher, exiled from Fillory despite having ruled and saved it in the second book, The Magician King:“ Life was briskly and efficiently stripping Quentin of his last delusions about himself.”

A strange mission involving a suitcase, a talking bird, and the companionship of Plum, an expelled Brakebills student, leads Quentin to new discoveries — and to the sorts of adventures he thought were just in his past. — G.L.

that it allows us to look at the problems we deal with in daily life in a new way — especially psychological problems, which tend to get externalized in this wonderful way in fantasy and transformed into magic and monsters and wonders. I think in The Magicians books, one of the things that the characters grapple with [is] learning how to feel powerful, which ... is something that I struggled with for a long time. [They are] learning to overcome depression and self-hatred and anxiety and confusion and feel powerful and sure of themselves, which, in the books, comes out as them learning to do magic and learning to take control of the world around them in this marvelous, supernatural way.

It has to do with learning to accept how difficult and imperfect the world is and how much loss we have to deal with in the real world. The characters, when the books begin, you think they’re going to go to someplace like Narnia, which is sort of wonderful and enchanted. ... Reality is very different from that. It takes them a long time to really feel as though the world is a good and meaningful place to live in.

Pasa: Would you say The Magicians trilogy is particularly American in its approach to fantasy?

Grossman: The Magicians books I think of as being as distinctively American as, for example, the Narnia books are distinctively English. I was very conscious of writing in what I consider to be a very English tradition — the tradition of [C.S.] Lewis and [Philip] Pullman and J.K. Rowling — and moving [it] to America, which changes it. The characters sound very different. They don’t speak in that wonderfully crisp, correct English way.

They talk like Americans. They call each other “dude” and they swear a lot, which creates a very different effect on the page. Magic is different: in England magic tends to be something that you inherit. It runs in families, on the aristocratic model. The world of magic in The Magicians is much more meritocratic. The way you qualify to learn magic is much more like taking a sort of magical SAT and having your aptitude rated. ... I feel as though if magic were real in America, that’s how it would work.

Pasa: You went to Harvard and Yale, where you studied comparative literature. Do you think fantasy should have more of a presence on academic syllabi?

Grossman: The short answer is yes, I do. Fantasy has become a very major part of the way we tell stories now. I think when I was a kid it was relatively culturally marginal, but sometime around, I would say, the turn of the millennium, it became very central to our culture, with the rise of Harry Potter, the Lord of the Rings movies, Twilight, Eragon, Philip Pullman.

Pop culture started to be dominated by fantasy.

When you get kids who are raised on Harry Potter — as almost every kid is now (and that’s not a bad thing; I’m a huge Harry Potter fan) — it’s very useful and interesting for them to learn to think critically about fantasy and to understand how it works and what it means and doesn’t mean, which is what good English classes do. The fact that academic syllabi tend to focus on literary realism — that’s kind of the dominant mode of today — I think is a bit of a mistake. Kids need to learn how to read fantasy critically because that’s what they’re reading outside their classes.

Pasa: You’ll be in Santa Fe for an event with George R.R. Martin, whom you have identified as an influence on your work. How has he influenced you?

Grossman: George is incredibly popular and successful, but I still don’t know if people realize just how radical and interesting his work is. I’ve been reading him since the ’90s, when he started publishing A Song of Ice and Fire. Fantasy had been a little bit sleepy for a few decades. ... When George appeared, he took the whole epic fantasy tradition and blew it up and made it new again in a way that I don’t know if anybody saw coming.

It was so exciting, and it was probably the first sign for me that fantasy is something I shouldn’t just be reading. I should be writing [it]. ◀

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details ▼ Lev Grossman reads from and signs copies of The Magician’s Land, followed by an interview and Q&A session with George R.R. Martin ▼ 7 p.m. Monday, Oct. 13 ▼ Jean Cocteau Cinema, 418 Montezuma Ave., 505-466-5528 ▼ $10, $5 with paperback purchase, free with hardcover purchase; visit wwwjeancocteaucinema.com to purchase tickets

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FULL SPECTRUM J O H N VO KO U N TA K E S DATA TO N E W P L A C E S

S

wiss artist Johannes Itten (1888-1967), who taught color theory at the Bauhaus in Weimar, Germany, in the early 1920s, explored color as something to comprehend visually and also as something that triggers psychological and emotional responses — ideas he laid out in his classic book The Art of Color. Trained as a Color Field painter, Santa Fe-based artist John Vokoun was introduced to Itten’s work in college. Though he still paints, Vokoun has taken his intense interest in color to another level, using corrupted computer files as a medium for complex compositions. “About 10 or 12 years ago, I started getting into my corrupted data series,” Vokoun told Pasatiempo during a studio visit. “It’s part of my palette for making what, to me, are still Color Field paintings.”

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PASATIEMPO I October 10-16, 2014

Michael Abatemarco I The New Mexican Vokoun typically begins his process using a data file, but the final result bears no resemblance to the original file content. “One of the things people have asked me over the years is, ‘What is the data? Where does the data come from?’ I’ve always known where it comes from, but I haven’t always told people. The thing about a lot of it is that it’s so random. With the input and output process, you never know what you’re going to get. This kind of work is about starting with color and shape and working with the data to bring about a sense of movement. I’ve been hacking different scanners and camera systems to take imagery and spewing out this corrupted data in a lot of different ways.”

Vokoun hacks into three or four computer systems to create his compositions. He uses an industrial process called sublimation, in which an aluminum plate is coated with a scratch-proof, hardened polyester material and printed over with inks, which are then

heated into gas form. The heated molecules penetrate the coating and resolidify, becoming encased permanently in the polyester. “It was only about four or five years ago that I figured out how to manifest them in the world. I have the top plates fabricated for me by these guys in California. It comes out of a manufacturing process that’s been co-opted by the art world. Somewhere I have this one that flew out of the back of my truck on the highway going, like, 75. It got a couple of micro-scratches on it, and that was it.”

Vokoun pays careful attention to final appearances.

The finished work is mounted on frames and risers fabricated by race-car manufacturers in his home state of Missouri and then polished and clear-coated at an auto body shop. “The thing for me is that everything’s got to be real clean and tight. For me, an artist’s job is to take whatever tools are around them and use them to throw back at people in a new way. This whole modern

age of DIY manufacturing — I’m just totally into using that however I can to make art. Forty years ago, trying to talk to somebody with a small factory that would be willing to work on an art project was not that possible. These days, everybody’s so much more open to try different things.”

Vokoun’s pieces are archival-quality prints with some curious features.

Many of the compositions are series of horizontal bands in which variations in color and line are somewhat illusory, based on how one color can affect the appearance of another depending on their proximity within a composition. Many of Vokoun’s works are like color tapestries, appearing to mimic the warp and weft of textiles when in fact what This kind of work we’re looking at are arrangements of bits of is about starting data. Some pieces, notably Worm Field II, resemble the almost ordered ripple effect of with color and shape wind on the surface of water. Others, such as 1st Line Distortion, may put you in mind and working with the of “electronic noise,” the random dot patdata to bring about a terns and lines of analog television screens.

Vokoun seeks precision in his finishsense of movement. ing, but the imagery itself is marked by an interplay of chaos and order. “There’s I’ve been hacking definitely some contradictions in the way different scanners I work. There’s some polarity. A lot of this work is trying take this chaos, all this and camera systems information around us, and congeal it into something that’s a quiet moment. Some to take imagery and of my pieces are pretty quiet, although spewing out this there’s all this chaos underneath. A lot of the lines that seem pretty straight always corrupted data in a lot have a little bit of a diagonal to them, and I usually balance them out by changing of different ways. width, but it’s pretty subtle. I’m always — John Vokoun fighting to have things be balanced but not static.”

Vokoun began his current technique by using his own snapshots as source material.

More recently, he has been scanning images of artworks by Itten and others. One work

by Vokoun, installed at the international contemporary art fair Art Santa Fe in July, is called Elements of Duplicity. The piece contains two separate but related grids, one with 30 individual panels and one with 12. “Itten wrote several important books about color theory. He’s always been a big influence in my life. This body of work has a couple of different levels, but it’s sort of an homage to Itten, not just incorporating an abstract duplication of his paintings but also based on his contributions to color theory.” The title Elements of Duplicity references that the work is a duplication of Itten’s 1916 painting The Encounter. But Vokoun’s interpretation is highly abstracted.

“I took that image and ran it through software that does an analysis of the colors of that painting and runs an algorithmic color chart based on that.”

From right to left, the somewhat ordered patterns of one grid — horizontal bands of gradated hues derived from the color analysis of Itten’s painting — begin to dissipate into the apparently erratic formations of the second grid.

The horizontal bands extend from one grid to the next, lending the work a cohesiveness when seen from a distance. But each separate panel can be regarded as a complete composition in itself. “The one thing I’ve always found when studying someone like Chuck Close is that at a certain viewing distance, it can be immaculate. As you go and really inspect the thing, it starts losing some of that flavor. He has this way of working where there’s at least two major viewing distances: way, way, way far back and way, way, way up close. I’ve always wanted to make every work fascinating from a distance and have the same fascination up close.” ◀ John Vokoun; Exactly, 2005, digital pigment, polyester and aluminum

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Paul Weideman I The New Mexican

‘More oomph per proton’

TRACKING THE ELUSIVE GAMMA RAY

Ed Fenimore holds and explains a coded pinhole array that was tested on a 1991 space shuttle flight; above left, the Swift satellite; background, artist’s impression of a dark gammaray burst, courtesy European Southern Observatory

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PASATIEMPO I October 10-16, 2014

NASA image of a black hole gamma ray; courtesy NASA

I

t’’s definitely cool to look through a telescope and see the Man M in the Moon really close, but what do you think about a magnetic m field that’s so strong that a cubic inch of absolutely empty e space weighs thousands of tons? Now you’ve gone frrom the fun realm of amateur astronomy into the wacky sphere of astrophysics. “When you have a magnetic field, you have a magnetic density, and it’s so strong that the vacuum actually acts like it has mass,” said Ed Fenimore, an astrophysicist with deep credentials at Los Alamos National Laboratory. “This is how we explain some gamma-ray bursts. That’s a neutron star with an incredibly strong magnetic field, and the neutron star has a crust that can have earthquakes — or star quakes. When the crust moves, it sort of jiggles that field. You’re jiggling something that has an incredible amount of energy in it and some of that comes out and we see it. That’s called a soft gamma repeater.”

Fenimore gives a talk, “From Pinholes to Black Holes,” on Sunday, Oct. 12, at the New Mexico History Museum. Appointed a LANL fellow in 1998, Fenimore is a two-time winner of the NASA Group Achievement Award and has won the Los Alamos Distinguished Performance Award nine times. He was a member of the 2007 team that won the Rossi Prize, the highest honor in high-energy astrophysics research. He was the lead LANL scientist on the Swift satellite, launched by NASA 10 years ago from Cape Canaveral.

The heart of the Swift satellite is its Burst Alert Telescope that senses deep-space gamma-ray bursts — indicating the births of black holes — by means of a coded-aperture (pinhole) mask.

Gamma rays are “like X-rays on steroids, higher-energy, basically with more oomph per proton,” Fenimore said. When a nuclear weapon is detonated, gamma rays are produced; after the 1963 test-ban treaty with the Russians, LANL sent up satellites with gamma-ray detectors to monitor enforcement.

“We thought it would be easy,” he said, “because there were no other gamma-ray sources. But there were a lot of bumps in the data, showing up on multiple satellites. It was 1973 before it was realized that these were real objects, gamma-ray bursts, out there.

It was such a surprise because of the feeling that stars are constant.

In the beginning we couldn’t figure out how any star produced gamma rays. Soon there were two ideas: one that they were nearby, in our galaxy, and the other that they were very remote and much more powerful. The consensus was that they were in our galaxy.”

Then the National Aeronautics and Space Administration launched an experiment that found more than 2,704 gamma-ray bursts, and they were absolutely uniform in the sky. The camp that believed the bursts originated in our galaxy expected them to line up with the Milky Way, but they were spread across the sky, which meant they had to be very, very far away. The scientists realized they had to pinpoint the locations of the bursts. “It all came down to how we might image them. That’s a problem with gamma rays.

You can’t use lenses or mirrors; they go through them rather than bounce. So what we developed at LANL was a pinhole array.”

The nonuniform array of 52,000 pinholes produces thousands of overlapping images, but mathematical algorithms are employed to decode the complexity and reveal the source of each burst.

The next steps involved the construction of robotic telescopes at locations around the world, including one in the Jemez Mountains, and of computer installations all around the equator, so the Swift satellite would always be “visible.”

“Now you have this incredibly choreographed process where the satellite triggers and has to analyze the image of a burst, has to know where it’s pointed, has to get it down to one of the ground stations and onto the internet, and get it to the universities and observatories that have robotic telescopes that can swing over and search for the source. The whole process can happen in as little as 10 seconds. Sometimes gamma-ray bursts last for 100 seconds.

“When the burst happens, it produces a very bright star. In one case, you could see it with your naked eye, and this is coming from virtually across the entire universe. We’re seeing one star in a faraway galaxy. They’re the brightest objects in the universe. So when it happens and you locate it, then you go see what’s there.”

Fenimore said gamma-ray bursts occur about once a day somewhere in the universe. The farthest object ever seen is a gamma-ray burst found by the Swift satellite, developed by LANL, the Goddard Space Flight Center in Maryland, and members of an international team as the first self-tasking satellite. “These gamma-ray bursts only last a few seconds, and you can’t have slowpoke humans involved. This is the genius work of [LANL astrophysicist] David Palmer. He wrote this beautiful software for a 25-megahertz machine; you use very old computers in space because they’re very reliable and they’re less susceptible continued on Page 26

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Ed Fenimore, continued from Page 25 to radiation damage.

David’s software not only maintains these 52,000 detectors, [but] it’s simultaneously running 800 triggers and doing imaging.”

The Swift satellite, powered by photovoltaic panels, holds an optical telescope and an X-ray telescope as well as the Burst Alert Telescope. “When the software finds a gammaray burst, the satellite automatically swings over and looks at it. It’s self-tasking in the sense that it’s looking at all the imagery from the coded aperture and it’s deciding what to do next. Is there a new burst to look at? Or maybe a star that is typically steady just had an outburst and maybe it should go look at that. When there’s a burst, the data is sent to the ground for big computers to crunch, and they can’t do it better than David’s software does it onboard with a 25-megahertz computer.”

The investigation of gamma-ray bursts in outer space continues. “It is still an extremely active field,” Fenimore affirmed. “Swift was named the second most scientifically productive satellite, and the Hubble is No. 4 on that list. For example, gamma-ray bursts are so bright that

they light up the whole universe between us and them, and we can use that to trace the evolution of the universe. It’s like having a big spotlight ... that’s the farthest object in the universe.

“A black hole collapses and it produces jets out of its north and south poles, and they first emit gamma rays and then optical light.

The light goes through all the intervening gas between us and the firstknown gamma-ray burst 13.3 billion years ago, and it can tell what elements there were, and it shows how the elements evolved, because the big bang [about 13.7 billion years ago] produced only three elements: hydrogen, helium, and a little lithium.” There are nearly 120 identified elements in the periodic table today.

The coded-aperture imaging invented to localize gamma-ray bursts is still used in watching for clandestine nuclear weapons tests, because Los Alamos has monitoring responsibility for test-ban treaties to this day. It has also been useful in human medicine.

Fenimore enjoys talking about gamma-ray bursts and other spacey matters to school groups, particularly fifth- and sixth-graders. “They can get some of the concepts and they can be excited by them,” he said.

What about his own inspiration early on? Why did he want to study this field? “There’s this tremendous beauty in the marriage of calculus and physics, with such simple equations that end up explaining everything. And astrophysics is a field that really brings together all areas of physics, and with computer models we can model how stars change and grow over time. We know more about the insides of stars than we know about the inside of the Earth.”

Fenimore reportedly retired in 2009, but he said he still works 50 hours a week — sometimes at LANL and sometimes at his Santa Fe home. “It’s too much fun.” ◀

details ▼ “From Pinholes to Black Holes,” a lecture by astrophysicist Ed Fenimore in support of the exhibit Poetics of Light: Pinhole Photography ▼ 2 p.m. Sunday, Oct. 12 ▼ New Mexico History Museum auditorium, 113 Lincoln Ave. ▼ Free with museum admission, Sundays free to New Mexico residents; 505-476-5200

Top, Pinwheel Galaxy discovered by NASA’s Swift satellite, courtesy NASA

26

PASATIEMPO I October 10-16, 2014

Santa Fe Community Orchestra

Oliver Prezant, Music Director

Fall Concert featuring

Brahms: Symphony No. 4 and works by Mozart, Franceschini and Saint-Saëns with Chris Nierman and Victor Perry, trumpets, and music students from Gonzales Community School Sunday, Oct. 12, 2:30 p.m., St. Francis Auditorium in the New Mexico Museum of Art, 107 W. Palace Ave. Admission Free, Donations Appreciated

Lecture/Luncheon/Book Signing

Archduke GézA von hAbsburG will be speaking on

“Felipe II as a Collector and Patron.”

Monday, October 13, 2014 12 noon-3:00 pm At The Hotel Eldorado Santa Fe For more information and tickets call 505-982-2226. http://www.eventbrite.com/o/spanish-colonialarts-society-6819147215 Organized by

Educate Your Ear Brahms - The Expressive Architect a talk by Oliver Prezant with musical illustrations by the SFCO including a full performance of the first movement of Brahms’ Fourth Symphony Friday, Oct. 10, 7:00 p.m., St. Francis Auditorium in the New Mexico Museum of Art, 107 W. Palace Ave. Admission Free, Donations Appreciated For more information: (505) 466-4879 or www.sfco.org

Like us

This concert is sponsored in part by Thornburg Investment Management.

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.

PASATIEMPOMAGAZINE.COM

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PASA TEMPOS

album reviews

ABY NGANA DIOP Liital (Awesome Tapes From Africa) Awesome Tapes From Africa is that rare mp3 blog that has created its own audience by digitally rereleasing cassette albums from the 1970s, 1980s, and 1990s, spanning the continent from Tripoli to Johannesburg. Its most recent offering, the reissue of Aby Ngana Diop’s mind-blowing 1994 album, should bring the singer to mainstream attention, even if posthumously. “DieuleulDieuleul,” the album’s lead track, is an intoxicating and nearly unclassifiable four minutes of gospel fervor, decadent dancehall and joyous call-and-response rap. Imagine Mahalia Jackson covering a medley of Tricky and Shabba Ranks in a Wolof-language rap-like singsong. That only begins to get at this record’s deeply weird, intensely soulful sound. This isn’t a case of Western listeners discovering the “exotic.” In her native Senegal, the singer was the first female taasukat, or heritage singer of ancestral poetry, to set her traditional lyrics against Mbalax, the country’s pulsating pop music, a hard-hitting amalgam of American rock and jazz, Afro-Latin salsa, and the country’s homegrown dance music. “Ndadje” which closes out this six-song record, is a glimpse into the traditional sound that griot singers like Diop were expected to perform.

But with her booming voice, all-female chorus, and small cast of drummers amplified to sound like an Ohio State drum line at homecoming, her music sounds less traditional than prophetic, more futuristic than foreign. — Casey Sanchez SINKANE Mean Love (DFA Records) Sudanese-American musician Ahmed Gallab kicked around in the punk scene in Columbus, Ohio, before becoming a session musician and eventually settling on Sinkane as his own creative project. His 2012 breakout, Mars, was an OK album of handcrafted Afro funk seasoned with a hodgepodge of modern indie-rock touchstones. Mean Love shows considerable growth. Gallab only spends the first three songs using those Afro-indie influences to make what appears to be a Mars sequel before leaving that in the past and focusing his efforts on making a forward-thinking R&B album. The production is bolder, and Gallab seems to have better command of his falsetto, now richer and more capable of a wider range of emotion. Ever the musical nomad, he flirts with Motown on “Mean Love,” funk on “Hold Tight,” and samba on “Moonstruck,” while making it all his own: he uses a slide guitar in a country-music fashion on “Galley Boys,” but the song is Caribbean in feel. Given Gallab’s background, it’s difficult to argue with the notion that this is at least one of the ways that music can sound in a global culture. It’s an ever-surprising blend of textures and rhythms, tightly woven together by the singular vision of a gifted composer who was raised in several different cultures. Gallab has always been talented; Mean Love reveals that he is also a talent.

— Robert Ker

OC TO BER

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Saturday and Sunday October 11–12, 2014 • 10 am–4 pm • Admission free

Early Bird Shopping Saturday, 9-10 am • $10 at the door www.nativetreasures.org

PASATIEMPOMAGAZINE.COM

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Leigh Anne Langwell, Shadow #24, gelatin silver print, collection of the New Mexico Museum of Art. On view in Cameraless.

FRIDAY Gallery Talk October 10, 5:30–6:30 p.m. Albuquerque artist Leigh Anne Langwell will talk about her work with photograms, made without film or camera, now showing in Cameraless. Part of our year-long project Focus on Photography.

Enjoy the High Desert Harps 5:30 to 7:30 p.m. Free.

COMING UP Films About Photography Saturday, October 18, 2–3 p.m. “Remembering Edward Weston.” This short documentary is filled with stories and memories of the much-loved and influential photographer. Curator of Photography Katherine Ware will introduce the film with a short slide presentation about Weston in New Mexico. Free.

Sunday, November 2, 2–3 p.m. The museum will screen “Pie Lady of Pie Town,” a new short film by Santa Fe artist Jane Rosemont, followed by a slide lecture by artist Joan Myers, about Pie Town Woman, a book of her contemporary images alongside historic photographs by Russell Lee. A book-signing (and pie) will follow. Free.

Enjoy the museum every Friday from 5 to 8 p.m. Free.

30

PASATIEMPO I October 10 - 16, 2014

RANDOM ACTS Play-away time

Most major orchestras promote chamber-music playing within their ranks, but there is probably none in the world that comes close to the Berlin Philharmonic, where 35 self-standing chamber ensembles operate beneath the orchestra’s banner.

Where do they find the time? Well, the orchestra itself counts an unusually large roster of 128 members, which translates into a goodly amount of time off from orchestral duty for individual players. One of those groups, the Berlin Philharmonic Wind Quintet, is joined by pianist Jon Nakamatsu for its American tour this fall, which includes a stop at the Lensic Performing Arts Center (211 W. San Francisco St.) on Sunday, Oct. 12, at 4 p.m., courtesy of Performance Santa Fe. On the program are Mozart’s Quintet for Piano and Winds (K. 452) and a transcription of his Fantasy for Mechanical Organ (K. 608), Paul Hindemith’s Kleine Kammermusik (Op. 24, No. 2), and the Sextet for Piano and Winds (Op. 6), composed in 1888 by Ludwig Thuille, a close friend of Richard Strauss. For tickets ($13.50-$100), call 505-988-1234 or visit www.ticketssantafe.org. — James M. Keller

THIS WEEK

Milking the goat

Char and Robby Rothschild, who perform as Round Mountain, play an allacoustic set at San Miguel Chapel, 401 Old Santa Fe Trail, at 8 p.m. on Friday, Oct. 10. Their new album, The Goat, honors the animal that provides skins for the djembe (a West African drum), gaida (Bulgarian bagpipes), and kora (African lute) and recalls an older, simpler lifestyle. Char sings and plays keys, strings, brass, dobro, guitar, trumpet, and pipes — specifically the accordion and bagpipes (both gaida and Highland pipes). Robby shares vocals, adds to the melodic and harmonic mix with the Irish bouzouki and the kora, and is the percussionist, playing djembe and the Peruvian cajon. The suggested donation is $10 to $20. Call 505-603-7906 for more information. — Paul Weideman

True blue bluesmen

Santa Feans can get another fix of the musician who last month led an onstage bid to set a world record for the most kazoos played simultaneously in a song. Jim Dolan, who spearheaded the event to raise $100,000 for ALS (Lou Gehrig’s disease), is the frontman for JD & The Straight Shot, who perform at Skylight (139 W. San Francisco St.) at 8 p.m. on Thursday, Oct. 16. When he’s not playing bluesy rock with his mates, Dolan works in New York as the CEO of Cablevision Systems and executive chairman of Madison Square Garden. His band’s fifth album, Where I’ve Been, includes songs that take aim at high taxes and unethical politicians. There is no charge for the all-ages show; doors open at 7:30 p.m.

For more information, call 505-982-0775 or visit www.skylightsantafe.com.

— P.W.

The beat of her own drum

When leading contemporary jazz drummer Allison Miller returns to town with her group, Boom Tic Boom, audiences can expect to hear much more than a booming bass drum and a ticking snare. Miller’s drumming style acknowledges the instrument’s deep jazz heritage, but she skillfully pushes the boundaries in the service of tasteful yet technical improvisation. The New York Citybased musician has toured regularly with Ani DiFranco and Dr. Lonnie Smith, as well as with her own seasoned quintet. In addition to Miller, Boom Tic Boom features Jenny Scheinman on violin, Kirk Knuffke on cornet, Myra Melford on piano, and Todd Sickafoose on bass. The combo plays a mix of new and old original compositions at Gig Performance Space (1808 Second St., www.gigsantafe.com) at 7:30 p.m. on Friday, Oct. 10. Tickets, $20, are available at the door only. — Loren Bienvenu PASATIEMPOMAGAZINE.COM

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James M. Keller I The New Mexican

The

operas. The disparity in those numbers reflects that a handful of the works will have been presented twice. Duplication began in 2013-2014 with a second broadcast of Aida, which had already been given in 2009-2010 — in the same production, no less, by Sonja Frisell. This is inevitable, given that the opera business depends very much on its classic repertoire. At the conclusion of the season now beginning, the list of repeated operas will comprise seven works: Aida, Tosca, La bohème, La Cenerentola, Carmen, Les contes d’Hoffmann, and the less frequently encountered piece that opens this new season, Verdi’s Macbeth.

ongoing health struggles. Whether you like this production of Macbeth will depend on whether you have patience for the conceit of post-World War communists brandishing AK-47s.

Some months before it began, this broadcast season became famous for what it would not be airing: John Adams’ The Death of Klinghoffer, a 1991 opera that derived its plot from the 1985 takeover of the cruiseship Achille Lauro by members of the Palestine Liberation Front and their murder of a Jewish passenger. Caving in to protests alleging that the work was anti-Semitic, Gelb agreed to remove it from the Live in HD schedule, although Klinghoffer will be presented in the house. Attendees will doubtless have to make their way through picketers at Lincoln Center.

Indeed, dissenters already descended for the Met’s opening night, which lent the odd impression that they had some argument with that evening’s opera, a politically potent piece called Le nozze di Figaro.

Figaro will be next up on the Live in HD schedule, in a new production by Richard Eyre that moves the action from the 18th century to the 1930s, though maintaining Seville as the setting. (The Spanish Civil War is a favorite relocation for opera directors.)

The cast includes two names familiar to Santa Fe Opera audiences. Mezzo-soprano Isabel Leonard portrays Cherubino; she made her debut here in that role in 2008, returned in 2011 for that Griselda of blessed memory, and will be back next summer as the female lead in the premiere of Jennifer Higdon’s Cold Mountain. Also on the roster is Susanne Mentzer, a graduate of St. Michael’s High School who got hooked on opera while working as an usher at Santa Fe Opera. After graduating from the aisle to the stage, she went on to an international career of great distinction and appeared here in three seasons, most recently in 2013 as Marcellina, the role she will reprise in the broadcast.

The season continues with Carmen, again in a Richard Eyre production, again updated to Seville in the 1930s. Leonard will be back to head the cast in Il barbiere di Siviglia. (Seville again, though Bartlett Sher’s production keeps it set in olden days.)

Her suitor will be tenor Lawrence Brownlee, one of the high-flying tenors Santa Fe audiences heard in 2013 in La donna del lago. Operagoers prepared for a long sit can settle in for Die Meistersinger von Nürnberg, an opera curiously not targeted for alleged anti-Semitism although it certainly could be. The Merry Widow, in a new production by Broadway director Susan Stroman, spotlights soprano Renée Fleming along with baritone Nathan Gunn; the latter is remembered here for valiantly trying to make a silk purse out of a sow’s ear in the 2013 premiere of Oscar and may have better material to work with in next summer’s Cold Mountain. Watch for tenor Alek Shrader in the smaller part of Camille de Rosillon; he has appeared here in Albert Herring and Don Pasquale and will return next summer in La fille du régiment.

Les contes d’Hoffmann is always a risky venture, and we shall see if tenor Vittorio Grigolo succeeds in

Opposite, top, Anna Netrebko as Lady Macbeth and Željko Luˇci´c in the title role of Verdi’s Macbeth Opposite, bottom, Lehár’s The Merry Widow, with Renée Fleming as Hanna and Nathan Gunn as Danilo

Left, Aleksandrs Antonenko as Don José and, from left, Kiri Deonarine as Frasquita, Jennifer Johnson Cano as Mercédès, and Anita Rachvelishvili in the title role of Bizet’s Carmen Above, Isabel Leonard as Rosina in Rossini’s Il barbiere di Siviglia Below, Kate Lindsey as Nicklausse in Offenbach’s Les contes d’Hoffmann

continued on Page 34

Marty Sohl/Metropolitan Opera

Brigitte Lacombe/Metropolitan Opera

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With Macbeth it is again a matter of revisiting a production already screened. Adrian Noble’s production (based on Verdi’s 1865 revision of the score) was new when it was beamed out during the second season, in January 2008, and here it comes again, with the title role entrusted to the same singer, the Serbian baritone Željko Luˇci´c. This time, however, Lady Macbeth is Anna Netrebko, the Met’s prima donna assoluta by virtual proclamation of the general manager, Peter Gelb. She upholds that status with flair, both onstage and off.

Where many songstresses of recent decades have cultivated a “girl next door image” or otherwise nurtured a populist connection with their fans, Netrebko seems to exist above it all, her grandeur falling more in the tradition of divas of eld. Even when she strikes a casual pose, you can be sure she didn’t buy her form-fitting jeans at the outlet mall.

Part of the delight of Netrebko is seeing whether her potentially magnificent voice proves to be in the mood for a certain role on a certain day. When everything lines up just so, the result is splendid.

When it doesn’t — say, if her coloratura isn’t quite happening — she forges on anyway, endowing her interpretation with alluring vocal color and making up in authority what may be lacking in precision.

This Macbeth cast also includes two of our most notable gentleman singers. Tenor Joseph Calleja (“The Maltese Tenor”) portrays noble Macduff, the role in which he made his operatic debut in 1997, at the age of nineteen. Of all our currently prominent tenors, Calleja is the one whose singing most insistently recalls the largely vanished style of an earlier era, balancing vocal luster, musical judiciousness, and expressive inflection in a way that echoes recordings of Gigli, Schipa, and Tagliavini: an old-fashioned voice in the best sense. Banquo is portrayed by René Pape, unrivaled among today’s basses, and the baton is wielded by Fabio Luisi, the Met’s often inspired principal conductor. It seems that Luisi is no longer likely to become the Met’s music director, but he won a devoted following in the house by deputizing during James Levine’s

Ken Howard/Metropolitan Opera

PASATIEMPO I October 10-16, 2014

Premier opera house beams culture to all corners

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Ken Howard/Metropolitan Opera

O

pera lovers will flock to the Lensic Performing Arts Center this weekend for the beginning of the ninth season of The Met: Live in HD, the international broadcast series from the kingpin of American opera houses. The Met’s initiative began with six screenings during the 2006-2007 season, which were aired in just over a hundred movie theaters, mostly in the United States but also in Great Britain, Japan, and Norway. Audiences took to the screenings enthusiastically, and this year broadcasts are planned in some 2,000 theaters in 67 countries.

The number of offerings also increased in succeeding seasons, reaching their peak with 12 operas each in 2010-2011 and 2012-2013. This year, the enterprise relaxes a bit, decreasing to the more normal level of 10 broadcasts; but because two of those are double bills, those 10 broadcasts will actually transmit 12 operas.

By the end of this season, The Met: Live in HD will have beamed out 82 transmissions of 77 different

Marty Sohl/Metropolitan Opera

worldwide inter-Met

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Metropolitan Opera,

continued from Page 33

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PASATIEMPO I October 10-16, 2014

Ken Howard/Metropolitan Opera

the taxing lead part, where so many others have faltered in awkwardness. Portraying the mechanical doll Olympia is Erin Morley, the lyric-coloratura soprano who triumphed here in last summer’s double bill of The Impresario and Le rossignol (she was also an impressive Queen of the Night here in the 2010 Zauberflöte). Kate Lindsey takes the part of Nicklausse (which she also sang here) and Thomas Hampson, Santa Fe’s curiously cast Scarpia in 2012’s Tosca, portrays the four villains. On the podium is the Canadian Yves Abel, who conducted stylishly at Santa Fe Opera for a couple of seasons more than a decade ago — L’italiana in Algeri in 2002, Così fan tutte in 2003 — but since then has mostly appeared in European houses (in addition to the Met). One wishes that Santa Fe might snag him again, particularly for something French.

The first of the double bills arrives with an intriguing combination of Tchaikovsky’s Iolanta (which you probably haven’t seen) and Bartók’s Bluebeard’s Castle (which you may have and should again). Netrebko again holds sway (along with the excellent Polish tenor Piotr Beczala in Iolanta), and the mesmerizing Valery Gergiev conducts.

We mentioned Santa Fe’s presentation of La donna del lago in connection with Lawrence Brownlee. Not long before that production opened, the Metropolitan Opera decided to sign on as a co-producer. I didn’t understand why; the production was so sparse that one would have thought something similar could have been concocted by anyone willing to pick up a few things at Hobby Lobby. Anyway, it’s one of those operas that is justified solely by its singing and that we had in spades thanks to mezzo-soprano Joyce DiDonato.

She reprises her part when the Metropolitan offers it this winter, now partnered by tenor Juan Diego Flórez. We’ll see if the scenery gets eked out for presentation in the big house — say, by adding the lake mentioned in the title, which we lacked.

Another double bill, also in a new production, concludes the broadcast season: the traditional pairing of Cavalleria rusticana and Pagliacci, which director David McVicar sets in the same Sicilian village at two different times (Cav around 1900, Pag in 1948). A Santa Fe resident appears in a principal role: soprano Patricia Racette, who takes the knife as the much-abused Nedda in Pag. There was some suspense this year about whether the season would take place at all, threatened as it was by thorny contract negotiations. The national press — and of course the blogosphere — covered the proceedings at a high pitch, but it hardly seemed surprising that a major performing-arts organization should traverse some rocky terrain on the way to a labor agreement. That’s what almost always happens these days. At this moment, the Atlanta Symphony Orchestra is sidelined through a lockout of its musicians. In opera’s homeland, the Rome Opera didn’t even bother to engage in a labor negotiation; on Oct. 2, it announced it would simply fire its entire

Patricia Racette as Nedda in Leoncavallo’s Pagliacci; opposite page, top, Juan Diego Flórez as Giacomo V in Rossini’s La donna del lago; opposite page, bottom, Annette Dasch as Eva in Wagner’s Die Meistersinger von Nürnberg

orchestra and chorus — 182 performers — as a costsaving measure and hire new musicians at lower salaries before opening its season.

The Met’s negotiations were no easy task, as Gelb had to balance the company’s financial concerns with the demands of 12 separate labor unions (though mostly the orchestra players’ American Federation of Musicians and the choristers’ and dancers’ American Guild of Musical Artists, behind which the other unions could be expected to fall in line). Both sides naturally portrayed the other as greedy and insensitive, but everybody managed to get on the same page in time for the season to start as scheduled. Gelb does not lack for detractors, and he does not seem to worry much about currying warm feelings with the press or anyone else who is not likely to write large checks to his organization. But his job, or at least a big part of it, is to train a steady gaze on the financial ledgers, and being magnanimous to employees does not jibe well with that mandate. On Oct. 1, the day before the Rome Opera invited chaos with its peremptory action, the Met was told it is to be reviewed by Moody’s Investors Service, which is considering downgrading the company’s fiscal rating, perhaps by several notches, to “reflect softening in earned income and gift revenue” — this notwithstanding the $22 million the company is expected to save annually through its new union agreements.

This was far from the first contentious labor negotiation the Met has survived, and it will surely not be its last. One is repeatedly reminded of that point by a new book released last month by the University of California Press. Grand Opera: The Story of the Met, by Charles Affron and Mirella Jona Affron, chronicles the history of America’s leading opera house from the run-up to its opening night in 1883

to the dismantling (in May 2013) of “The Machine,” which many viewers — and singers — had grown to despise in the course of the company’s recent presentation of Der Ring des Nibelungen. The book is full of facts, but I didn’t find it enjoyable to read.

As the authors wend through the company’s 130 years, they fall into a repetitive mode of presentation that lulls rather than stimulates. Every production gets cited along with the singers in the casts and maybe a few sentences about what made a particular production notable. Lists, lists, lists — and there are only so many ways to turn them into compelling prose. Interspersed throughout are mini-profiles of big stars and important figures in the Met’s management, “mini” meaning not long enough to convey the flavor of these often-temperamental personalities. Certain moments in the company’s history provide jumping-off points for brief discursions about broader topics: say, the ups and downs of bel canto repertoire through the Met’s history, how the Met has dealt with racial issues, or the postperestroika surge in Slavic performers. It’s a worthy attempt to vitalize the narrative, but the result is jerky and discombobulating. The book comes more alive at about the time when the authors’ firsthand experience of the Met must have begun, which I’m guessing to be around 1960. An opera lover might accordingly place it on the shelf next to John Briggs’ Requiem for a Yellow Brick Brewery (1969), which traces the history of the company from its founding to its relocation from its historic home at 39th Street and Broadway to its digs at Lincoln Center, which opened in 1966. Briggs was also faced with the need to compress the narrative, but somehow he managed to achieve a more engaging book while doing so. Of course, he had less history to contend with — half a century’s worth. ◀

Join us for our Shun Adventure

The Met: Live in HD

Macbeth, by Giuseppe Verdi 11 a.m. Saturday, Oct. 11; no encore screening Le nozze di Figaro, by Wolfgang Amadè Mozart (new production) 11 a.m. Oct. 18; encore 6 p.m. Oct. 21 Carmen, by Georges Bizet 11 a.m. Nov. 1; encore 6 p.m. Nov. 1 Il barbiere di Siviglia, by Gioachino Rossini 11 a.m. Nov. 22; encore 6 p.m. Nov. 22

988-3394

DeVargas Center www.lascosascooking.com

Ken Howard/Metropolitan Opera

Lensic Performing Arts Center, 211 W. San Francisco St. Tickets ($22-$28 for live broadcasts, $22 for encores) through www.ticketssantafe.org, 505-988-1234

October 10 and 11, 11am-5pm Experience the Peak of Perfection with Shun Japanese Knives!

Free Knife for first 20 Shun purchases both days.

Two days only….take 20% off open stock and Up to 40% off select Shun door busters!

Sushi demo October 11, 2:00 – 4:00 $25 With Fire & Hops’ Joel Coleman

Die Meistersinger von Nürnberg, by Richard Wagner 10 a.m. Dec. 13; no encore screening

Experts from Shun will be here to answer questions and demo skills: classes too.

The Merry Widow, by Franz Lehár (new production) 11 a.m. Jan. 17, 2015; encore 6 p.m. Jan. 17

Iolanta, by Pyotr Ilich Tchaikovsky, and Bluebeard’s Castle, by Béla Bartók (new production) 10:30 a.m. Feb. 14; encore 6 p.m. Feb. 17 La donna del lago, by Gioachino Rossini (co-production with Santa Fe Opera) 11 a.m. March 14; encore 6 p.m. March 14

Foods*drinks*demos fabulous door prizes

Clive Barda/ArenaPAL

Les contes d’Hoffmann, by Jacques Offenbach 11 a.m. Jan. 31; encore 6 p.m. Jan. 31

All Those Things for the Kitchen!

Visit www.lascosascooking.com for more information.

10

who madece a differen

Cavalleria rusticana, by Pietro Mascagni, and Pagliacci, by Ruggero Leoncavallo (new production) 10:30 a.m. April 25; encore 6 p.m. April 25

•

Santa Fe’s operagoers know that The Met: Live in HD is not the only game in town when it comes to seeing “the extravagant art” in a cinematic setting. The Screen (1600 St. Michael’s Drive) offers showings of opera and ballet productions from others of the world’s leading houses. Tickets ($20, $18 for seniors and students) are available through www.thescreensf.com (505-473-6494). The schedule for the next three months:

La Bayadère, from the Mariinsky Ballet, St. Petersburg 11:15 a.m. Sunday, Oct. 12 Aida, by Giuseppe Verdi, from the Arena di Verona 11:15 a.m. Oct. 26 Ballanchine’s Palais de cristal and Millepied’s Daphnis et Chloé, from the Paris Opéra Ballet 11:15 a.m. Nov. 9 The Pharaoh’s Daughter, from the Bolshoi Ballet, Moscow 11:15 a.m. Nov. 23 The Legend of Love, from the Bolshoi Ballet, Moscow 11:15 a.m. Dec. 14 Carmen, in a flamenco version based on the film by Carlos Saura, from theTeatro Real, Madrid 11:15 a.m. Dec. 21 Il barbiere di Siviglia, by Gioachino Rossini, from the Paris Opéra 11:15 a.m. Jan. 4, 2015

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Know someone who’s made a difference?

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Each year, The New Mexican honors volunteers in the community by telling their stories around Thanksgiving Day in a special feature, “10 Who Made a Difference.”

the person’s name and contact information and a short description of their accomplishment. Nominators also should include a way they can be reached -- by both email e The newspaper is now soliciting and telephone. ker:: for the honor. If s dskinnominations Email nominations to r uyou know someone who has t slu Bruce Krasnow at brucek@ he s aymade a difference with his or ndorse ’s amher volunteer work and lives in sfnewmexican.com, or call 986-3034 with questions.

Northern New Mexico, please S, B-4 The deadline is Friday, Oct. 17. send us a short letter or email.

Nominations should include has written Mexican ce. ¶ The New , es ad ec a differen three d ho make w y it who n u For almost onor those ur comm effort to h eople in o

TODAY uintana, Narciso Q mmunity Nambé co member ov. 29 Friday, N , quilter lla Irene Padi 0

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Jennifer Levin I The New Mexican

TRAVEL JOURNALIST TOM SLEIGH

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PASATIEMPO I October 10-16, 2014

Annette Hornischer

Tom T m Sleigh’s eighth book of p ry, Station Zed, forthcoming poetr frrom m Graywolf Press in January 2015 5, his experiences as a travel journalist in Lebanon, Somalia, Iraq, and Libya mingle with thoughts about his estranged twin brother, climate change, his identity as a poet writing about war, and the Irish poet Seamus Heaney. His travel essays, which have appeared in the Virginia Quarterly Review, are visceral and personal, like wading into a dense poem you’ll have to read more than once to fully understand — but even Sleigh’s more immediately accessible flashes of insight are going to stick with you.

Sleigh, director and senior poet at Hunter College’s MFA creative writing program, has received numerous awards, including the American Academy of Arts and Letters 2011 John Updike Award and the 2008 Kingsley Tufts Poetry Award. He reads from his new book and answers questions about his travels on Tuesday, Oct. 14, at Santa Fe University of Art and Design. In advance of his visit, the poet told Pasatiempo that he tries as hard as he can in his essays to “avoid broad strokes in favor of the small picture, the local details, and intimate truths that make up daily life.” It can take him several years — and several visits — before a place has imprinted on his nervous system.

Pasatiempo: How long have you been involved in travel journalism to war zones and conflict regions?

Tom Sleigh: I started doing this kind of journalism back in 2007, when I was asked to go to Lebanon just after the 2006 Israeli-Lebanese War to write about Palestinian refugees in Lebanon and Syria. I didn’t anticipate a war, but the moment my plane touched down in Beirut, a mini civil war broke out when a huge car bomb exploded in the ABC shopping mall.

Pasa: What led you to pursue this kind of writing?

Sleigh: I used to feel like I lived in a hell of abstractions, of media images, of jabbering, competing ideologies.

Now, when I think about Iraq, I know what the Tigris and Euphrates rivers look like. I know what kind of hairstyle young Iraqi men think is cool: ram’s-wool

curls on top, with long sideburns razored close to the head. Those sorts of details make me feel grounded.

Pasa: Please describe your new book and the function of its sections. Each section begins with an homage to poets or folk heroes — Mary Hamilton, Basho, Zinedine Zidane, César Vallejo.

Sleigh: Each of the homages pays its respects to a person, or a way of writing, or both. And ... the people mentioned in the poems are figures who are outsiders, resisters to the status quo, people whose path through life eventually pits them against a hostile authority.

I’m making common cause with them. So without my having to say anything too explicit about “my views,” the kinship I feel with them says a lot about how I think about politics and power, social justice and poetic justice.

Pasa: In contemporary American poetry there is something of a bias against mixing it with politics. How do you feel about that “rule”? Is the way you write poems about wars happening elsewhere different from inserting domestic or social politics, like feminism or racial equality, into poems?

Sleigh: When I write about Lebanon or Mogadishu or Iraq, I think of those poems not as poems about events happening elsewhere but [about] events that have everything to do with how Americans conceive of their freedoms and their responsibilities to one another here at home. Also, you might say I’m addressing issues of feminism and racial equality in the subtext of a poem like “Homage to Mary Hamilton,” in which a relatively helpless serving woman is made pregnant

by a king, aborts her baby to escape detection, and then is put to death when the murder is discovered. I suspect all my poems can be mapped onto the United States, no matter where they occur.

Pasa: Why is it so unfashionable in America to write about convictions?

Sleigh: I’m not sure if it is or isn’t fashionable, but for me a political emotion, as opposed to a conviction, is what interests me in poetry. Political emotions are contradictory; they require a fresh response every time, both linguistically and formally. They partake of political convictions, but only [as far as they are] put to the test in a poem.

Pasa: Do you consider the poems you write about your travels to be poetry of witness?

Sleigh: I think “poetry of witness” was once a useful term, but things have moved on. In an age like ours, in which so many different viewpoints can be broadcast over digital media, the idea that one person can stand in front of history and tell us how to feel about it seems like nostalgia. So I like to think of my poems as sharp rocks in the pith of your palm. You can squeeze them hard until it hurts, [but] they endure, they won’t be worn away or reduced to anything but themselves.

Pasa: How does volunteering to go to these areas and then writing about those experiences differ from a poet who is living through or with war as a matter of circumstance?

Sleigh: I remember traveling to Qana in southern Lebanon, where the young man who took me there was one of the first members of the Red Cross allowed into the village after a bombing. In the smoke and semi-darkness, he came across a little girl buried up to her neck in rubble. So he dug down with his bare hands as far as her armpits, took hold of her under her arms, lifted her free — and discovered she’d been blown in half. He looked as if he were about to tear up. I told him he didn’t have to go on with his story, but he looked me in the eye, and said, “I’ll tell you what happened, but you must promise to tell my story.”

I’d never felt such a sense of responsibility, almost a kind of I used to feel like I lived commission, in all my life. in a hell of abstractions, As to how a cultural outsider of media images, of jabbering, can tell the story, that’s a differcompeting ideologies. ent question. One thing I think is crucial, though, is to find a N o w, w h e n I t h i n k a b o u t I r a q , way to acknowledge the limits I k n o w w h a t t h e Ti g r i s a n d of what you can know and to Euphrates rivers look like. be honest about what it is you I k n ow what kind of hairstyle don’t know. And just because a writer is born into a situation young Iraqi men think is cool. doesn’t mean that person has ... Those sorts of details make the linguistic or emotional gifts me feel grounded. to tell a compelling story about those circumstances. Among — To m S l e i g h the best books I’ve ever read about the Palestinian uprisings is Jean Genet’s Prisoner of Love.

Pasa: Are you trying to give voice to the voiceless, as some might put it?

Sleigh: The notion that the writer gives voice to the voiceless seems to me like self-delusion. I wonder how many of these writer-spokesmen ever stopped to ask the so-called “voiceless” how they feel about being called that. Besides, no one is voiceless if you really stop to think about it: people express themselves in how they dress, by what they eat, by the music they sing or listen to, and in a thousand other ways. ◀

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Fighting words Bill Kohlhaase I For The New Mexican

Max Blumenthal

A

Journalist Max Blumenthal challenges assumptions about Israel

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PASATIEMPO I October 10-16, 2014

dvocate journalist Max Blumenthal’s first book, Republican Gomorrah: Inside the Movement That Shattered the Party, earned admiring words from editors at The New Yorker and The New York Times.

The 2009 bestseller and subject of a long interview on National Public Radio’s Fresh Air focused on the dysfunction of the Republican far right. Blumenthal’s 2013 book, Goliath: Life and Loathing in Greater Israel, also follows the ascendency of far-right influence. But the book has largely been ignored by corporate and even left-leaning media. What attention it has received, largely on political websites, has mostly come from the controversy it has stirred.

In an exchange of emails from London, Blumenthal told Pasatiempo of the different treatment the two books received.

“Goliath was studiously ignored by the influential outlets that gave oxygen to Republican Gomorrah (NPR comes to mind); its success demonstrated the power of Twitter and other forms of social media, where some readers live-tweeted the book and others held book-club style discussions of it, and of online media in general. I think my book tour demonstrated how weak the traditional gatekeepers of the Israel-Palestine debate have become.”

That gatekeeping involves the kind of attacks that came after Goliath’s publication. Journalist Eric Alterman got the tempest started, reviewing the book in October 2013 under the headline “The I Hate Israel Handbook” in The Nation (a publication Blumenthal has also written for).

Blumenthal responded later in the same magazine. In a blog post Alterman said Goliath “could have been published by the Hamas-Book-of-the-Month Club.” Other writers jumped in and the attacks grew to include Blumenthal’s father, journalist and former Bill Clinton adviser Sidney Blumenthal.

The elder Blumenthal’s support for the book, coupled with his Clinton history, led pundits to speculate how the book, with its harsh criticism of Israel, might affect a possible Hillary Clinton presidential bid in 2016. Max Blumenthal was not surprised at the reaction. “I assumed that once one prominent pro-Israel intellectual writer went after my book, others would join in. Initially, pro-Israel partisans attempted to ignore the book, but after Alterman initiated his obsessive series of blog posts and columns assailing the book and my character, the smears and attacks snowballed.” Despite the paucity of major media notice, the back-and-forth generated a lot of interest in the book. “The campaign against Goliath ultimately backfired on those who waged it,” said Blumenthal, “not only because an array of Israel-Palestine

experts and journalists debunked every single one of [the criticisms] or because figures like Atlantic [correspondent] James Fallows rose in defense of the book, but because they wound up drawing widespread attention to the critique of Israel contained in the book’s pages.”

Blumenthal spent four years researching Goliath, including a year in Israel and Palestine conducting interviews with all sides. He frequently uses the words of Israeli politicians against them, and he accuses the Israeli right of intimidating the Israeli left. In an interview earlier this year for Guernica magazine, Blumenthal explained, “What I have tried to do in my journalism is to document the state of the Zionist left and Israel’s ‘enlightened public’ in its current phase. And what I have found is a largely detached sector of society that has little ability to influence the facts on the ground and which has turned inward, into their Tel Aviv bubble.” In America, the book was largely ignored by the press, even as pro-Israeli tracts were celebrated. The effect, something Blumenthal describes as “approaching conspiracy,” seems to support his suggestion that the media is intimidated by rightward proIsraeli forces in both countries. “The New York Times did not review my book but gave undue coverage to another book about Israel that appeared at the same time: My Promised Land, by Ari Shavit.” In that book, Shavit acknowledged the suffering caused by the 1948 expulsion of Palestinians from large tracts of their land to make way for the new state of Israel, but he also praised the militias who did the “dirty, filthy work that enables my people, myself, my daughter, and my sons to live.”

“That book, which centered [on] the author’s justification of mass ethnic cleansing, seemed to have been deployed as a buffer against my book and against so many critical narratives on Israel-Palestine that have been emerging in progressive Jewish circles,” Blumenthal said. His book, he added, is directed at the American audience. “I have attempted to expose Israel to Americans as other journalists have tried to expose the tobacco industry, the Mafia, and the Jim Crow South. If anything makes me unique, it’s that I’ve persevered while so many other journalists flinch, often because they don’t want the trouble that comes with presenting the brutal but painfully clear reality. I am happy to correct errors and have done so, but I’ve learned that if you give a single inch to pro-Israel partisans, they will take a mile — just as the Israeli government has done on the ground in Palestine.”

Goliath opens with an account of the Dec. 27, 2008, air attack on graduation ceremonies being held at a new Hamas

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Horseback Riding police academy, the opening shot of “Operation Cast Lead.” That and other attacks that day killed some 240 Palestinians, according to Blumenthal. The Israeli action was in retaliation for Palestinian rocket attacks in November that were themselves a response to an earlier Israeli operation in Gaza that killed six Hamas members.

Reading the story, one can’t help but see parallels with the Israeli invasion of Gaza that took place this summer.

Blumenthal lets readers know where the facts he’s gathered have led him. His reporting counters claims that only combatants are targeted.

Of the 2008 strikes, he wrote, “The initial volley of precision-guided weapons was aimed at civilian targets, from universities to factories to family homes.”Blumenthal rejects the idea that journalists can or should be objective, and he doesn’t mind stating what he knows in the strongest terms. “Most Western correspondents attempt to cover Israel as though it were a normal European country, even those who witnessed the slaughter of hundreds of children in Gaza this summer.

It is not. It is an apartheid state oppressing millions of people because they are not the right religion or ethnicity. This is just a fact.” Nor is Blumenthal afraid of being seen as an advocate. “I would So many other not be able to enjoy my work as journalists flinch, often a journalist if I did not see it as a form of advocacy for causes I because they don’t want deeply care about. However, my the trouble that comes advocacy would not be convincwith presenting the brutal ing if my journalism was not factual and ethical.” but painfully clear reality.

Blumenthal has a reputation — Max Blumenthal for taking on controversial subjects and not backing down from attacks that are leveled at his work. “I was raised in a particular environment in Washington, D.C., where politics defined my everyday existence, not only at home but in the wider environment where I lived, which was riven by race and conflict. My family’s background prepared me for the combative environment and confrontational nature of journalism, especially around the issues that I’ve chosen to cover.” Like Blumenthal’s previous book on the Republican right, Goliath is character based, telling its stories by examining the words and deeds of the individuals who push radical notions as well as those resisting them. Both books are about the influence these individuals have in defining the accepted wisdom, true or not, and shaping public discourse. And he doesn’t see the phenomenon limited to the American and Israeli right. “Since I began writing Republican Gomorrah, I’ve gained a fairly solid understanding of right-wing populism — why it appeals to regular people and how it affects societies in the West. So there is a clear arc to my work that made Goliath a natural follow-up. Because of the anachronistic structure of the state of Israel — it is the only active settler-colonial country in the world — its society turned comprehensively militaristic, hypernationalist and messianic. It shows no sign of turning back.

The impact of this development on Jewish Israelis and Palestinians may be frightening, but it is not exceptional. It is simply a severe vision of the developments we are witnessing across the United States and Europe and a warning of what will be if those of us who embrace a more humane vision fail to intervene.” ◀

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T

d e n n e t p F e i l d m n I F e e s F t a ival t n a S

he Santa Fe Independent Film Festival begins Wednesday, Oct. 15, and continues through Sunday, Oct. 19. Screenings are at the Center for Contemporary Arts, The Screen, Jean Cocteau Cinema, and the Lensic Performing Arts Center. Look for expanded coverage in next week’s Pasatiempo; this week we review a few movies from the first two days of SFIFF, including opening-night films The Tribe and Rhymes for Young Ghouls. There is also an interview with Henry Corra, the co-director of Farewell to Hollywood, about a teenage girl’s struggle to make a film after a diagnosis of cancer. The highlight of Thursday night is the U.S. premiere of the first two segments of Olive Kitteridge, the HBO miniseries based on the Pulitzer Prize-winning novel in stories by Elizabeth Strout, starring Frances McDormand, Richard Jenkins, and Bill Murray. The screening is open only to festival pass-holders; individual tickets can be purchased for all other screenings and education panels. A full schedule of films and events is available at www.santafeindepentdentfilmfestival.com, and tickets are available through Tickets Santa Fe at the Lensic, www.ticketssantafe.org, or 505-988-1234. — Jennifer Levin

THE TRIBE

The Tribe opens with a deaf teenage boy (played by Grigoriy Fesenko) arriving at a boarding school for deaf students in Kiev, Ukraine. Though he speaks sign language, we get no translation in the form of subtitles. The movie has no spoken, audible dialogue, only ambient sound. Though this makes understanding the nuances of plot and character motivation difficult, the film takes its time in scenes, letting action as mundane as climbing

42

PASATIEMPO I October 10-16, 2014

a long staircase play out, making the viewer sit with the silence. At first, it seems as though the boy — none of the characters’ names are revealed — is having trouble fitting in with some bullies, but then it becomes clear that some of the older students are involved with a local crime syndicate. They force the younger boys to sell trinket toys on trains, and they bring two of their female classmates, one a blonde and one a brunette, to a truck stop at night and pimp them out to the drivers.

feelings are genuinely romantic or if he is a predator.

The girl’s feelings are similarly hard to read: Is this a financial arrangement or does she love him? Menace and violence mount in The Tribe, which has relatively graphic sex scenes. The sense of Kiev as old, dilapidated, and populated entirely by criminals — or people who are beyond feeling — pervades the movie, giving the characters the air of street urchins from a Dickens novel, as reimagined by Trainspotting author Irvine Welsh. The most complicated relationship is between the two girls, who clearly have different reasons for the choices they make. The acting is solid, even masterful, as we see the boy — whom we like, whom we think of as a victim — emerge from his cocoon. The ending of The Tribe will undoubtedly shock you, and it will sit The girls, it seems, are willing prostitutes, but it’s dif- with you for a long time. — Jennifer Levin ficult to know for sure. The bullied boy soon becomes actively involved in criminal activity, and he falls for 130 minutes, not rated, 6:30 p.m. Wednesday, Oct. 15, the blonde, but it’s nearly impossible to say whether his Center for Contemporary Arts , 3 chiles

SOUL OF A BANQUET

The Joy Luck Club director Wayne Wang’s new documentary is a tender portrait of Cecilia Chiang, founder of San Francisco’s internationally renowned restaurant The Mandarin, which opened in 1961. Chiang was born in China to a domineering mother and kindly father as the seventh daughter in a family with 12 children. She learned to cook from her mother, sampling international foods and spirits at a young age. The Mandarin was the result of a happy mistake: Chiang helped to finance the restaurant with a group of investors who all backed out, leaving her at the helm when her three-month visa for travel to the U.S. had nearly expired.

In the early 1960s, finding authentic, gourmet Chinese food was difficult, as few trained Chinese chefs were in the U.S. Chiang avoided the kinds of menu offerings of San Francisco’s Chinatown, opting instead to introduce the city to authentic, healthful Chinese cooking. The Mandarin focused on seasonal meals and ingredients that balanced color, texture, and taste to create an aesthetic dining experience. Her cooks learned to prepare banquet-style meals, learning which course should come first and why.

A brief return to her family in the mid-’70s during the Cultural Revolution was a shock for Chiang.

The Red Guards’ shouts of “Long live Chairman Mao” struck Chiang as no different from the cries of “Heil Hitler” during World War II. She describes an emotional and disturbing visit with her terminally ill father. From him she learned her family had become beggars during the revolution, and her mother had disappeared four years earlier. A sister had committed suicide after being tortured and publicly humiliated for singing opera; her own daughter had turned her in to officials. The government, suspicious of anything bourgeois and intellectual, forced even famous chefs to change their occupation, a fate Chiang managed to avoid.

As it progresses, the film’s scenes of meals being prepared, interspersed with the interviews, build to a welcome feast. Chiang wasn’t just making food but providing a context: classic Chinese cooking’s long tradition. — Michael Abatemarco 100 minutes, 3 p.m. Thursday, Oct. 16, and 2 p.m.

Friday, Oct. 17, Center for Contemporary Arts, 3 chiles

Devery Jacobs

RHYMES FOR YOUNG GHOULS

Seven years after witnessing a tragic accident that resulted in her mother’s suicide, Aila, a 15-year-old resident of Canada’s Red Crow Mi’gmaq reservation, turns to dealing drugs. She uses the money to pay off truancy officers and avoid a stint at St. Dymphna’s, a Catholic reform school where Native children are brutalized by the sadistic Indian agent Popper (Mark Antony Krupa), who runs the school. Set in 1976, Jeff Barnaby’s powerful drama, which he wrote and directed, paints a bleak portrait of reservation life at a time when Indian agents used their authority to bully and intimidate First Nations people. When the quick-witted, coolheaded Aila (Devery Jacobs) finds her drug money stolen, trouble looms. Soon, Popper will be coming around for his take. Complicating matters, her distant father, Joseph (Glen Gould), has just been released from prison and Popper has it in for the man. After years of abuse at the hands of the agents, Aila and her friends plot sweet revenge.

The rich characterizations are spot on, and Rhymes for Young Ghouls manages to reach some emotional heights thanks to the expert casting, although the film relies too heavily on dream sequences that reflect the inner life of its protagonist. Jacobs convincingly portrays Aila as a young girl forced to hide behind a tough facade as her world crumbles around her.

Things take a turn for the worse when Aila is sent to St. Dymphna’s, essentially becoming Popper’s prisoner.

But Aila’s friends aren’t willing to let her disappear into that black hole, and this sets up the final confrontation with Popper.

The performances are powerful and compelling all the way around, and the film has an honest way of dealing with its protagonists, who are downtrodden from the violence inflicted on them from outside.

When you’re at the bottom, where else can you go but underground? The cold, austere Canadian environment enhances the atmosphere. Barnaby has crafted a haunting film that is as surprising in its tenderness as it is shocking in its violence. — M.A. 88 minutes, rated R, 8 p.m. Wednesday, Oct. 15, Jean Cocteau Cinema, 3 chiles

Chefs Alice Waters and Cecilia Chiang

continued on Page 44

PASATIEMPOMAGAZINE.COM

43

LA DONNA HARRIS: INDIAN 101

SFIFF, continued from Page 44

Here and below, Regina Diane Nicholson

FAREWELL TO HOLLYWOOD

Corra told Pasatiempo. “I said I didn’t, exactly, but I accepted what she was telling me. She said it was very important to her to have one person in her life for whom it was OK for her to die, because her parents, her friends, and the people from her church were really struggling, and it was really hard for her.”

The film, which has been playing at festivals, has met with favorable audience response, although some critics call it “controversial.” No matter what might be intimated in reviews or synopses of the film found on the internet, Corra and Nicholson’s relationship was platonic, a meeting of two artistic minds in the right place and time, despite their 37-year age difference. And, luckily for Nicholson, Corra turns out to be someone she can count on when her parents begin to fracture psychologically because of her illness, resenting Corra and the time their daughter spends with him trying to finish the film. The two edited the movie in real time over two years; Nicholson was involved in the process until four days before her death, which is shown in unflinching detail.

“One of the things she was insistent upon, and made gallows-humor jokes about, was that I had to include her dead body,” Corra said. “‘Make sure I leave a beautiful corpse,’ she said. She would always make you laugh. No matter how dire the situation, she would always crack a joke under her breath.”

Farewell to Hollywood is an unsentimental portrayal of suffering by a girl who refuses to surrender to the abyss of illness until the last possible moment, a dedicated artist for whom completing the project of her life is just as important as her death. We see her remove her hair, which has only just grown in, after the start of another round of chemo, and we see her laughing, wearing a wig and trying on the identity of a platinum blonde, her eyes filled with a knowing that is both jaded and open to life. — J.L.

When diagnosed with cancer, some people embrace positive thinking, hoping that hope will cure them.

Others fall into depression over the all-consuming nature of treatment, and still others accept what fate brings with preternatural calm, neither putting their faith in a miracle nor denying happiness in the face of a terminal prognosis. Children are often the most accepting of their disease, which can be a sharp contrast to their parents’ excruciating pain. Farewell to Hollywood, a documentary co-directed by Henry Corra and Regina Diane Nicholson, shows the fissures that grow between Nicholson, a teenager with terminal osteosarcoma, and her parents when she decides not to shut herself off from the world to wait for death. Her life’s goal is to make a film, and Nicholson, who goes by the nickname Reggie, is not giving up her chance; this arrives when she is seventeen and meets creativenonfiction filmmaker Corra at the Silverdocs film festival (now called AFI Docs). Nicholson’s mother asked if he would make a film about her daughter, and he agreed — with the stipulation that Nicholson be his equal creative partner.

“Reggie took me aside during the first few days of 90 minutes, not rated, 1 p.m. Thursday, Oct. 16, shooting and asked if I knew she was going to die,” Jean Cocteau Cinema, 3.5 chiles 44

PASATIEMPO I October 10-16, 2014

LaDonna Harris (Comanche) grew up near Walters, Oklahoma, during the Great Depression. She met her husband, Fred Harris, in high school. He went on to become a U.S. senator, opening the door for his wife to influence federal legislation affecting Indians. LaDonna Harris: Indian 101, directed by Julianna Brannum, is an understated documentary about a period of history that Americans should know more about. Interviews with Harris, her husband, their children, and various Washington insiders are interspersed with a wealth of vintage pictures from the 1930s to the 1970s.

Harris arrived in Washington not long before Indian activists got the attention of politicians and the media.

Though critics said Harris did little more than throw parties, these social gatherings gave her access to the people most able to effect real change, and no one ever left her home uneducated about Indian issues. In the documentary, Harris says she had the same agenda as groups like the American Indian Movement, but she just had a different way of getting things done. Harris charmed the Washington elite. She was the first wife of a senator to testify before a congressional committee, and President Lyndon Johnson assigned her to educate the House and Senate about the relationship between Indian tribes and the federal government. She went on to work with Richard Nixon on numerous initiatives, including the return of Blue Lake to Taos Pueblo and the Indian Self-Determination and Education Assistance Act, passed by Congress in 1975.

Harris’ accomplishments are legendary, and the respect she has earned is obvious in the ways others speak about her. Interviews with her then-husband add a warmth to this traditional documentary. The standout element of Indian 101 is the score, which sets a tone of anticipation and potential as the story moves forward in time, incorporating influences of Native drumming and musical styles of the 1960s and ’70s. — J.L. 63 minutes, not rated, 5:30 p.m. Thursday, Oct. 16, Center for Contemporary Arts, 3 chiles ◀

Come join us for the Western only Mel Brooks could create. Voted No. 6 on AFI’s 100 Years ...100 Laughs, Blazing Saddles features a brilliant cast that includes Brooks and an Oscar®-nominated Madeline Kahn and Santa Fe’s own David Huddleston. This comedy is loaded with one-liners, gags and cameos. Its breakthrough parody still breaks the rules, breaks stereotypes and breaks wind, all in one sitting.

See it again and be offended like it’s the first time!

Daavid Huddleston aka Mayor Olson Johnson will join us to celebrate this classic event and reminisce witth some tall tales following the film fun.

Friday, November 21, 7:30 p.m.

The Lensic Performing Arts Center 211 W. San Francisco Street Santa Fe, NM 87501

FILM 1974 • 93 mins • Rated R Q&A to follow with Mr. David Huddleston Special thanks to Warner Bros. and The Lensic Performing Arts Center for their generous participation.

TICKETS

$50 to benefit the Santa Fe Animal Shelter (505) 988-1234 | www.TicketsSantafe.org

Tickets will be available starting Friday, October 10, at 10 a.m. at the Lensic Box Office or online.

Wheelwright Museum • 704 Camino Lejo, Museum Hill • Santa Fe 87505 More information at www.wheelwright.org

In Support of the Santa Fe Animal Shelter

Will Wilson • CIPX • Saturday & Sunday • October 11 & 12

Warner Bros. is Blazing into Santa Fe!

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PASATIEMPO I October 10 - 16, 2014

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MOVING IMAGES

“SEDUCTIVE. GRIPPING. Expertly blends touches of Hitchcock and Highsmith.”

– Peter Debruge, VARIETY

film reviews

Silver foxes: from left, Joyce Carpati, Ilona Royce Smithkin, Debra Rapoport, Tziporah Salamon, Jackie Murdoch, and Lynn Dell Cohen.

Senior class Advanced Style, documentary, not rated, Jean Cocteau Cinema, 2.5 chiles

Friday and Saturday at 2:30 and 7:15 • Sunday at 2:30 Monday through Wednesday at 2:30 and 7:15 • Thursday at 7:15

HELD OVER!

Friday and Saturday at 4:45 • Sunday at 7:00 Monday through Thursday at 4:45

STEVE

ROB

COOGAN

BRYDON LA BAYADERE

A FILM BY

MICHAEL WINTERBOTTOM

Saturday at 12:15 • Sunday at 4:40 Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®

D I G I T A L

SURROUND•EX

(Mariinsky Ballet) Sunday 11:15 am

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 48

PASATIEMPO I October 10-16, 2014

Though the title of this film sounds like an upper-level course at Parsons, it’s actually based on a blog — www.advancedstyle.blogspot.com — by a young man named Ari Seth Cohen that celebrates exuberant, vivacious older women. The Bill Cunningham for the strictly silver-haired set, Cohen began roaming the streets of New York in 2008 to photograph stylish women over the age of 50. His blog drew a following, which led to a book deal and now a movie.

Advanced Style follows seven women as they discuss their personal style and clothing choices. Joyce Carpati, who studied opera and worked for Cosmopolitan, is classically elegant in the manner of Grace Kelly and Jacqueline Kennedy Onassis. Ilona Royce Smithkin makes her own false eyelashes from the trimmings of her coppery-red hair. Tziporah Salamon proudly proclaims that she sometimes takes years to assemble one outfit.

Zelda Kaplan, who died in 2012 during production of the film, made her own clothing from tribal textiles. Jackie Murdoch once danced at the Apollo Theater; during the course of the film, she was hired to model for Lanvin. The creative Debra Rapoport builds colorful ensembles by scouring thrift stores. Lynn Dell Cohen runs a flashy Upper West Side boutique and considers her outfits her “costumes.” It’s all entertaining, even if the movie ultimately feels like a filmed version of the blog — images and interviews captured on video rather than with camera and pen.

Clothes do not maketh the woman, though. Ideally, they intrigue us and encourage us to look closer. That seems to be the major flaw of Advanced Style: it flits along the surface, rarely delving into the personalities behind the pearls. We glimpse some of the aches and pains of old age and get the sense that some of these women have regrets, some are angry, some are lonely, some are frustrated exhibitionists and wannabe divas. First-time director Lina Plioplyte doesn’t take the time to explore any of this, though (this is especially strange given the film’s brief 72-minute running time, which barely qualifies it as a feature). Any hints of rivalry among the women are mentioned quickly, (seemingly) resolved, and never revisited.

The film is pragmatically shot. Plioplyte offers no unnecessary flourishes or animation and devotes little screen time to talking heads (other than the film’s subjects, that is). But it lacks narrative structure and trajectory — insofar as we expect those things from a documentary. This allows Advanced Style to maintain a pleasantly upbeat tone, but it leaves it feeling slight.

Still, there’s nothing wrong with passing an hour or so watching a charming, affectionate, diverting documentary about beautiful, well-dressed golden girls. If nothing else, they’re a good reminder that sometimes youth is indeed wasted on the young.

— Laurel Gladden

Proud Sponsors of the CCA Cinematheque

THE CINEMATHEQUE Oct 10 - Oct 19

1050 Old Pecos Trail • 505.982.1338 • ccasantafe.org

Santa Fe’s only not-for-profit, community-supported independent theater, showing the best in cinema since 1983 Director Doug Pray in person for 5:00p & 7:30p Fri & Sat shows!

October 15 - 19, 2014 CCA Schedule

Go to santafeindependentfilmfestival.com for the full schedule and tickets! Tickets also available at Lensic Box Office at 988-1234, or ticketssantafe.org Wednesday October 15 6:30p - The Tribe 9:00p - New Mexico Shorts

7:00p Saturday October 11 performance presented by Veterans for Peace with intro by Daniel Craig and book signing with Dana Chwan, author of “The Reluctant Sorority: The Life, Loves and Loss of Three Vietnam War Widows”

HELD OVER BY POPULAR DEMAND!

DISCOVER

‘‘ONE OF THE MOST

EXTRAORDINARY MOVIES OF THE 21ST CENTURY.’’

3:00p - Kirk Ellis & Hampton Sides Masters Discussion 5:00p - Cheatin’* Thursday October 16 5:30p - The Circle 12:30p - Self Medicated: 7:00p - Welkome Home* A Film About Art 7:30p - Four Corners 2:30p - Style & Fashion Panel* 9:15p - Santa Fe Student 3:00p - Soul of a Banquet Short Program* 5:00p - Other Worlds Shorts Saturday October 18 Program* 10:30a - Seeds of Time 5:30p - La Donna Harris: 12:00p - Time Lapse* Indian 101 1:00p - Ted Hope Masters Friday October 17 Discussion 12:00p - DIY Filmmkaing 2:00p - Tricky Negotiations Workshop with Laura Terruso* Shorts Program* 12:30p - Marmoto 3:00p - Labor of Love 2:00p - Soul of a Banquet* Shorts Program

5:00p - Strange Encounters Shorts Program* 5:30p - Stray Dog 7:00p - Desperate Measures Shorts Program* 9:15p - Buzzard* 9:30p - Gone Doggy Gone Sunday October 19 12:00p - Filmmaking in the 90’s Masters Discussion* 12:30p - The Overnighters 2:00p - Go In The Wilderness* 3:00p - Song from the Forest 5:00p - Seeds of Time* 5:30p - Come To My Voice 7:30p - Girlhood

Join the Citizens’ Climate Lobby for films that INFORM and INSPIRE! Don’t miss a Special Introduction by SENATOR JEFF BINGAMAN!!!

A.O. SCOTT

I DIDN’T WANT IT TO END.’’

‘‘

12:30p, Sun, Oct 12 Senator Jeff Bingaman IN PERSON!

★★★★

‘‘

HIGHEST RATING

BETSY SHARKEY

This film explores the aftermath of the 2010 Deepwater Horizon Oil Spill Disaster on the Gulf Coast

A NEW AMERICAN CLASSIC.

THE BEST FILM’’ OF THE YEAR. PETER TRAVERS

PATRICIA

ELLAR

LORELEI

ARQUETTE COLTRANE LINKLATER

ETHAN

AND

HAWKE

Written and Directed by

Richard Linklater

12:30p Sunday, October 12 at CCA HELD OVER BY POPULAR DEMAND! Friday-Saturday October 10-11 1:00p - Song of The New Earth* 1:30p - Last Days in Vietnam 3:00p - Sagrada: Mystery of Creation* 3:45p - Boyhood 5:00p - Levitated Mass* (director in person) 7:00p - Last Days in Vietnam 7:30p - Levitated Mass* (director in person)

Sunday October 12 12:30p - Sustainable Sunday Film Series: The Great Invisible with Jeff Bingaman 1:00p - Song of The New Earth* 3:00p - Sagrada: Mystery of Creation* 3:45p - Boyhood 5:00p - Levitated Mass* 7:00p - Last Days in Vietnam 7:30p - Levitated Mass*

One Show Only! Part of CCL’s Sustainable Sunday Film Series CCA Cinematheque • 1050 Old Pecos Trail • 505-982-1338 BOYHOODMOVIE.COM

Mon-Tues October 13-14 1:45p - Last Days in Vietnam 3:00p - Sagrada* 3:45p - Boyhood 5:15p - Song of The New Earth* 7:00p - Last Days in Vietnam 7:30p - Levitated Mass*

Wednesday October 15 6:30p - SFIFF: The Tribe 9:00p - SFIFF: New Mexico Shorts

Thursday October 16 12:30p - SFIFF: Self Medicated: A Film About Art 2:00p - SFIFF: Style & Fashion Panel* 3:00p - SFIFF: Soul of a Banquet 5:00p - SFIFF: Other Worlds Shorts Program* 5:30p - SFIFF: La Donna Harris: Indian 101

*indicates show is in The Studio at CCA

COMING SOON to CCA: Sundance Shorts An Evening with Jon Jost The Green Prince DamNation Studio Ghibli...& more

PASATIEMPOMAGAZINE.COM

49

MOVING IMAGES chile pages

— compiled by Robert Ker

one these days. For those of us not fortunate enough to have that luxury, we’ll always have books and movies about those who do. This film, based on the novel by François Lelord, details the life of a burnedout psychiatrist (Simon Pegg) who circles the globe in search of the secret to happiness. Rated R. 114 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THE JUDGE Roberts of the world, unite! Robert Downey Jr. climbs out of his Iron Man suit long enough to play a smooth-talking (of course!) lawyer who returns home from the big city to defend his father, played by Robert Duvall, a grumpy (of course!) judge who is suspected of murder. Will father and son put aside their differences long enough to free daddy? Vera Farmiga, Vincent D’Onofrio, and Billy Bob Thornton co-star. Rated R. 141 minutes.

Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed)

Robert Downey Jr. and Robert Duvall in The Judge at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week ADVANCED STYLE Based on a blog (www.advancedstyle.blogspot.com) by a young man named Ari Seth Cohen, this documentary from first-time director Lina Plioplyte celebrates exuberant, vivacious older women.

Something like the Bill Cunningham for the silverhaired set, Cohen began roaming the streets of New York in 2008 to photograph stylish ladies over the age of 50. His blog’s popularity led to a book deal and now a movie. The documentary follows seven women, allowing them to discuss their personal style and clothing choices. It’s pragmatically shot and maintains a pleasantly upbeat tone, but it flits along the surface, rarely delving into the personalities behind the pearls.

Not rated. 72 minutes. Jean Cocteau Cinema, Santa Fe. (Laurel Gladden) See review, Page 48.

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, 50

PASATIEMPO I October 10-16, 2014

incredible, not bad, very good ones that much sweeter.

Rated PG. 81 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (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 for fending off enemies and protecting his people. What’s the downside? That’s where the blood-sucking comes in. Rated PG-13. 92 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) FAREWELL TO HOLLYWOOD This creative-nonfiction documentary

by Regina Diane Nicholson, a young filmmaker dying of cancer, was co-directed by Henry Corra, whom Nicholson met at a documentary-film festival when she was seventeen. It is an unsentimental portrayal of suffering by a girl who refuses to surrender to the abyss of illness until the last possible moment, of a dedicated artist for whom completing the project of her life is just as important as her death.

Not rated. 90 minutes. Screens at 1 p.m. Thursday, Oct. 16. Jean Cocteau Cinema, Santa Fe. ( Jennifer Levin) See review, Page 44.

HECTOR AND THE SEARCH FOR HAPPINESS The theme of ditching a rather unfulfilling and ordinary existence to travel the world is a popular

KILL THE MESSENGER In the 1990s, journalist Gary Webb uncovered the CIA’s role in bringing massive amounts of cocaine from Nicaragua to the U.S. in the 1980s to distribute in poor neighborhoods and help fund the Nicaraguan Contra army. Naturally, certain people did not want him going public with this information. Jeremy Renner plays Webb in this movie about those years. Robert Patrick, Michael Sheen, and Ray Liotta also star. Rated R. 112 minutes.

Regal DeVargas, Santa Fe. (Not reviewed) LADONNA HARRIS: INDIAN 101 LaDonna Harris (Comanche) grew up near Walters, Oklahoma, and became the wife of a U.S. senator. In Washington, D.C., she charmed and influenced politicians, informing them of Indian concerns about treaty termination and assimilation.

Harris’ accomplishments are the stuff of legend, and the respect she has earned is obvious in the ways others speak about her. The standout element of Indian 101 is the score, which incorporates influences of Native drumming and musical styles of the 1960s and 1970s. Not rated. 63 minutes. Screens at 5:30 p.m.

Thursday, Oct. 16. Center for Contemporary Arts, Santa Fe. ( Jennifer Levin) See review, Page 44.

LEVITATED MASS The story of Michael Heizer’s monolithic creation Levitated Mass, a large rock installed at the Los Angeles County Museum of Art, is more compelling than you might expect. The unconventional work generated controversy in part because it’s not really a sculpture at all but unworked stone blasted from a quarry and suspended over a pedestrian pathway.

The film details the infrastructure that was required to deal with the logistical nightmare of transport and installation while city officials, concerned about a 340-ton rock moving through the community, held

up the process. Levitated Mass has a solemn power: it’s a reminder of, on the one hand, the insignificance of humankind in the greater scheme of things and, on the other, our ingenuity and ability to conquer monumental tasks. Not rated. 88 minutes. Center for Contemporary Arts, Santa Fe. (Michael Abatemarco) THE MET LIVE IN HD: MACBETH Soprano Anna Netrebko stars as Lady Macbeth in this staging of Verdi’s opera, which is broadcast live from the Met. The cast also includes Željko Lucˇic´, Joseph Calleja, and René Pape. 11 a.m. Saturday, Oct. 11. Lensic Performing Arts Center, Santa Fe. (Not reviewed) ONE CHANCE In 2007, Paul Potts won the TV competition Britain’s Got Talent with a performance of an aria from Puccini’s Turandot. James Corden plays Potts, the son of a working-class family, in this film about how he became a television star. While the film plays fast and loose with the comic aspects of how it all transpired, it promises to teach the time-worn lesson about the importance of never giving up on your dream, no matter how silly it may seem. Rated PG-13. 103 minutes. Jean Cocteau Cinema, Santa Fe. (Not reviewed) PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of La Bayadère from the Mariinsky Theater in Russia.

Choreographed by Marius Petipa and starring Viktoria Tereshkina and Vladimir Shklyarov.

11:15 a.m. Sunday, Oct. 12. Not rated. 155 minutes.

The Screen, Santa Fe. (Not reviewed) RHYMES FOR YOUNG GHOULS Aila (Devery Jacobs), a troubled teenager, uses the money she earns dealing drugs to pay off truancy officers and keep herself out of St. Dymphna’s reform school. The arrival of her father (Glen Gould) on the Red Crow Mi’gmaq reservation where she lives sets off a chain of events leading to a confrontation with Popper (Mark Antony Krupa), a sadistic Indian agent who delights in picking on the downtrodden. Director Jeff Barnaby’s atmospheric film, set in 1976, is a glimpse of the brutality First Nations people faced at the hands of government thugs. It is a powerful and affecting film with haunting visuals enhanced by the austere Canadian setting.

Rated R. 88 minutes. Jean Cocteau Cinema, Santa Fe. Screens at 8 p.m. Wednesday, Oct. 15. (Michael Abatemarco) See review, Page 43.

SOUL OF A BANQUET Wayne Wang, director of The Joy Luck Club (1993), turns out a tender documentary about Cecilia Chiang, founder of the famous San Francisco restaurant The Mandarin. Interviews with Chiang and others are interspersed with delectable scenes

of classic Chinese meals being prepared. Chiang’s restaurant, the result of a happy accident, turned out authentic meals for decades, influencing the direction Chinese cooking would take in America. But the restaurateur’s personal heartache of seeing her family driven apart by Mao Zedong’s Cultural Revolution underscores this moving portrait. Not rated.

100 minutes. Center for Contemporary Arts, Santa Fe. Screens at 3 p.m. Thursday, Oct. 16.

(Michael Abatemarco) See review, Page 43.

TRACKS In this week’s obligatory Adam Driver movie, Mia Wasikowska plays a young woman who goes on a massive trek across the Australian desert.

Driver plays a National Geographic photographer who accompanies her. Can romance bloom in the desert? Based on Robyn Davidson’s memoir.

Rated PG-13. 112 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THE TRIBE All dialogue in this film is sign language, and there are no subtitles.

The setting is a boarding school for deaf students in Ukraine. Violence builds, and sex scenes are relatively graphic. The sense of Kiev as old, dilapidated, and populated entirely by criminals — or people who are beyond feeling — pervades the movie. It gives the characters the air of street urchins from a Dickens novel, as reimagined by Trainspotting author Irvine Welsh. Not rated. 130 minutes. Screens 6:30 p.m.

Wednesday, Oct. 15, Center for Contemporary Arts. ( Jennifer Levin) See review, Page 42.

THE TWO FACES OF JANUARY This thriller, based on a 1964 novel by Patricia Highsmith (The Talented Mr. is Ripley), the chilly, menacing story of a con man (Viggo Mortensen), his wife (Kirsten Dunst), and an American expat (Oscar Isaac) they meet while vacationing in Athens. Mortensen’s character is on the run from an investment fraud in the U.S., which leads to a shocking early confrontation that gives all three characters an incentive to vanish. The performers have dark fun with what ensues: a road trip that, from the start, doesn’t seem likely to end well. Rated PG-13.

96 minutes. The Screen, Santa Fe. (Alex Heard)

now in theaters ANNABELLE The creepy doll from 2013’s The Conjuring gets its own spinoff movie.

Annabelle Wallis and Ward Horton play a young couple who thought it was 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; DreamCatcher, Española. (Not reviewed) BOYHOOD Richard Linklater’s extraordinary achievement has been to take a six-year-old named Ellar Coltrane and film him for a few days every year for a dozen years. We watch as the boy grows up and makes his way through childhood’s adventures and discoveries, arriving on the brink of young adulthood as the movie ends. It’s not just that 12 real years pass and Linklater holds the whole thing together. It’s the way it happens, the way he tells the story. Rated R. 166 minutes. Center for Contemporary Arts, Santa Fe. (Jonathan Richards) THE BOXTROLLS In this feature by some of the creators of ParaNorman and Coraline, Isaac Hempstead-Wright voices a plucky orphan who was raised by trash-collecting trolls. When his adopted family comes under threat from an exterminator (voiced by Ben Kingsley), he has to fight back. The heroes aren’t developed enough for audiences to feel fully invested in the story, but the tone is delightfully macabre, and the world — with its twisting back alleys and toothy scoundrels — reflects the considerable effort that went into building it.

Rated PG. 96 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) THE CONFORMIST Bernardo Bertolucci’s 1970 masterpiece was lovingly restored a few years ago under the supervision of its great cinematographer Vittorio Storaro. Adapted from the novel by Alberto Moravia, it tells the story of Marcello Clerici ( JeanLouis Trintignant), traumatized sexually as a boy and desperate to fit in as an adult. In Italy in the late 1930s, this drives him to join the fascists, become a secret agent, and accept an assignment to assassinate an exiled anti-fascist who was his philosophy professor.

Bertolucci’s screenplay is complex and fascinating, but the visuals make the most enduring impression.

The performances are consistently excellent. Rated R, 111 minutes. In Italian and French with subtitles.

The Screen, Santa Fe. ( Jonathan Richards) DOLPHIN TALE 2 Nathan Gamble, Ashley Judd, Kris Kristofferson, Morgan Freeman, and Rufus the Pelican return for this sequel to the 2011 hit. As with the first film, the plot is based on true rescue stories from Florida’s Clearwater Marine Aquarium; let’s hope there are many sequels to come. Rated PG. 107 minutes.

Regal Stadium 14, Santa Fe. (Not reviewed) continued on Page 52

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continued from Page 51

THE DROP The film farewell tour of James Gandolfini ends with his sharply honed performance as a small-time Brooklyn hood in this taut, subtle, satisfying drama.

He plays Cousin Marv, the former owner of a Brooklyn bar that doubles as a “drop” — a depository and laundry for mob earnings. The dominant performance in this darkly funny, slyly creepy tale comes from Tom Hardy, who plays Marv’s cousin and bartender. There’s a fullish slate of violence here, but none of it feels gratuitous, and Dennis Lehane’s needle-sharp dialogue plays like a constant bass note through the deadpan deliveries of the excellent cast.

Rated R. 106 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) THE EQUALIZER Director Antoine Fuqua reteams with Denzel Washington for a thriller about a retired special-operations agent who dusts off his guns when he meets a helpless young woman (Chloë Grace Moretz) who’s under the control of Russian gangsters. Rated R. 131 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) GONE GIRL This twisted modern-day 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 and weaves in commentary on our gossip-fueled schadenfraude-heavy 24/7 news cycle. The story — Amy Dunne (Rosamund Pike) mysteriously disappears, leaving her husband, Nick (Ben Affleck), as a possible murder suspect — unfolds forward and in flashback and is told from the viewpoint of two unreliable, not-very-likeable narrators.

It’s strategically assembled and briskly paced. Pike brings an icy perfection to Amy, while luggish Affleck makes Nick simultaneously amiable and untrustworthy. Rated R. 149 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Laurel Gladden) GUARDIANS OF THE GALAXY The best film yet from Marvel Entertainment is this satisfying space opera, which injects much-missed fun back into the science-fiction genre. Chris Pratt plays Star-Lord, the leader of a gang of intergalactic misfits and outlaws

spicy bland

medium

mild

heartburn

Read movie reviews online at www.santafenewmexican.com/pasatiempo

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PASATIEMPO I October 10-16, 2014

that includes a talking raccoon and a tree (voiced by Bradley Cooper and Vin Diesel, respectively). They become unlikely friends, just in time to guard the galaxy. Great music, loads of heart, a superb cast, and a healthy dose of humor overshadow even the wild special effects and the intricate world building.Rated PG-13. 121 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (Robert Ker) THE HUNDRED-FOOT JOURNEY This movie is classic art-house cinema: it takes place in France, it involves a restaurant, it focuses on cross-cultural understanding, Lasse Hallström directs, and Helen Mirren is prominently involved. She plays a restaurateur who must learn to coexist with the Indian family that sets up an eatery across the street. Rated PG. 122 minutes. Regal DeVargas, Santa Fe. (Not reviewed) LEFT BEHIND Nicolas Cage has had a strange career, but this may be his strangest role choice yet: the lead in the latest adaptation of the Christian novel series about the end times and what happens to those who have not been “raptured.” Christian-based movies, while not usually so expensive to make, are frequently lucrative, so is Cage following his muse or the money? Heaven only knows. Rated PG-13.

110 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE MAZE RUNNER In the latest film adaptation of a popular young-adult-novel series, Thomas (Dylan O’Brien), who 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 the heck out of here!” Rated PG-13. 113 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (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 he 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) 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 spiritu-

ally invested architects and artisans. Not rated.

89 minutes. In French, Spanish, and Catalan with subtitles. Center for Contemporary Arts, Santa Fe. ( James M. Keller) THE SKELETON TWINS Saturday Night Live alums Bill Hader and Kristen Wiig play estranged twins — he a gay screenwriter who failed in Hollywood, and she a homebody trapped in a failing marriage (to a man played by Luke Wilson). The twins get back together to attempt to heal their relationship and figure out where things went wrong. Rated R. 93 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THIS IS WHERE I LEAVE YOU Jason Bateman plays a man who discovers his wife is having an affair with his boss and then learns his father has died. Per his father’s final request, he must spend a week in his childhood home with his siblings (Tina Fey, Adam Driver, and Corey Stoll), all of whom have their own issues to work through. Together they learn that life is unpredictable and should be savored and that family means a whole lot. Rated R. 103 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) THE TRIP TO ITALY Director Michael Winterbottom’s follow-up to 2010’s The Trip is nearly identical in plot but set in Italy, providing ample opportunity to take in stunning vistas and sumptuous meals — laughing all the way. Steve Coogan and Rob Brydon, playing fictional versions of themselves, reverse roles; this time Coogan is the more settled of the two. The improvised tête-à-têtes and (mostly) spot-on impersonations that made the first film a delight haven’t changed. Not rated. 108 minutes. The Screen, Santa Fe. (Michael Abatemarco)

other screenings Center for Contemporary Arts, 505-982-1338 The Great Invisible, introduced by Sen. Jeff Bingaman as part of the Sustainable Sunday Film Series; Last Days in Vietnam; New Mexico Shorts; Song of the New Earth.

DreamCatcher (Española), 505-753-0087 Let’s Be Cops Jean Cocteau Cinema, 505-466-5528 Cereal Killers, Fight Club (1999), Royal Shakespeare Company: Two Gentlemen of Verona.

Regal Stadium 14, 505-988-2775 The Best of Me; The Book of Life (2-D and 3-D) ◀

WHAT’S SHOWING Call theaters or check websites to confirm screening times.

CCA CINEMATHEQUE AND SCREENING ROOM

1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Boyhood (R) Fri. to Tues. 3:45 p.m.

The Great Invisible (NR) Sun. 12:30 p.m.

Last Days in Vietnam (NR) Fri. and Sat. 1:30 p.m., 7 p.m. Sun. 7 p.m. Mon. and Tue. 1:45 p.m.

LaDonna Harris: Indian 101 (NR) Thurs. 5:30 p.m.

Levitated Mass (NR) Fri. to Sun. 5 p.m., 7:30 p.m. Mon. and Tue. 7:30 p.m.

New Mexico Shorts Wed. 9 p.m.

Sagrada:The Mystery of Creation (NR) Fri. to Tue. 3 p.m.

Song of the New Earth (NR) Fri. to Sun. 1 p.m.

Mon. and Tue. 5:15 p.m.

Soul of a Banquet (NR) Thurs. 3 p.m.

The Tribe (NR) Wed. 6:30 p.m.

JEAN COCTEAU CINEMA

418 Montezuma Ave., 505-466-5528, www.jeancocteaucinema.com Advanced Style (NR) Fri. and Sat. 3:30 p.m., 7:10 p.m. Sun. 4:30 p.m. Wed. 6:30 p.m.

Cereal Killers (NR) Sun. 6 p.m.

Farewell to Hollywood (NR) Thurs. 1 p.m.

Fight Club (R) Fri. and Sat. 11 p.m.

One Chance (PG-13) Fri. and Sat. 5 p.m., 8:40 p.m.

Sun. 8 p.m. Tue. 4:30 p.m. Wed. 4 p.m.

Rhymes for Young Ghouls (R) Wed. 8 p.m.

Royal Shakespeare Company: The Two Gentlemen of Verona (NR) Sun. 1 p.m. Tue. 7 p.m.

REGAL DEVARGAS

562 N. Guadalupe St., 505-988-2775, www.fandango.com The Drop (R) Fri. and Sat. 1:40 p.m., 4:25 p.m., 7:35 p.m., 10:05 p.m. Sun. to Thurs. 1:40 p.m., 4:25 p.m., 7:35 p.m.

Hector and the Search for Happiness (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:45 p.m.

Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m.

The Hundred-Foot Journey (PG) Fri. to Thurs.

1:05 p.m., 7:05 p.m.

Kill the Messenger (R) Fri. and Sat. 1:15 p.m., 4:15 p.m., 7:15 p.m., 9:50 p.m. Sun. to Thurs.

1:15 p.m., 4:15 p.m., 7:15 p.m.

My Old Lady (PG-13) Fri. and Sat. 1:25 p.m., 4:05 p.m., 7:25 p.m., 10 p.m. Sun. to Thurs. 1:25 p.m., 4:05 p.m., 7:25 p.m.

The SkeletonTwins (R) Fri. and Sat. 4:40 p.m., 9:55 p.m. Sun. to Thurs. 4:40 p.m.

Tracks (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 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. Noon, 12:35 p.m.,

2:15 p.m., 3 p.m., 4:30 p.m., 5:10 p.m., 7:15 p.m., 7:45 p.m., 9:30 p.m., 10 p.m.

Annabelle (R) Fri. to Wed. 12:40 p.m., 3:10 p.m., 5:35 p.m., 8 p.m., 10:25 p.m.

The Best of Me (PG-13) Thurs. 8 p.m., 10 p.m.

The Book of Life 3D (PG) Thurs. 9:30 p.m.

The Book of Life (PG) Thurs. 7:15 p.m., 9:45 p.m.

The Boxtrolls 3D (PG) Fri. to Wed. 10 p.m.

The Boxtrolls (PG) Fri. to Wed. 12:05 p.m., 2:25 p.m., 5 p.m., 7:25 p.m.

Dolphin Tale 2 (PG) Fri. to Sun. 1:20 p.m., 3:50 p.m. Mon. to Wed. 1:20 p.m., 3:50 p.m., 7:05 p.m., 9:55 p.m.

Dracula Untold (PG-13) Fri. to Wed. 12:45 p.m., 3:15 p.m., 5:35 p.m., 8 p.m., 10:25 p.m.

The Equalizer (R) Fri. to Wed. 1 p.m., 4:05 p.m., 7:15 p.m., 10:20 p.m.

Fury (R) Thurs. 7 p.m., 9 p.m., 10:05 p.m.

Gone Girl (R) Fri. to Wed. Noon, 12:20 p.m., 3:25 p.m., 3:50 p.m., 6:45 p.m., 7:05 p.m., 10 p.m., 10:20 p.m.

Guardians of the Galaxy (PG-13) Fri. to Wed. 1:30 p.m., 4:40 p.m., 7:35 p.m., 10:20 p.m.

The Judge (R) Fri. to Sun. 12:30 p.m., 3:45 p.m., 6:35 p.m., 7 p.m., 9:50 p.m., 10:15 p.m. Mon. to Wed. 12:30 p.m., 3:45 p.m., 7 p.m., 10:15 p.m.

Left Behind (PG-13) Fri. to Wed. 12:05 p.m., 2:40 p.m., 5:15 p.m., 7:50 p.m., 10:25 p.m.

The Maze Runner (PG-13) Fri. to Wed. 1:10 p.m., 4 p.m., 7 p.m., 9:50 p.m.

This Is Where I Leave You (R) Fri. to Wed. Noon, 2:30 p.m., 5 p.m., 7:30 p.m., 10:05 p.m.

THE SCREEN

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com The Conformist (R) Fri. and Sat. 4:45 p.m.

Sun. 7 p.m. Mon. to Thurs. 4:45 p.m.

MariinskyTheater: La Bayadère (NR) Sun. 11:15 a.m.

The Trip to Italy (NR) Sat. 12:15 p.m. Sun. 4:40 p.m.

The Two Faces of January (PG-13) Fri. and Sat. 2:30 p.m., 7:15 p.m. Mon. to Wed. 2:30 p.m., 7:15 p.m. Thurs. 7:15 p.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. 4:30 p.m., 7 p.m., 9:35 p.m.

Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:35 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m.

Annabelle (R) Fri. 4:55 p.m., 7:30 p.m., 9:55 p.m.

Sat. 2:20 p.m., 4:55 p.m., 7:30 p.m., 9:55 p.m.

Sun. 2:20 p.m., 4:55 p.m., 7:30 p.m. Mon. to Thurs.

4:55 p.m., 7:30 p.m.

The Boxtrolls (PG) Fri. 4:35 p.m., 7:05 p.m., 9:40 p.m. Sat. 2:05 p.m., 4:35 p.m., 7:05 p.m., 9:40 p.m. Sun. 2:05 p.m., 4:35 p.m., 7:05 p.m.

Mon. to Thurs. 4:35 p.m., 7:05 p.m.

Dracula Untold (PG-13) Fri. 4:45 p.m., 7:25 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:25 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:25 p.m.

Mon. to Thurs. 4:45 p.m., 7:25 p.m.

The Equalizer (R) Fri. 4:30 p.m., 7:15 p.m., 10 p.m.

Sat. 1:45 p.m., 4:30 p.m., 7:15 p.m., 10 p.m. Sun. 1:45 p.m., 4:30 p.m., 7:15 p.m. Mon. to Thurs.

4:30 p.m., 7:15 p.m.

Gone Girl (R) Fri. 4:40 p.m., 7:45 p.m. Sat. and Sun. 1:40 p.m., 4:40 p.m., 7:45 p.m. Mon. to Thurs.

4:15 p.m., 7:20 p.m.

The Judge (R) Fri. 4:50 p.m., 7:50 p.m. Sat. and Sun. 1:50 p.m., 4:50 p.m., 7:50 p.m. Mon. to Thurs.

4:15 p.m., 7:20 p.m.

Left Behind (PG-13) Fri. 4:45 p.m., 7:10 p.m., 9:35 p.m. Sat. 2:10 p.m., 4:45 p.m., 7:10 p.m., 9:35 p.m. Sun. 2:10 p.m., 4:45 p.m., 7:10 p.m.

Mon. to Thurs. 4:45 p.m., 7:10 p.m.

Let’s Be Cops (R) Fri. 5 p.m., 7:35 p.m., 10 p.m.

Sat. 2:25 p.m., 5 p.m., 7:35 p.m., 10 p.m. Sun. 2:25 p.m., 5 p.m., 7:35 p.m. Mon. to Thurs. 5 p.m., 7:35 p.m.

The Maze Runner (PG-13) Fri. 4:25 p.m., 6:55 p.m., 9:45 p.m. Sat. 1:55 p.m., 4:25 p.m., 6:55 p.m., 9:45 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.

GET TICKETS NOW TO THE FAMILY EVENT MOVIE OF 2014!

Check Local Listings For Theater Locations and Showtimes.

the judge 1:50** 4:50 7:20 the boxtrolls 2d 2:05** 4:35 7:05 let’s be cops 2:25** 5:00 7:35 the equalizer 1:45** 4:30 7:15 left behind 2:10** 4:45 7:10 gone girl 1:40** 4:40 7:20 dracula untold 2:15** 4:45 7:25 the maze runner 1:55** 4:25 6:55 annabelle 2:20** 4:55 7:30 alexander & the terrible, 2:00** 4:30 7:00 horrible, no good, VerY bad daY **saturday & sunday only *friday & saturday only times for friday, october 10 - thursday, october 16

VIGGO MORTENSEN KIRSTEN

DUNST

AND

7:50* 9:40* 10:00* 10:00* 9:35* 7:45* 9:50* 9:45* 9:55* 9:35*

OSCAR

ISAAC

“DELICIOUSLY DISHES OUT THE SHIVERY, SEXY SUSPENSE OF A HITCHCOCK THRILLER. You can’t help being drawn in. A potent directing debut

by Hossein Amini.” – Peter Travers, ROLLINg STONE

“SHIVERINg AND SATISFYINg with a superb cast.”

– Manohla Dargis, THE NEW YORK TIMES

THE TWO FACES OF JANUARY EXCLUSiVE ENgAgEmENT Santa Fe The Screen FRI-SAT, MoN-WEd: 2:30 & 7:15 pM

STARTS TODAY

(505) 473-6494

SuN: 2:30 pM Thu: 7:15 pM

mAgpiCTURES.COm/TWOFACESOFJANUARY

PASATIEMPOMAGAZINE.COM

53

RESTAURANT REVIEW Laurel Gladden I For The New Mexican

On the sunny side of the street Tesuque Village Market 138 Tesuque Village Road 505-988-8848, www.tesuquevillagemarket.com Breakfast 7-11:30 a.m. Mondays-Fridays; 7 a.m.-2 p.m. Saturdays & Sundays; lunch and dinner 11:30 a.m.-9 p.m. daily Full bar Takeout available Vegetarian options Handicapped accessible Patio dining in season Noise level: quiet to moderate Credit cards, no checks

]

The Short Order If you find yourself behind the wheel and heading north of town, you might decide to pull over at Tesuque Village Market, a funky little Pueblo-style cottage at the intersection of Bishops Lodge and Tesuque Village roads where you can get breakfast, lunch, and dinner every day. While there’s nothing fancy about what goes on here, and while the kitchen occasionally makes missteps, you can enjoy some decent, filling food in a relaxed, jovial environment.

After 4 p.m., you can sit on the portal while pizzas cook in the wood-fired oven, which offers the bonus of a little warmth and ambience. Recommended: nachos, “hacked” chicken salad, burger, margarita or pepperoni pizza, fish tacos, piñon-caramel cheesecake, house margarita.

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

54

PASATIEMPO I October 10-16, 2014

Fall in Santa Fe is prime time for leisurely drives down windy roads and hikes through golden aspens. If you find yourself behind the wheel and heading north of town, you might end up following Bishops Lodge Road toward the idyllic village of Tesuque, with its mature shade trees and quiet rolling hills.

Whether it’s the beginning, middle, or end of your day, if you have a rumble in your tummy, you can always pull over at Tesuque Village Market, a funky little Pueblo-style cottage located right where Bishops Lodge and Tesuque Village roads meet.

TVM is a quaint, quiet little place. There’s nothing fancy about what goes on here — service is informal but very friendly and attentive. In fact, given the casual, laid-back atmosphere, some of the prices can seem inexplicably inflated. There’s a reason locals sometimes refer to TVM as “Tesuque Village Markup.”

If you’re in a hurry in the morning, grab a premade handheld breakfast burrito. The potato-, squash-, and zucchini-stuffed veggie version makes a filling start to your day. If you want to sit down and carbo-load for breakfast, the “Sweet Cakes & Swine” will do the trick: three oversize flapjacks sprinkled with bacon bits and chocolate chips before they’re flipped. The sweet-and-savory combo would be more successful if the pancakes themselves weren’t overly sweet and if the heat of the griddle didn’t scorch the chocolate, making it burnt and bitter.

My huevos rancheros were utterly unremarkable. The red chile had a touch of heat, but the green was bland, the cheese was excessive (though nicely melted), and the eggs were nearly flavorless.

(By the way, I’m starting to think restaurants should just stop asking how you want your eggs cooked when you order a dish like this, because 90 percent of the time you’ll get over easy, regardless of what you specify.)

Your luck may run better at lunch or dinner. The southernfried chicken wings have a mildly spicy, crisp crust that pleased this Alabama girl’s sensibilities. The nachos are a generous, colorful mountain of chips, stretchy cheese, whole beans, shredded lettuce, pico de gallo, and wheels of intimidating but not-inedibly-spicy fresh jalapeño. If you want to add guac, you’ll have to pay $5 for a side.

If that jalapeño does end up lighting your mouth on fire, cool it off with a pint of the deliciously hop-heavy IPA from Albuquerque’s La Cumbre Brewing Co. or one of the other beers on tap. TVM also mixes up an assortment of cocktails. The house margarita is boozy and tangy with fresh lime, but don’t plan on navigating the curvy road from Tesuque to town after downing one of them.

Our burger, while somewhat unevenly cooked, was enormous, flavorful, and juicy. If you add green chile and cheese, you’ll get plenty of both. The chile may only have moderate heat, but the fantastic flavor will be fresh and smoky. Our fries were ideal: lightly and evenly golden, crisp, and salty.

On the lighter but still generous side is the “hacked” chicken salad — not shredded chicken or a mayo-based salad but half a savory, herby rotisserie chicken lounging on fresh greens, grape tomatoes, and carrots with a light, sprightly Dijon vinaigrette.

TVM’s fish tacos got table-wide approval. The tortillas walk the line between soft and crispy, the fish (snapper) is fresh, moist, and flaky; pinto beans (served on the side) add an earthy element; and mildly spicy pico provides a little piquant punch.

Pizza is a star at TVM. After 4 p.m., you can sit on the portal and smell your pie cooking in the wood-fired oven (the open flame offers the bonus of a little warmth and ambience). The crust is thin, crisp, and slightly charred; the cheese is fresh and milky; and the tangy-sweet sauce is evenly applied. It’s hard to go wrong with a margarita, its shreds of fresh aromatic basil reminding you of the summer that’s just slipped away. The pepperoni here is quarter-sized — smaller than the silver dollars of spicy sausage you’re used to seeing strewn across a pizza. The flavor, appropriately concentrated, is spicy and mildly fatty. If you order onions on your pie, just be aware that they’ll be the sweet, soft caramelized kind rather than the punchy-sharp fresh ones.

There were misses, of course. Our $12 arugula “salad” was avocado, tomato, and dressing on the side of a heap of slimy greens that, had I found them in my own refrigerator, I would’ve tossed out. The chicken strips were overcooked and russet brown, the meat shriveled and dry and the honey mustard and barbecue sauce provided for dunking tasted generic and industrial. But hey, the three-year-old at the table didn’t seem to mind, for what that’s worth. The mac and cheese should have its name transposed.

More cheese and béchamel than pasta, it was clearly house-made and flavorful, but it’s a soupy, saucy mess best eaten with a spoon.

Choose your dessert from the refrigerated cases inside — choices range from seasonal fruit pies to tres leches cake. Our favorite was the tangy, surprisingly fluffy cheesecake draped with buttery-sweet caramel and sprinkled with piñon. This is a rich, earthy dessert. Like that golden, sun-dappled drive we took to get there, it felt just right for fall in New Mexico. ◀

Lunch for two at Tesuque Village Market: Nachos.................................................................$ Hacked chicken salad..........................................$ Burger with green chile & cheese .......................$ Silver coin margarita ...........................................$ House margarita ..................................................$ TOTAL.................................................................$ (before tax and tip)

10.00 15.00 14.00 12.50 10.50 62.00

Dinner for four plus a toddler, another visit: Chicken wings.....................................................$ Chicken strips .....................................................$ Mac & cheese ......................................................$ Pizza with pepperoni & onion ............................$ Margarita pizza ....................................................$ Arugula salad.......................................................$ La Cumbre IPA ....................................................$ Piñon-caramel cheesecake...................................$ Cherry pie ...........................................................$ TOTAL.................................................................$ (before tax and tip)

11.00 11.00 9.00 19.00 15.00 12.00 5.50 6.99 6.99 96.48

“The true poem is the daily paper.”

WALT WHITMAN Poet

Freedom of speech. Freedom of the press.

Uniquely American.

PASATIEMPOMAGAZINE.COM

55

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

October 10 -16, 2014

CALENDAR COMPILED BY PAMELA BEACH

FRIDAY 10/10

Classical Music TGIF Esso String Orchestra recital

Gallery & Museum Openings

First Presbyterian Church, 208 Grant Ave. Music of Mozart, Vivaldi, and Arensky, 5:30-6 p.m., donations welcome, 505-982-8544, Ext. 16.

Art Exchange Gallery

60 E. San Francisco St., Suite 210, 505-603-4485 Autumn Glory, group show, reception 4-6 p.m., through October.

In Concert Boom Tic Boom

Blue Rain Gallery

Gig Performance Space, 1808 Second St. Jazzy folk-pop quintet; Allison Miller, drums; Myra Melford, piano; Todd Sickafoose, bass; Kirk Knuffke, cornet; and Jenny Scheinman, violin, 7:30 p.m., $20 at the door, gigsantafe.com.

130-C Lincoln Ave., 505-954-9902 Paintings by Doug West, reception 5-7 p.m., through Oct. 25.

Canyon Road Contemporary

403 Canyon Rd., 505-983-0433 Wild Things, works by painter Travis Bruce Black and sculptor Adam Thomas Rees, reception 5-7 p.m., through Oct. 19.

Round Mountain

San Miguel Mission Chapel, 401 Old Santa Fe Trail Roots duo Char and Robby Rothchild: Songs for the Waning Year, 8 p.m., $10-$20 suggested donation.

Eggman & Walrus

Theater/Dance

130 W. Palace, second floor, 505-660-0048 Forbidden, paintings by Nonnie Thompson; figurative work by John Barker; closing reception 5-9 p.m.

The Effect of Gamma Rays on Man-in-the-Moon Marigolds

Santa Fe Playhouse, 142 E. DeVargas St. Paul Zindel’s 1964 play, directed by Quinn Mander, 7:30 p.m., $20, 505-988-4262, Thursdays-Sundays through Oct. 19.

Gebert Contemporary

558 Canyon Rd., 505-992-1100 Mixed media on panels by Sandro Gebert; work by sculptor Xavier Mascaró; reception 5-7 p.m., through Nov. 11.

Books/Talks Brahms: The Expressive Architect

Hunter Kirkland Contemporary

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. A musically illustrated talk with Oliver Prezant and the Santa Fe Community Orchestra, 7 p.m., donations accepted, 505-466-4879, sfco.org.

200-B Canyon Rd., 505-984-2111 Imagínate, paintings by Peter Burega, reception 5-7 p.m., through Oct. 26.

James Kelly Contemporary

1611 Paseo de Peralta, 505-989-1601 Inside Out, group show of works by artists with mental illness; part of Mental Illness Awareness Week, fundraiser preview and reception 5-7 p.m.

Cousin Vinny

Op. Cit. Books, 500 Montezuma Ave., Sanbusco Center, 505-428-0321 The author signs copies of The Devil's Glove, 3 p.m.

Lannan Foundation: In Pursuit of Cultural Freedom

Mark White Fine Art

414 Canyon Rd., 505-982-2073 Oil paintings and sculpture by the gallerist, reception 5-8 p.m., through October.

New Mexico Museum of Art

107 W. Palace Ave., 505-476-5072 Cameraless, photograms by Leigh Anne Langwell, in conjunction with the Focus on Photography exhibit, reception 5:30-6:30 p.m., through March.

Nüart Gallery

670 Canyon Rd., 505-988-3888 Modiste, paintings by Erin Cone, reception 5-7 p.m., through Oct. 26.

Pippin Contemporary

200 Canyon Rd., 505-795-7476 Painted Meditations on the Landscape, work by Michael Ethridge, reception 5-7 p.m., through Oct. 29.

56

PASATIEMPO I October 10-16, 2014

S.R. Brennen Galleries shows work by painter Katherine Stone, 124 W. Palace Ave.

St. John's College Gallery

Wade Wilson Art

Peterson Student Center, second floor, 1160 Camino de Cruz Blanca, 505-984-6000 What Is a Book?, group show of book art, reception 5-7 p.m.

217 W. Water St., 505-660-4393 Group show; plus, a book signing with contributing artists and authors Michael Paglia and Jim Edwards of Texas Abstract, 7-9 p.m., through Oct. 25.

Sorrel Sky Gallery

Waxlander Gallery

125 W. Palace Ave., 505-501-6555 Carrie's West, paintings by Carrie Fell, reception 5-7:30 p.m.

Tybie Davis Satin Gallery

Santa Fe Public Library, Main Branch, 145 Washington Ave., 505-955-6781 Shape•ol•o•gy, photographs, prints, and book art

by Will Karp, reception 4-6 p.m., through Oct. 30.

622 Canyon Rd., 505-982-2202 Coming Home, woven-copper paintings by Suzanne Donazetti, reception 5-8 p.m., through Oct. 20.

Winterowd Fine Art

701 Canyon Rd., 505-992-8878 The Measure of a Man, mixed-media assemblages

by Emilio Lobato, reception 5-7 p.m., through Oct. 23.

The Lensic The series continues with author Max Blumenthal, discussing his book Goliath: Life and Loathing in Greater Israel, 7 p.m., a talk with Amy Goodman follows, $6, discounts available, ticketssantafe.org, 505-988-1234. (See story, Page 40)

New Mexico Museum of Art gallery talk 107 W. Palace Ave., 505-476-5072 Photographer Leigh Anne Langwell discusses her photograms in the exhibit Cameraless, 5:30 p.m., no charge.

SITE Santa Fe Innovative Thinker lecture

Armory for the Arts, 1050 Old Pecos Trail Shared Authority in the Art Museum: Precedents, Process and Propositions, with Kim Kanatani, deputy director of the Solomon R. Guggenheim Foundation, 6 p.m., $10, discounts available, 505-989-1199.

Northern New Mexico Quilt Guild's Quilt Fiesta

Santa Fe County Exhibit Hall, 3229 Rodeo Rd. Classic and contemporary styles, 10 a.m.-5 p.m., $5 at the door, continues through Sunday.

Paul Zindel’s 1964 play, directed by Quinn Mander, 7:30 p.m., $20, 505-988-4262, Thursdays-Sundays through Oct. 19.

Lost and Found: Sex, Love, and Second Chances

Nightlife

(See addresses at right)

Teatro Paraguas Studio, 3205 Calle Marie An evening of monologues, 7:30 p.m., $12, 505-913-0953, contact Francesca Shrady for information, fshrady@gmail.com.

¡Chispa! at El Mesón

The Met Live in HD

Three Faces of Jazz, featuring guest saxophonist Arlen Asher, 7:30-10:30 p.m.,no cover.

Cowgirl BBQ

Singer/songwriter Jacob Furr, 5-7:30 p.m.; Jay Boy Adams & Zenobia, with Mister Sister, blues/roots, 8:30 p.m.-close, no cover.

Duel Brewing

One-man rock band Keith Kenney, 7:30 p.m.-close, no cover.

El Farol

J.J. & The Hooligans, 9 p.m.-close, call for cover.

El Paseo Bar & Grill

Rock/blues/funk band Dusk, 9 p.m., call for cover.

Hilltop Bar at The Lodge at Santa Fe

Friday night salsa dancing, with DJ Aztech Sol, 9:30 p.m., call for cover.

La Fiesta Lounge at La Fonda

Blues and R & B band The Pleasure Pilots, 8-11 p.m., no cover.

La Posada de Santa Fe Resort and Spa Nacha Mendez Quartet, 6:30-9:30 p.m., no cover.

Mine Shaft Tavern

One-man blues band C.W. Ayon, on the deck, 2 p.m., no cover; honky-tonk band Broomdust Caravan, 8 p.m., call for cover.

Palace Restaurant and Saloon

Blues/rock singer/guitarist Alex Maryol, 4:30-7:30 p.m., no cover.

The Lensic Verdi’s Macbeth, with soprano Anna Netrebko, 11 a.m., $22-$28, 505-988-1234, ticketssantafe.org.

(See story, Page 32) Water History Park, 1209 Upper Canyon Rd. New Mexico School for the Arts Dance Department presents a student-choreographed performance, 4 and 5:30 p.m., no charge, tickets are available at nmschoolforthearts.org, encores Sunday.

Books/Talks Franklin Veaux an-d Eve Rickert

Op. Cit. Books, 500 Montezuma Ave., Sanbusco Center, 505-428-0321 The authors read from More Than Two: A Practical Guide to Ethical Polyamory, 5 p.m. (See Subtexts, Page 18)

Leading by Being

The Lensic A conversation with Gloria Steinem, Alice Walker, Chung Hyun Kyung, and Aaron Stern, 7 p.m., $35 and $100, 505-988-1234, ticketssantafe.org.

National Novel Writing Month

Santa Fe Public Library, Oliver La Farge Branch, 1730 Llano St. Meet-and-greet with Santa Fe writers participating in the international writing challenge, running through the month of November, 3-5 p.m., for information visit www.nanowrimo.org.

The Met live in HD: breakfast lecture

Pianist David Geist, 6-9 p.m., call for cover.

Pranzo Italian Grill

Second Street Brewery at the Railyard

Outdoors

Skylight

EmiArte Flamenco, 8 p.m., all ages; Alchemy Party, with DJs Dynamite Sol and Poetics, 9 p.m., call for cover.

Swiss Bakery Pastries and Bistro

Irish multi-instrumentalist Gerry Carthy, on the patio, 7-10 p.m.

Tiny’s

Singer/songwriter Chris Abeyta, 5:30-8 p.m.; Sean Healen Band, rock, 8:30 p.m.-close; no cover.

Ski Santa Fe chairlift

16 miles north of town on NM 475, 505-992-5082 Enjoy fall colors on the Super Chief Quad chair, 10 a.m.-3 p.m., $12 one way, discounts available, 505-982-4429, final weekend.

Events

Contra dance

Odd Fellows Hall, 1125 Cerrillos Rd. Folk dance with easy walking steps; live music by Celador; beginners lesson 7 p.m., dance 7:30 p.m., $9, students $5, 505-820-3535.

Farmers Market ¡Fall Fiesta!

Doug Montgomery, 6-8 p.m.; Estar Hana, 8 p.m.-close; call for cover.

1607 Paseo de Peralta Champagne, hors d’oeuvres, dinner prepared by local chefs, and silent and live auctions, 6 p.m., $135, 505-983-7726, farmersmarketinstitute.org.

SATURDAY 10/11

¡Feria de Otoño! Autumn Fair

Vanessie

Gallery & Museum Openings James Kelly Contemporary

1611 Paseo de Peralta, 505-989-1601 Inside Out, group show of works by artists with mental illness; part of Mental Illness Awareness Week, reception 4-6 p.m.

Theater/Dance The Effect of Gamma Rays on Man-in-the-Moon Marigolds

Santa Fe Playhouse, 142 E. DeVargas St.

Johnson Street A block party hosted by area businesses; free food and drinks, live music, and artists demonstrations, noon-4 p.m.

Mayor’s Ball 2014

Santa Fe Community Convention Center, 201 W. Marcy St. Silent and live art auction of a piece by Ramón José López, Spanish tapas dinner, and live entertainment, 6 p.m., $150,

Shed

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 Opera lecturer Mary Kime discusses Verdi's Macbeth, 9:30 a.m., $5.

Bluesman Kenny Skywolf and his trio, 7-10 p.m., no cover.

Johnson Street Experience

Museum of Spanish Colonial Arts, 750 Camino Lejo, Museum Hill, 505-982-2226 A fundraiser for Spanish Colonial Arts Society education programs and Spanish Markets; kids' activities, arts & crafts market, and traditional pig roast (includes an annual book sale today and Sunday), 9 a.m.- 4 p.m., no charge for the fair and book sale, pig roast $20, ages 12 and under $8.

Fiesta Fela 2014

contact Ron Ruybal for tickets, 505-983-8360, ron.ruybal@bbbs-nnm.org, proceeds benefit Big Brothers Big Sisters of Northern New Mexico.

Native Treasures Collectors' Sale

Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 505-476-1250 MIAC’s annual fundraising sale including Native American jewelry, pottery, rugs, paintings, and baskets, early-bird shopping 9-10 a.m. ($10), sale continues 10 a.m.-4 p.m. today and Sunday, nativetreasures.org, no charge.

Check with venues for updates and sp ecial events Agoyo Lounge

at the Inn on the Al Mine Shaft Tavern ameda 303 E. Alameda St. 2846 NM 14, Madr , 505-984-2121 id, 505-473-0743 Anasazi Restauran Museum Hill Café t & Bar 113 Washington Av 710 Camino Lejo, Mi e., 505-988-3030 lner Plaza, 505-984-8900 Betterday Coffee 905 W. Alameda St. Music Room at Ga , 505-555-1234 rrett’s Desert Inn 311 Old Santa Fe Tra Bishop’s Lodge Ra il, 505-982-1851 nch Resort & Spa 1297 Bishops Lodg e Rd., 505-983-6377 Odd Fellows Hall 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 Cente r, 505-982-3033 1228 Parkway Dr., 505-474-5301 Sa nt a Fe Community Co El Cañon at the Hi nvention lton Center 100 Sandoval St., 50 5-988-2811 20 1 W. Ma rcy St., 505-955-67 Eldorado Hotel & 05 Spa Santa Fe Sol Stage 309 W. San Francisc & Grill o St., 505-988-4455 37 Fir e Place, solofsantaf El Farol e.com Second Street Brew 808 Canyon Rd., 50 er y 5-983-9912 18 14 Second St., 505-9 El Paseo Bar & Grill 82-3030 Second Street Brew 208 Galisteo St., 50 er y at the Railyard 5-992-2848 1607 Paseo de Peral 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 Hotel Santa Fe Sk ylight 1501 Paseo de Peral ta, 505-982-1200 139 W. San Francisc o St., 505-982-0775 Jean Cocteau Cinem a Sweetwater Harves 418 Montezuma Av t Kitchen e., 505-466-5528 1512-B Pacheco St. , 505-795-7383 Junction Swiss Bakery Pastr 530 S. Guadalupe St. ies , 505-988-7222 401 S. Guadalupe St. and Bistro , 505-988-5500 La Boca Taberna La Boca 72 W. Marcy St., 50 5-982-3433 125 Lincoln Ave., 50 5-988-7102 La Casa Sena Cant ina Tiny’s 25 E. Palace Ave., 50 5-988-9232 1005 St. Francis Dr ive, Suite 117, La Fiesta Lounge 505-983-9817 at La Fonda 100 E. San Francisc o St., 505-982-5511 The Undergro und at Evan La Posada de Sant a Fe Resort and Sp 200 W. San Francisco St. gelo’s a 330 E. Palace Ave., 505-986-0000 Upper Crust Pizza Lensic Performing 329 Old Santa Fe Tra Arts Center il, 505-982-0000 211 W. San Francisc o St., 505-988-1234 Vanessie Lodge Lounge at Th e Lodge at Santa Fe 434 W. San Francisco St. , 505-982-9966 750 N. St. Francis Dr ., 505-992-5800 Veterans of Foreign 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

Events

Santa Fe Railyard Park Celebrating African art and culture; performers include Agalu, Swank Brothers, and Mosaic Dance Company, 11 a.m.-7 p.m., no charge.

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Theater/Dance The Effect of Gamma Rays on Man-in-the-Moon Marigolds

10/12

Santa Fe Playhouse, 142 E. DeVargas St. Paul Zindel’s 1964 play, directed by Quinn Mander, 2 p.m., $20, discounts available, 505-988-4262, Thursdays-Sundays through Oct. 19.

Santa Fe Community Orchestra: Fall concert

The Two Gentleman of Verona

Jean Cocteau Cinema Encore screening of the Royal Shakespeare Company’s production, 1 p.m., $25 in advance at jeancocteaucinema.com.

Shed

Water History Park, 1209 Upper Canyon Rd. New Mexico School for the Arts Dance Department presents a student-choreographed performance, 4 and 5:30 p.m., no charge, tickets are available at nmschoolforthearts.org.

Upon the Fragile Shore

Rose's Pawn Shop performs at Skylight at 7:30 p.m. on Sunday.

Northern New Mexico Quilt Guild's Quilt Fiesta

Santa Fe County Exhibit Hall, 3229 Rodeo Rd. Classic and contemporary styles, 10 a.m.-5 p.m., $5 at the door, concludes Sunday.

ShowHouse Santa Fe

Casa la Luna, 10 Altazano Dr. Twenty Santa Fe designers transform a residence, based on the theme Ancient Future; proceeds benefit the Lensic’s education programs and Dollars4Schools, 11 a.m.-6 p.m today and Sunday, $25, showhousesantafe.com, tickets available at ticketssantafe.org, 505-988-1234.

Outdoors Ski Santa Fe chairlift

16 miles north of town on NM 475, 505-992-5082 Enjoy fall colors on the Super Chief Quad chair, 10 a.m.-3 p.m., $12 one way, discounts available, 505-982-4429, final weekend.

Nightlife

(See Page 57 for addresses)

¡Chispa! at El Mesón

Jazz trumpeter J.Q. Whitcomb's quartet, 7-9:30 p.m., no cover.

Cowgirl BBQ

Americana band The Scones, 2 p.m.; John Kurzweg Band, rock 'n' roll, 8:30 p.m.-close; no cover.

Duel Brewing

Rock/blues band Boulevard Lane, 7:30 p.m.-close, no cover.

Mine Shaft Tavern

One-man blues band C.W. Ayon, on the deck, 2 p.m., no cover; pop-rock band Surviving Allison, 8 p.m., call for cover.

Palace Restaurant and Saloon

Sage and Grey Mayher, 4:30-7:30 p.m., no cover; Soulstatic, 10 p.m.-close, call for cover.

Pranzo Italian Grill

Pianist David Geist and vocalist Julie Trujillo, 6-9 p.m., call for cover.

Second Street Brewery

Bill Hearne Trio, pure country, 6-9 p.m., no cover.

Second Street Brewery at the Railyard

Alternative-country singer/songwriter Alex Culbreth, 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

Doug Montgomery, 6-8 p.m.; Estar Hana, 6:30 p.m.-close; call for cover.

SUNDAY 10/12

El Farol

Classical Music

La Fiesta Lounge at La Fonda

The Lensic Music of Hindemith, Mozart, and Thuille, 4 p.m., $13.50-$100, 505-988-1234, ticketssantafe.org.

Singer/songwriter John Carey, 9 p.m., call for cover.

Blues and R & B band The Pleasure Pilots, 8-11 p.m., no cover.

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.

58

PASATIEMPO I October 10-16, 2014

Berlin Philharmonic Wind Quintet

Santa Fe Community Orchestra

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Fall concert with music of Brahms, Mozart, Franceschini, and Saint-Saëns, with trumpeters Chris Nierman and Victor Perry, 2:30 p.m., donations accepted.

Teatro Paraguas Studio, 3205 Calle Marie A staged reading of Caridad Svich's play about human rights and environmental issues, 5 p.m., donations welcome., 505-424-1601.

Books/Talks Artist talk

Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 505-476-1250 Laguna Pueblo jewelers Chris Pruitt and Pat Pruitt discuss their work, 1 p.m., by museum admission.

Broadus Spivey and Jesse Sublett

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The authors discuss Broke, Not Broken: Homer Maxey's Texas Bank War, 3 p.m.

Duel in the Desert!

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 A debate on New Mexico's economy between Alan Webber and Paul Gessing, 11 a.m.

Northern New Mexico Quilt Guild Quilt Fiesta

Santa Fe County Exhibit Hall, 3229 Rodeo Rd. Classic and contemporary styles, 10 a.m.-4 p.m., $5 at the door.

Nightlife

(See Page 57 for addresses)

Cowgirl BBQ

Anthony Leon & His Grievous Angels, alternative country, noon-3 p.m.; alternative-folk duo Less Is More, 8 p.m.-close; no cover.

Duel Brewing

Bohemian-pop band Cactus Tractor, 5 p.m., no cover.

El Farol

Chanteuse Nacha Mendez, 7:30 p.m., call for cover.

Evangelo’s

Tone and Company jam band, 8:30 p.m., call for cover.

La Posada de Santa Fe Resort and Spa

Country singer Wiley Jim, 7 p.m., call for cover.

Second Street Brewery at the Railyard Shiners Club Jazz Band, 1-4 p.m., no cover.

Skylight

Americana/bluegrass/punk band Rose's Pawn Shop, 7:30 p.m., call for cover.

Vanessie

Pianist Doug Montgomery, 6:30 p.m.-close, call for cover.

Ed Fenimore: From Pinholes to Black Holes New Mexico History Museum Auditorium, 113 Lincoln Ave., 505-476-5200 A lecture by the astrophysicist on how to view gamma-ray blasts, held in conjunction with the exhibit Poetics of Light: Pinhole Photography, 2 p.m., by museum admission.

(See story, Page 24)

John Macker

Peters Projects, 1011 Paseo de Peralta, 505-954-5800 The local poet reads from and signs copies of Disassembled Badlands, 2 p.m.

Sarah Stark

Ohori's Coffee, 505 Cerrillos Rd., 505-982-9692 The author reads excerpts from Out There, 2 p.m.

Outdoors Ski Santa Fe chairlift

16 miles north of town on NM 475, 505-992-5082 Enjoy fall colors on the Super Chief Quad chair, 10 a.m.-3 p.m., $12 one way, discounts available, 505-982-4429, final day.

Events

Native Treasures Collectors' Sale

Museum of Indian Arts & Culture, 710 Camino Lejo, Museum Hill, 505-476-1250 MIAC’s annual fundraising sale; including Native American jewelry, pottery, rugs, paintings, and baskets, 10 a.m.-4 p.m., no charge, nativetreasures.org.

JOHN MACKER

2 p.m. Sunday, Oct. 12 The local poet reads from Disassembled Badlands, with music by the book's illustrator Chipper Thompson. Held at Peters Projects, 1011 Paseo de Peralta, 505-954-5800.

MONDAY 10/13 Books/Talks The Evolution of Medicine to Integrative Medicine The Lensic UNM Center for Life presents a lecture

by Dr. Andrew Weil; 6:15 p.m., $20, ticketssantafe.org, 505-988-1234.

Museum of Spanish Colonial Arts luncheon lecture

Jeff Berg: Filmed in New Mexico

School for Advanced Research, 660 Garcia St. The New Mexico film historian shows clips of movies and TV shows, 3 p.m., no charge, 505-954-7203, sparks.sarweb.org.

Tom Sleigh

O'Shaughnessy Performance Space, Santa Fe University of Art & Design, 1600 St. Michael's Dr. The visiting poet reads from his collection and participates in a Q & A, 7 p.m., no charge.

(See story, Page 38)

Eldorado Hotel & Spa Felipe II as an Art Collector, by Archduke Geza von Habsburg, noon-2:30 p.m., $45, spanishcolonial.org.

Nightlife

Friends of the Wheelwright lecture

Argentine Tango Milonga, 7:30-11 p.m., call for cover.

Wheelwright Museum of the American Indian library 704 Camino Lejo, Museum Hill, 505-982-4636 Wheelwright curator Cheri Falkenstien-Doyle discusses the history of turquoise in Native jewelry; refreshments 2 p.m., talk 2:30 p.m., $10.

Lev Grossman

Jean Cocteau Cinema The author reads from The Magician's Land, 7 p.m., signing and Q & A with George R.R. Martin follow, $10 general admission, $5 with paperback purchase, no charge with hardcover purchase.

(See story, Page 20)

Southwest Seminars lecture

Hotel Santa Fe, 1501 Paseo de Peralta The Comanche Empire, by historian Pekka Hämäläinen, 6 p.m., $12 at the door, southwestseminars.org, 505-466-2775.

(See Page 57 for addresses)

¡Chispa! at El Mesón Cowgirl BBQ

Singer/songwriter Mary Scholz, 2-5 p.m., no cover.

El Farol

Canyon Road Blues Jam, 8:30 p.m., call for cover.

La Fiesta Lounge at La Fonda

Bluesman Kenny Skywolf, on the deck, 2-6 p.m., no cover.

Vanessie

Doug Montgomery, 6:30 p.m.-close, call for cover.

TUESDAY 10/14 Theater/Dance The Two Gentleman of Verona

El Farol

Midweek rock with the John Kurzweg Band, 8 p.m., no cover.

Junction

Karaoke Wednesdays with Michelle, 10 p.m., no cover.

La Fiesta Lounge at La Fonda Country band Sierra, 7:30-11 p.m., no cover.

La Posada de Santa Fe Resort and Spa

Country singer Wiley Jim, 7 p.m., call for cover.

Palace Restaurant and Saloon

Free Range Ramblers, 8:30 p.m.-close, call for cover.

Transformation of Cultural Studies

Museum of Indian Arts and Culture, 710 Camino Lejo, Museum Hill, 505-476-1250 MIAC and the Institute of American Indian Arts honor Dave Warren with a symposium held at 4 p.m., and at 6 p.m. Friday, Oct. 17, no charge, register online at eventbrite.com.

Vito Acconci: From Words to Action to Architecture

Santa Fe Community Convention Center, 201 W. Marcy St. The artist/designer discusses artistic aspects in architecture, 9:30-11a.m., in conjunction with the American Institute of Architects' Western Mountain Region Conference, general admission $20 at the door, students $10.

Nightlife

(See Page 57 for addresses)

Cowgirl BBQ

Second Street Brewery at the Railyard

THURSDAY 10/16

Duel Brewing

Open-song night with Ben Wright, 7 p.m., no cover.

WEDNESDAY 10/15

Mine Shaft Tavern

Singer/songwriter Sean Ashby, 8 p.m., no cover.

Branden James, 6:30 p.m.-close, call for cover.

Timbo jam session, 7 p.m.; no cover.

El Farol

Bill Hearne, pure country, 7:30-11 p.m., no cover.

Cowgirl BBQ

Vanessie

Cowgirl BBQ

La Fiesta Lounge at La Fonda

Flamenco guitarist Jim Almand, 7-9 p.m., no cover.

Unitarian Universalist Church, 107 W. Barcelona Rd. The New Mexico Book Association workshop series continues with Book Production on a Beer Budget, led by Waleed Ashoo, 6:30-8 p.m., $20 at the door, register by email at admin@nmbook.org, 505-660-6357.

Mine Shaft Tavern

Vanessie

Mondays with Hilary Smith and Company, 8 p.m., call for cover.

¡Chispa! at El Mesón

Get Published!

Tiny’s

Tiny's

Karaoke with Michele Leidig, 9 p.m., no cover.

(See Page 57 for addresses)

Bill Hearne, pure country, 7:30-11 p.m., no cover.

Nightlife

(See Page 57 for addresses)

Nightlife

Open-mic night, 7-10 p.m., no cover.

Branden James, 6:30 p.m.-close, call for cover.

Gallery & Museum Openings 217 E. San Francisco St.

Electric jam session, 8:30-11:30 p.m., no cover.

Gallery & Museum Openings Jean Cocteau Cinema Gallery

418 Montezuma Ave., 505-466-5528 Dark Places, works by photographer Sam Atakra Haozous and jeweler/photographer Melissa Dominguez, reception 5-7 p.m., through Nov. 12.

Jazz pianist John Rangel, 7-9 p.m., call for cover.

Drastic Andrew, prog. rock, 8 p.m., no cover.

Pray for Brain, Mustafa Stefan Dill (guitar/oud), Jefferson Voorhees (drums, percussion), and Christine Nelson (bass), 7-10 p.m., no cover.

El Farol

Guitarras con Sabor, Gypsy Kings-style rhythms, 8 p.m., no cover.

Theater/Dance

La Boca

The Effect of Gamma Rays on Man-in-the-Moon Marigolds

Lodge Lounge at The Lodge at Santa Fe

Truth in Architecture, retrospective exhibit of drawings by Paul Stevenson Oles, reception 5-7 p.m., through October, call 505-428-9056 for information.

Santa Fe Playhouse, 142 E. DeVargas St. Paul Zindel’s 1964 play, directed by Quinn Mander, 7:30 p.m., $20, discounts available, 505-988-4262, Thursdays-Sundays through Oct. 19.

Santa Fe Community Convention Center

Books/Talks

201 W. Marcy St. Art in Architecture, group show featuring the American Institute of Architects Western Mountain Region award entries, reception 5-7 p.m., through Oct. 18, call 505-577-6545 for information.

¡Chispa! at El Mesón

Architecture: Materials & Craft

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Architects Tod Williams and Billie Tsien discuss the integration of art and architecture, 6 p.m., $30, ticketssantafe.org, 505-988-1234.

Chanteuse Nacha Mendez, 7-9 p.m., no cover.

Irish multi-instrumentalist Gerry Carthy, 7-9:30 p.m., call for cover.

Pranzo Italian Grill

Geist Cabaret, with pianist David Geist, 6 p.m., call for cover.

Second Street Brewery

Afro-pop ensemble Jaka, 6-9 p.m., no cover.

Skylight

Alternative-country band J.D. & The Straight Shot, 8 p.m., no cover.

Jean Cocteau Cinema Encore screening of the Royal Shakespeare Company’s production, 7 p.m., $25 in advance at jeancocteaucinema.com.

Books/Talks Council on International Relations lecture

Santa Fe Woman's Club, 1616 Old Santa Fe Trail Strategic Realities Affecting the East/West Ukraine Conflict, by Eugene Rumer, 5:30 p.m., $20, 505-982-4931, sfcir.org.

Georgia O'Keeffe Museum Education Annex exhibit talk

123 Grant Ave. A discussion of the exhibit Miguel Covarrubias: Drawing a Cosmopolitan Line, with SFUA&D art history professor Khristaan D. Villela, Georgia O'Keeffe Museum curator Carolyn Kastner, and Janet Catherine Berlo and Alicia Inez Guzmán of the University of Rochester, 6 p.m., $5, register online at okeeffemuseumevents.org.

Donazetti 622 Canyon Rd Waxlander Gallery shows woven-copper paintings by Suzanne Donazetti, Rd.

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Chimayó

Performers

Chimayó Fall Gallery and Studio Tour

Santa Fe Bandstand 2015

45 minute north on U.S. 285/84 to NM 88 10 a.m.-5 p.m. Friday and Saturday, Oct. 10-11, watch for flags marking tour venues along this scenic route, chimayo.org.

Taos Millicent Rogers Museum: Fall for Antiques

1504 Millicent Rogers Rd., 575-758-2462 A museum fundraising event featuring national and local art and antique dealers (Coulter Brooks Art and Antiques, Michael Smith, and Zaplin-Lampert of Santa Fe), 5:30-8 p.m. preview with wine and hors d'oeuvres Friday, Oct. 10, $25; day-long lectures and show 10 a.m.-5 p.m. Saturday, Oct. 11, general admission $10; appraisals ($5 per item) and show noon-5 p.m. Sunday, Oct. 12, $10, 575-758-2462, millicentrogers.org.

Taos Institute for Glass Arts: 2014 Art Glass Invitational

A month long series of exhibitions, lectures, workshops, and demonstrations taking place at local galleries from Saturday, Oct. 11 through Nov. 9; visit tiganm.org for details.

Couse Foundation open house

146 Kit Carson Rd., 575-751-0369 Final open house of the season and closing of the exhibit E.I. Couse, the Painter and His Craft, 3-5 p.m. Saturday, Oct. 11, no charge.

PEOPLE WHO NEED PEOPLE Artists Photo-eye Gallery shows work by photographer Julie Blackmon, 541 S. Guadalupe St.

Tiny’s

Honky-tonk band The Gunsels, 9 p.m.-close, no cover.

Vanessie

Branden James, 6:30 p.m.-close, call for cover.

Zia Diner

Jazz ensemble Trio Bijou, 6:30-8:30 p.m., no cover.

OUT OF TOWN Abiquiú 21st Annual Abiquiú Studio Tour

One hour north of Santa Fe on U.S. 84 More than 80 artists open their studios from 10 a.m.-5 p.m. Saturday-Monday, Oct. 11-13; tour maps available online and at artists' studios and local businesses; also, links to artists' websites available online at abiquiustudiotour.org, call 505-685-4770 for information.

Albuquerque Fifth Annual New Mexico Brew Fest & Music Showcase

EXPO New Mexico, 300 San Pedro Blvd. N.E. Breweries include Second Street Brewery and Santa Fe Brewing Company; music by Man No Sober, Mondo Vibrations, and Die Polka-Schlingel; 1-6 p.m.

Saturday, Oct. 11, $25 in advance; $30 day of event; early-entry barrel-aged tasting $35 in advance, $45 day of event, nmbrewfest.com.

Albuquerque Museum of Art & History

2000 Mountain Rd. N.W., 505-243-7255 Gods and Heroes: Masterpieces From the École des Beaux-Arts, Paris, opening reception 2-5 p.m., Saturday, Oct. 11, through Jan. 4.

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PASATIEMPO I October 10-16, 2014

New Mexico Philharmonic

Popejoy Hall Center for Performing Arts, UNM The season opens with music of Haydn and Beethoven, 6 p.m. Saturday, Oct. 11, $20-$68, unmtickets.entausa.com.

Albuquerque International Balloon Fiesta

Balloon Fiesta Park, 4401 Alameda Blvd. N.E. Glows, mass ascensions, live entertainment, and fireworks, though Sunday, Oct. 12, see balloonfiesta.com for a schedule.

Chatter Sunday

The Kosmos, 1715 Fifth St. N.W. Schepps Schwartzkopf Duo: music of Prokofiev and Shostakovich, reading by slam/performance poet Christina Perez follows, 10:30 a.m. Sunday, Oct. 12, $15, discounts available, chatterabq.org.

Outpost Performance Space concerts

210 Yale Blvd. S.E. Local band leader/trombonist César Bauvallet and Tradiciones, 7:30 p.m. Saturday, Oct. 11, $10-$15; Dutch jazz trumpeter Eric Vloeiman, 7:30 p.m. Thursday, Oct. 16, $15-$20; tickets available online at holdmyticket.com.

Cerrillos/Madrid Madrid & Cerrillos Studio Tour

One-half hour south of Santa Fe on NM 14 Self-guided tour of more than 30 artists' studios; 10 a.m-5 p.m. Saturday and Sunday, Oct. 11-12, madridcerrillosstudiotour.com.

Fourth Annual Encaustic/Wax Exhibition

Encaustic Art Institute, 18 County Rd. 55A (General Goodwin Rd.) Group show, through Nov. 2, gallery open noon-5 p.m. weekends only or by appointment, 505-424-6487, eainm.com.

Currents 2015: International New Media Festival

Accepting work in the areas of new-media installation, video mapping, animation, single channel production, and multimedia performance (full list of categories available online at currentsnewmedia.org); submission guidelines and forms available online; deadline Dec. 1.

National Juried Encaustic Small Works Exhibition

Outside In Productions is accepting applications through midnight Dec. 31; apply online at santafebandstand.org; for information email info@santafebandstand.org.

PASA KIDS

Garden Sprouts

Santa Fe Botanical Garden, 725 Camino Lejo, Museum Hill Storytelling and hands-on activities for children ages 3-5 accompanied by an adult, 9-10 a.m. weekly on Fridays, $5 suggested donation.

¡Feria de Otoño! Autumn Fair

Museum of Spanish Colonial Arts, 750 Camino Lejo, Museum Hill, 505-982-2226 A fundraiser for Spanish Colonial Arts Society education programs and Spanish Markets; kids' activities, arts & crafts market, and traditional pig roast, 9 a.m.- 4 p.m. Saturday, Oct. 11 (annual book sale Saturday and Sunday), no charge for the fair and book sale, pig roast $20, ages 12 and under $8.

Preschooler story times

Santa Fe Public Library, Main Branch, 145 Washington Ave., 505-955-6783, and Vista Grande Public Library, 7 Avenida Vista Grande, Eldorado, 505-466-7323 Stories, rhymes, and crafts, 10:30-11:15 a.m.

Friday, Oct. 10, Main Branch; songs and crafts, 11 a.m. Friday, Oct. 10, Eldorado; children must be accompanied by an adult.

Peace Pets

Santa Fe Public Libraries: La Farge Branch, 1730 Llano St., 505-955-4863; Main Branch, 145 Washington Ave., 505-955-6783; Southside Branch, 6599 Jaguar Dr., 505-955-4863 An animal-rescue educational program for children; 4-5 p.m. Friday, Oct. 10 (La Farge Branch); 10:30-11:30 a.m. Saturday, Oct. 11 (Main Branch); 2:30-3:30 p.m. Saturday, Oct. 11 (Southside Branch). ◀

Presented by Gallery 901, artists working in encaustic/wax are encouraged to apply, deadline Oct. 17, visit juriedartservices.com for application and fees.

Native Artists Fellowships

The Indian Arts Research Center at the School for Advanced Research offers three artist-inresidence fellowships in diverse creative disciplines, submission deadline Jan. 15, visit sarweb.org for application and guidelines.

Community Flower Angels

Help out weekly as a Flower Angel for Presbyterian Medical Services Hospice Center; contact Mary Ann Andrews for information, 505-988-2211.

Food for Santa Fe

The nonprofit needs help packing and distributing groceries at 6 and 8 a.m. Wednesdays and Thursdays, 505-471-1187 or 505-603-6600.

Santa Fe Children’s Museum

Join the Teen Volunteer Program and help in the visitor services department and in the museum; must be 15 or older; for more information call 505-989-8359, Ext. 115; applications available online at santafechildrensmuseum.org.

Santa Fe Botanical Garden

Help out by working in the admissions tent at the Museum Hill garden; free training; 505-471-9103, info@santafebotanicalgarden.org.

21ST ANNUAL ABIQUIÚ STUDIO TOUR More than 80 artists open their studios from 10 a.m.-5 p.m. over Columbus Day weekend Saturday-Monday, Oct. 11-13, in the scenic village located one hour north of Santa Fe on U.S. 84. Tour maps available online and at artists' studios and local businesses; also, links to artists' websites available online at abiquiustudiotour.org.

Photograph by Roger R. Firestone.

King Lear

UPCOMING EVENTS MUSIC

Ali Ryerson

Museum Hill Café, 710 Camino Lejo Jazz flutist, 7 p.m. Friday, Oct. 17, a Santa Fe Music Collective concert, $25, 505-983-6820 .

Serenata of Santa Fe

First Presbyterian Church of Santa Fe, 208 Grant Ave. Temporal Light, music of Britten, Dohynáni, and Reinecke, 7:30 p.m. Friday, Oct. 17; 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.

Dave Mason’s Traffic Jam

KTAOS Solar Center, 9 S.R. 150, in El Prado Veteran singer/songwriter, 8 p.m. Saturday, Oct. 18, $35, holdmyticket.com.

Santa Fe Symphony

The Lensic Fall Gold, featuring guest conductor Oriol Sans and guitarist Jason Vieaux, music of Tchaikovsky, Rossini, and Márquez, 4 p.m. Sunday, Oct. 19, $20-$76, discounts available, 505-983-1414 or 505-988-1234, ticketssantafe.org.

Of Montreal

Skylight Indie pop-rock band, with Pillar Point, 8 p.m., Sunday, Oct. 19, $20, holdmyticket.com.

Tim Easton

Skylight Rock 'n' roll songwriter/guitarist, David Berkely opens, 7:30 p.m. Thursday, Oct. 23, $12 in advance at holdmyticket.com.

Atrium String Quartet

Great Hall, St. John’s College, 1160 Camino de Cruz Blanca Russian ensemble, music of Haydn, Mendelssohn, and Shostakovich, 7:30 p.m. Friday, Oct. 24, $45, students $22.50, 505-988-1234, ticketssantafe.org.

Greensky Bluegrass

Skylight Rock-tinged bluegrass band, 7:30 p.m. Tuesday, Oct. 28, $15 in advance at holdmyticket.com

Ralph Alessi Baida Quartet

Gig Performance Space, 1808 Second St. Jazz trumpeter, 7:30 p.m. Wednesday, Oct. 29, $20 at the door, gigsantafe.com.

Ziggy Marley

Santa Fe Community Convention Center, 201 W. Marcy St. 7:30 p.m. Wednesday, Oct. 29, $33, 505-988-1234, ticketssantafe.org.

Tinariwen

Skylight Tuareg-Berber musicians, 7:30 p.m. Monday, Nov. 3, $30 and $47, holdmyticket.com.

Wovenhand

Skylight Alternative-country band, Pontiak opens, 8 p.m. Tuesday, Nov. 4, $10 in advance at skylightsantafe.com and holdmyticket.com, $15 at the door.

Kyle Gass Band

Skylight Rock 'n' roll, 7:30 p.m. Wednesday, Nov. 5, $12 in advance at holdmyticket.com.

Kalin and Myles

The Lensic Presented by Shakespeare’s Globe Theatre, 7:30 p.m. Thursday, Oct. 30, $13.50-$100, 505-988-1234, ticketssantafe.org.

Quilters

142 E. DeVargas St. Santa Fe Playhouse presents the 1982 musical

by Molly Newman and Barbara Damashek, 7:30 p.m. Thursdays-Saturdays, 2 p.m. Sundays, Oct. 30-Nov. 14, $20, discounts available, 505-988-4262.

Misty Lee: magician/séance medium

Skylight Hip-pop duo, 7:30 p.m. Friday, Nov. 7, $18, VIP tickets $60, 505-988-1234, ticketssantafe.org.

Jean Cocteau Cinema A blend of theater, song, and sleight of hand, 6:20 p.m.

Friday, Oct. 31, 2 and 8:30 p.m. Saturday, Nov. 1, $20, discounts available, jeancocteaucinema.com

Patty Griffin

BodyTraffic

James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Singer/songwriter, 7:30 p.m. Friday, Nov. 7, $48, 505-988-1234, ticketssantafe.org.

The Lensic Los Angeles-based contemporary dance company, 7:30 p.m. Friday and Saturday, Nov. 7-8, $15-$35, 505-988-1234, ticketssantafe.org.

Santa Fe Pro Musica

Sacred Body

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. Saturday, 3 p.m. Sunday, Nov. 8-9, $10-$65, 505-988-1234, ticketssantafe.org.

Senegal Gospel Choir

The Lensic 7 p.m. Tuesday, Nov. 11, $15-$35, 505-988-1234, ticketssantafe.org.

The Charlie Christian Project

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.

Judy Collins

The Lensic 7 p.m. Sunday, Nov. 16, $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.

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, tickets $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.

HAPPENINGS

Transformation of Cultural Studies

Museum of Indian Arts and Culture, 710 Camino Lejo, Museum Hill, 505-476-1250 MIAC and the Institute of American Indian Arts honor Dave Warren with a symposium held at 4 p.m. Thursday, Oct. 16, and at 6 p.m.

Friday, Oct. 17, no charge, register online at eventbrite.com.

Architecture: Materials & Craft

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Architects Tod Williams and Billie Tsien discuss the integration of art and architecture, 6 p.m. Thursday, Oct. 16, $30, ticketssantafe.org, 505-988-1234.

Santa Fe Independent Film Festival awards ceremony

Center for Contemporary Arts, Jean Cocteau Cinema, the Lensic, and the Screen Honoring George R.R. Martin, Hampton Sides, Shirley MacLaine, Ted Hope, and Imogene Hughes, 6:30 p.m. Saturday, Oct. 18, $15-$150; 505-988-1234, ticketssantafe.org.

Lannan Foundation: Readings and Conversations

The Lensic The series continues with author Alice McDermott and Michael Silverblatt, 7 p.m. Wednesday, Oct. 22; $5, discounts available, ticketssantafe.org, 505-988-1234.

Unabridged: Lambda Literary Authors Series

Armory for the Arts, 1050 Old Pecos Trail Readings and panel discussions with authors Ana Castillo, Andrew Holleran, and Justin Torres, 7 p.m. Saturday, Oct. 25, general admission $25, VIP seating and after-party $150, 505-984-1370, sfperformingarts.org.

OneBeat Albuquerque at the Rail Yards

777 First St. S.W. An initiative of the U.S. Department of State's Bureau of Educational and Cultural Affairs bringing together international musicians; 2-5 p.m. Saturday, Nov. 1: community street studios and workshops, 5-9 p.m., concert and art projects, $5 donation suggested, presented by 516 ARTS and Found Sound Nation, visit foundsoundnation.org for information.

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. Saturday, Nov. 8, screenings follow at 7:30 p.m., reception and festival $35, festival only $25, 505-988-1234, ticketssantafe.org.

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.

THEATER/DANCE

EmiArteFlamenco

Skylight La Emi, with guest artists Juan Siddi, Kina Mendez, and Joaquin Gallegos, 8 p.m. Friday, Oct. 17, $10 in advance at skylightsantafe.com, $15 at the door.

Joe West: Theater of Death

Engine House Theater, 2846 NM 14, Madrid A series of dark comedies with live music; 8 p.m. weekends from Oct. 24 through Nov. 9, $20, 505-988-1234, ticketssantafe.org.

Royal Ballet of Cambodia

The Lensic 7 p.m. Tuesday, Oct. 28, $40, discounts available, 505-988-1234, ticketssantafe.org.

Death and the Maiden

3205 Calle Marie Teatro Paraguas presents the 1991 play by Ariel Dorfman, 7:30 p.m. Thursdays-Saturdays, Oct. 30-Nov. 8, 2 p.m. Sunday, Nov. 9, $18, discounts available, 505-424-1601.

Dave Mason's Traffic Jam on stage Oct. 18 at the KTAOS Solar Center (photo Chris Jensen).

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New Mexico Museum of Art

107 W. Palace Ave., 505-476-5072 Syncretism, photographs by Delilah Montoya; Cameraless, group show of photograms; The Photo Lab, mixed-media photographs from the museum collection; Alcove Shows 1917-1927, works from the museum collection; through Dec. 7 • Local Color: Judy Chicago in New Mexico 1984-2014, focusing on public and personal projects, through Sunday, Oct. 12 • Focus on Photography, rotating exhibits • Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes used to make color and platinum-palladium prints from the collection, through March 2015 • New Mexico Art Tells New Mexico History, including works by E. Irving Couse, T.C. Cannon, and Agnes Martin, through 2015 • Spotlight on Gustave Baumann, works from the museum‘s collection, through 2015; nmartmuseum.org; open daily through October.

New Mexico State Land Office Commissioner's Gallery shows work by photographer Mindy Littman Holland in the exhibit Skies of Santa Fe, 310 Old Santa Fe Trail.

AT THE GALLERIES

Balzar Contemporary Edge Gallery, Institute of American Indian Arts

83 Avan Nu Po Rd. Art in the Raw, group show of contemporary works by IAIA and Santa Fe Indian School students, through Nov. 7.

New Mexico State Land Office Commissioner's Gallery

310 Old Santa Fe Trail, 505-827-5762 Skies of Santa Fe, work by photographer Mindy Littman Holland, through October.

Verve Gallery of Photography

219 E. Marcy St., 505-982-5009 Urban Wilderness — Chaos Transformed: Portraits, work by painter Irving Greines; Gracia, paintings

by Ysabel LeMay, through Oct. 25.

MUSEUMS & ART SPACES Santa Fe Center for Contemporary Arts

1050 Old Pecos Trail, 505-982-1338 New Perspectives, installation by sculptor Chuck Ginnever (Muñoz Waxman Gallery); Messages From the Wounded Healers, paintings

by Sam Scott (Spector Ripps Project Space); through Nov. 2. Open Thursdays-Sundays; ccasantafe.org.

Georgia O‘Keeffe Museum

217 Johnson St., 505-946-1000 Miguel Covarrubias: Drawing a Cosmopolitan Line, mixed media, through Jan. 18. Core exhibit O'Keeffe's paintings. Okeeffemuseum.org; open daily.

Museum of Contemporary Native Arts

108 Cathedral Place, 505-983-1777 Level/Land, ceramic and mixed media by Courtney M. Leonard, Lloyd Kiva New Gallery, through October • 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 • looping screenings of the documentary Bert & Wei Wei: TIME 2014

by Daniel Hyde and Blackhorse Lowe through Thursday, Oct. 16; iaia.edu/museum; closed Tuesdays.

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PASATIEMPO I October 10-16, 2014

Museum of Indian Arts & Culture

710 Camino Lejo, Museum Hill, 505-476-1250 Footprints: The Inspiration and Influence of Allan Houser, five monumental works by the late Chiricahua Apache sculptor displayed outdoors; accompanied by works of other sculptors including Houser‘s sons Bob Haozous and Philip Mangas Haozous, plus 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.

Museum of International Folk Art

706 Camino Lejo, Museum Hill, 505-476-1200 Between Two Worlds: Folk Artists Reflect on the Immigrant Experience, exhibit on immigration • Wooden Menagerie: Made in New Mexico, early-20th-century carvings, through Feb. 15 • 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. Open daily; internationalfolkart.org.

Museum of Spanish Colonial Art

750 Camino Lejo, Museum Hill, 505-982-2226 Secrets of the Symbols: The Hidden Language of Spanish Colonial Art • San Ysidro/St. Isidore the Farmer, bultos, retablos, straw appliqué, and paintings on tin • Recent Acquisitions, colonial and 19th-century Mexican art, sculpture, and furniture; also, work by young Spanish Market artists • The Delgado Room, late-colonial-period re-creation; spanishcolonial.org; closed Mondays.

New Mexico History Museum/ Palace of the Governors

113 Lincoln Ave., 505-476-5200 Painting the Divine: Images of Mary in the New World, rare Spanish colonial paintings, through March 29 • Poetics of Light: Pinhole Photography, through March 29, 2015 • Transformed by New Mexico, work by photographer Donald Woodman, through Oct. 12 • Water Over Mountain, Channing Huser‘s photographic installation • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe; nmhistorymuseum.org; open daily through October.

includes individual archaeological, ethnological, archival, photographic, and skeletal items. Closed Sundays and Mondays; maxwellmuseum.unm.edu.

National Hispanic Cultural Center

1701 Fourth St. S.W., 505-604-6896 ¡Papel! Pico, Rico y Chico, group show of works in the traditional art of papel picado (cut paper).

Closed Mondays; nationalhispaniccenter.org.

UNM Art Museum

1 University of New Mexico, 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

Pablita Velarde Museum of Indian Women in the Arts

706 Bond St., 505-747-8535 The Second Farm Show, group show, through October. Core exhibit of historic and cultural objects exhibited in the home of railroad entrepreneur Frank Bond (1863-1945). Call for hours; plazadeespanola.com.

Poeh Cultural Center and Museum

Los Alamos

213 Cathedral Place, 505-988-8900 Harvesting Traditions, work by ceramicist Kathleen Wall, through Jan. 4. Closed Mondays; pvmiwa.org.

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; closed Saturdays and Sundays. Also, ongoing sculpture exhibits in the Tower Gallery, 505-455-3037; roxanneswentzell.net; closed Sundays.

SITE Santa Fe

1606 Paseo de Peralta, 505-989-1199 SITElines 2014: Unsettled Landscapes, biennial exhibit of contemporary works, through Jan. 11.

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 Gods and Heroes: Masterpieces From the École des Beaux-Arts, Paris, opening Saturday, Oct. 11, 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.

Maxwell Museum of Anthropology

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

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.

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 October; harwoodmuseum.org.

La Hacienda de los Martinez

708 Hacienda Way, 575-758-1000 One of the few Northern New Mexico-style Spanish colonial “great houses” remaining in the American Southwest. Built in 1804 by Severino Martinez; taoshistoricmuseums.org; open daily

Millicent Rogers Museum

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. Open daily through October; millicentrogers.org.

Taos Art Museum at Fechin House

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.

A P E E K AT W H AT’S S H OW I N G A R O U N D TOW N Erin Cone: Finale 1 2014 acrylic on canvas Nüart Gallery 670 Canyon Road 505-988-3888 In her paintings, Erin Cone transforms figurative imagery through abstraction. Her subjects, women posed like models in fashionable dress, are on view in Modiste, an exhibit that takes its name from the French word for “dressmaker.” The show opens Friday, Oct. 10, with a 5 p.m. reception and is up through Oct. Oct. 26.

Emilio Lobato: Urban Scrawl 2014 mixed-media wall sculpture

Jeff Tabor: Santa Fe Collage Aspens 2014, oil and collage on canvas

Winterowd Fine Art, 701 Canyon Road, 505-992-8878 The Measure of a Man, new assemblage works by Emilio Lobato, opens with a 5 p.m. reception on Friday, Oct. 10. With their geometric abstractions and industrial aesthetics, Lobato’s mixed-media pieces recall the Russian Constructivism of the early 20th century. The exhibit is on view through Oct. 23.

Art Exchange Gallery, 60 E. San Francisco St., Ste. 210, 505-603-4485 Fall is the time to appreciate the majestic beauty of Santa Fe and its surrounding mountain forests. Autumn Glory Exhibition, a show at Art Exchange Gallery, captures the storied season in works that reflect its transitional nature, brilliant colors, and breathtaking quality of light.

Artists include Norma Brown, Jeff Tabor, Sheri Thompson, and Jim Griffith.

The opening reception for the exhibit, on view through Oct. 31, is at 4 p.m. on Friday, Oct. 10.

Heather Neill: The Master Carver’s Tea 2014, oil on canvas Sugarman Peterson Gallery, 130 W. Palace Ave., 505-982-0340 Heather Neill’s bold and detailed realist oil paintings have a narrative feel and capture a magical quality of light in exterior and interior settings. Her works recall the Flemish masters, but her subjects are contemporary.

A new exhibit of her paintings is on view through the end of October.

Kate Samuels: Albino Elk With Fungi 2014, acrylic on board Pop Gallery, 125 Lincoln Ave., Suite 111, 505-820-0788 Femme Sugar Coated Strange 2014 is a group show that includes artists Bev Hogue, Julia Martin-Wimmer, Carrie Ann Baade, and Kate Samuels. Their works, examples of “new brow” contemporary underground art, are dark, mysterious, and whimsical, often referencing ancient myths that address the power of the feminine. The show, which is a fundraiser for the Southwest CARE Center, a treatment facility for people living with AIDS, HIV, and related illnesses, is on view through October. Pop Gallery is raffling off a painting by Baade, Involuntary Thoughts of Lady Dubois; tickets are $5, and the winner will be announced at the end of the month.

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Trees

Regularly $29.99 $29.99 $ $29.99 $29.99 $29.99 $29.99 $24.99 $29.99 $29.99 $11.99 $29.99 $29.99 $14.99 $29.99 $14.99 $11.99 $29.99 $11.99 $29.99 $19.99 $11.99 $8.99 $24.99

Butterfly Bush #5 Manhattan Euonymus #5 N.M. Privet #5 Snowball Bush #5 Lodense Privet #5 Red Barberrry #5 Miss Kim Lilac #4 Variegate Japanese Willow #5 Pink Spirea #5 Blue Mist Spirea #1 Cottoneaster #5 Japanese Euonymus Weigela #2 Weigela #5 Crepe Myrtle #2 Redtwig Dogwood #1 Redtwig Dogwood #5 Euonymus #1 Three Leaf Sumac #5 Virgina Creeper #2 Grapes #1 Raspberries #1 Roses #4

Sale $8.00 7.00 $10.00 $15.00 $4.00 $5.00 $12.00 $5.00 $10.00 $2.00 $10.00 $5.00 $4.00 $8.00 $3.00 $4.00 $10.00 $3.00 $10.00 $13.00 $7.00 $4.50 $15.00

Some items are one of a kind. No rain checks or phone orders. Purchases must be taken. Shop early for best selection.

Gro-Power Winterizer

mole Go

20 lb. bag $19.99 Regularly $25.99

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ALWAYS FRIENDLY PROFESSIONAL NURSERY SERVICE

J a g u a r D r i ve

NEWMAN’S Newmans

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Family Owned & Operated Since 1974

Ocate Road

Walmart

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Pete Moss’Garden Tip: If you have moved any house plants outside for the summer it is time to start getting them ready to come back inside for the winter. Often times plants grow very well outside and outgrow the container that they are in and need to be re-potted into a larger container. Also check well for any insect problems that they may have picked up while outdoors. If this is the case it is a good idea to treat them before you bring them inside.

10 lb. bag $18.99 Regularly $21.99

rri

40 lb. bag $19.99 Regularly $24.99

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Green sand

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Good thru 10/17/14 • while supplies last • stop by today and see our Great selection.

64

PASATIEMPO I October 10 - 16, 2014

5 I-2

7501 Cerrillos rd.

471-8642