The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture
October 17, 2014
WE’RE MAKING SURE THIS CLASSIC STAYS ONE. THE 20% CLASSIC CAR SERVICE DISCOUNT FOR ALL 1999 AND OLDER BMW’S.
We’re offering a 20% discount on all 1999 and older BMW models*. Our BMW trained technicians know these vehicles better than anyone and we appreciate that cost is a deciding factor when choosing a service facility. Schedule your classic for a complimentary multi-point inspection and make sure it remains the Ultimate Driving Machine. Santa Fe BMW 2578 Camino Entrada | Santa Fe, NM 87501 | SantaFeBMW.com *Excludes tires. Must be original BMW parts. Cannot be combined with any other discount. Offer good through September 30, 2014.
Lunch Special Lunch Special Lobster Roll Chef Fernando’s Housemade Santacafe Roll w/ Pommes Lobster Frites – 20.00 Fernando’s Lobster Salad served in Soft Housemade Roll w/ Pommes – 20.00 DinnerFrites Special Pan Seared Scottish Salmon SpecialPotatoes, w/ GreenDinner Chile Roasted Braised Pork Buco” Sautéed Broccolini &“Osso Dill Cream – 26.00 w/ Green Chile Country Mashed Potatoes, Carrots w/ Wild Mushroom Demi-Glace – 26.00
lunch / dinner / brunch - open every day! Happy Hour: 4 - 6 p.m. Mon. thru Fri. Our ‘Classic’ appetizers - 50% off Selected Wines-by-the-glass, ‘Well’ cocktails & House Margarita - $5.00 each FULL BAR • FREE WI-FI • HDTV 505 • 984 • 1788 please visit our website www.santacafe.com
231 washington ave ● santa fe
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PASATIEMPO I October 17 - 23, 2014
custom jewelry design
celebrating 10 years in the railyard and 26 years in santa Fe 328 S. Guadalupe Stree t, Suite e • 505.820.1080 www.marc-howard.com
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Artwork By: Shane Casias and Gregory Segura 505-988-1866 OPeN 7 DAYS PASATIEMPOMAGAZINE.COM
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Ligia bOutOn Fa r r e L L b r i c k h O u s e eric garDuñO m at t m c c L u n e JasOn miDDLebrOOk
OctOber 17 – December 21 Opening receptiOn tOnight FrOm 5pm - 7pm
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PASATIEMPO I October 17 - 23, 2014
petersprojects.com
Spooktacular SavingS
Lensic Presents
An award-winning documentary about one man’s quest to make his last act—his burial— a gift to the planet. Pa rt s f i l m e d i n s a n ta f e & G a l i st e o
Winner of top awards at san francisco indiefest, Kansas City filmfest, new orleans film festival & rhode island film festival “moving and inspiring . . . the film is about a life of purpose and a death with meaning.” —Huffington Post
October 24 | 7 pm | $10 includes post-film Q&a with the directors
from
from
$359/month + ttl*
$459/month + ttl* from
Tickets: 505-988-1234 www.TicketsSantaFe.org
S E R V I C E C H A R G E S A P P LY AT A L L P O I N T S O F P U R C H A S E
the lensic is a nonprofit, member-supported organization
$399/month + ttl*
ES350
6824 Cerrillos Rd. | Santa Fe, NM 87507 | (505) 216-3800 | www.lexusofsantafe.com 2015 RX350 MSRP 47259 stk#2351 3499 due@signing + ttl. pymt 459 + ttl; 2014 IS250 MSRP 42008 stk#2338 2999 due@signing + ttl. pymt 359 + ttl; 2014 ES350 MSRP 41242 stk#15513 2999 due@signing + ttl. pymt 399 + ttl; All Leases 27 months, 10,000 miles/year .25 cents/mile thereafter.
Furnishing New Mexico’s Beautiful Homes Since 1987 Dining Room • Bedroom • Entertainment • Lighting • Accessories
Featuring Attractive Handcrafted Furniture
Southwestern Style Great one-of-a-kind Pieces Reasonable prices everyday of the year! Please come in, you’ll be pleasantly surprised.
Wednesday, October 22, 2014 6:30 PM Mountain Old Pecos Trail 2239 Old Pecos Trail Santa Fe, NM 87505 Douglas Barrett, MD Southwest Medical Associates Albuquerque, NM
Navajo One Door Bookcase Adjustable Shelves 17”W x 13”D x 76”h $480 Navajo Two Door Bookcase (shown) Adjustable Shelves 31”W x 13”D x 76”h $682 Navajo Three Door Bookcase Adjustable Shelves 48”W x 13”D x 76”h $980
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FRIDAY, OCTOBER 17 DJ Quico presented by
SATURDAY, OCTOBER 18 DJ SoiREE
o C t o B E r 2 014
win A nEw DODGE DURAnGO EvERy sAtURDAy in OctObER
We’ll be giving aWay Four dodge durangos in oCTober Hourly drawings on saturday, october 4, 11, 18 & 25 from 6pm to 10pm. see lightning rewards Club desk for complete contest rules and details. E arn
10x EntriEs on MonDaYs!
Player receives one entry for every 30 points earned on their Lightning Rewards card, October 1 through October 25, 2014. Drawings will be simulcast at Cities of Gold. Management reserves all rights.
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PASATIEMPO I October 17 - 23, 2014
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A TASTE OF TERRA
New • Pre-owned • Service • Parts 2586 Camino Entrada | 505.913.2900 www.mercedesofsantafe.com
Special Event: October 18th & 19th
THIS FALL
Join us for cool specials this autumn and winter. Football in the Courtyard October 19, 6:30 p.m. Big-screen fun with snacks and libations for Broncos vs. 49’ers Bubbles, Brews and Bites Mondays-Thursdays, 4-6 p.m. $8 happy hour bites and drink specials Wine Down Wednesdays and Sundays Half-price wine bottles from select menu Dinner and a Movie Wednesdays in October; returning Spring 2015 Enjoy a movie and Terra’s menu alfresco Complimentary movie; no reservations required. Terra Bar Menu will be offered in the Courtyard during the movie presentation.
TRUNK SHOW Revolutionary designs and unparalleled quality of early modern eyewear manufactured during the 1910s-1970s. Most of the eyewear in the world is produced by a few companies. We would like to show you something different!
TREAT YOURSELF
Terra Restaurant at Four Seasons Resort Rancho Encantado
For reservations or information, please call (505) 946-5700 or visit fourseasons.com/santafe
125 LincoLn Ave., Suite 114 988.4444
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PASATIEMPO I October 17 - 23, 2014
See e Latest Models Burning In Our Showroom
505.983.5264 1808 Espinacitas St
theerebird.com
generously underwritten by
presents
UNABRIDGED
The 1st Annual Lambda Literary Authors Series Readings and discussions with nationally acclaimed LGBTQ authors:
Justin Torres is author of the best-selling novel
Ana Castillo is one of the most powerful voices
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.
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.
Moderated by
And Andrew Holleran is the author of Dancer From the Dance, a novel about 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.
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
PASATIEMPOMAGAZINE.COM
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THE SANTA FE NEW MEXICAN
Ocotober 17 - 23, 2014
www.pasatiempomagazine.com
ON THE COVER 32 Cinephile subversion The sixth annual Santa Fe Independent Film Festival — a homegrown event organized by three locals intent on making Santa Fe a hot spot for new cinematic works — runs through Sunday, Oct. 19. It includes dozens of feature-length and short films, educational panels, master discussions, and special events at the Center for Contemporary Arts, the Jean Cocteau Cinema, The Screen, and the Lensic Performing Arts Center as well as an awards ceremony at the Lensic. This year’s schedule is a cinephile’s dream, from movies made in New Mexico — including The Homesman and Sun Belt Express — to subversive selections from around the world. On the cover is a still from Bill Plympton’s Cheatin’, which screens at 5 p.m. Friday, Oct. 17, at CCA.
MOVING IMAGES
BOOKS 16 18 20 40
In Other Words The Dog Water wise Juan Estevan Arellano Character builder Alice McDermott Max Evans An intimate Sam Peckinpah memoir
MUSIC AND PERFORMANCE 22 24 26 29
Where the jobs are SFUAD’s Laura Fine Hawkes Terrell’s Tune-Up Bill Hearne & Friends Pasa Tempos Album reviews Random Acts Of Montreal
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Chile Pages
CALENDAR 56
Pasa Week
AND 15 54
Star Codes Restaurant Review: Raaga
ART 30 42 46
Living & learning Eugene Newmann Off the color charts Remembering Bobby Brodsky kyy Tony DeLap Art world all-rounder
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
Bobby Brodsky’s Volcanoes, 2008 (detail)
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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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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
© 2014 The Santa Fe New Mexican
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Robin Martin Owner
www.pasatiempomagazine.com
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Ginny Sohn Publisher
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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007
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MARKETING DIRECTOR Monica Taylor 505-995-3824
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RETAIL SALES MANAGER - PASATIEMPO Art Trujillo 505-995-3852
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ADVERTISING SALES - PASATIEMPO Chris Alexander 505-995-3825 Amy Fleeson 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 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
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st’s e W r of Dea e th Jo aprteseents e he he Absinth Plays T
T
www.ArtMattersSantaFe.org
OPENING WEEKEND FEATURES
SHARON GILCHRIST ON THE MANDOLIN!
D ar
k
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rie s I
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y
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y
Oct 24, 25, 26, 30, 31.
n e e r he G
WARNING: NOT SUITABLE FOR YOUNG CHILDREN OR THE WEAK OF HEART.
Nov 1, 2, 7, 8, 9.
All shows at 8pm except Sunday Matinees at 3pm
With Very Special Musical Guests!
The (Heated) Engine House Theatre • Madrid, NM Domestic and Imported Absinthe available. Tickets available at the Lensic Box Office (ticketssantafe.org) 988-1234 and at The Mine Shaft Tavern (Upper Deck Saloon)
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Art Matters | Santa Fe, a series of city-wide art events and lectures sponsored by the Santa Fe Gallery Association to showcase the art galleries and museums in Santa Fe.
October 17 - 26, 2014 Participating galleries: David Richard Gallery Ellsworth Gallery Evoke Contemporary Charlotte Jackson Fine Art Heidi Loewen Porcelain Gallery Georgia O’Keeffe Museum Matthews Gallery New Concept Gallery Pippin Contemporary Sorrel Sky Gallery SITE Santa Fe TAI Modern Tansey Contemporary Wade Wilson Art Winterowd Fine Art
www.SantaFeGalleryAssociation.org
PASATIEMPOMAGAZINE.COM
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READINGS & CONVERSATIONS brings to Santa Fe a wide range of writers from the literary world of fiction, nonfiction, and poetry to read from and discuss their work.
ALICE Mc DERMOTT
with Michael
Silverblatt
WEDNESDAY 22 OCTOBER AT 7PM LENSIC PERFORMING ARTS CENTER Alice McDermott has, in the words of The New York Times, “staked an impressive claim on a subject matter and a turf—Irish-American Catholic families congregated, for the most part, in New York City and its suburbs on Long Island.” Her seven works of fiction include At Weddings and Wakes, Charming Billy and Child of My Heart. Her most recent, Someone, follows the everyday rhythms in the life of Marie, an ordinary Irish-American girl from Brooklyn in the 1930s. One of the great strengths of [Someone] lies in this sense of tenderness and intimacy, of empathy for the human condition . . . The narrative unfolds slowly, through small moments of beauty and vividness . . . The moments are small, but packed with complexity and emotion. —The Washington Post
TICKETS ON SALE NOW
ticketssantafe.org or call 505.988.1234 $6 general/$3 students/seniors with ID Video and audio recordings of Lannan events are available at:
www.lannan.org 12
PASATIEMPO I October 17 - 23, 2014
Films About Photography
THINK CRITICALLY. ACT THOUGHTFULLY.
Willard Van Dyke, Edward Weston at 683 Brockhurst, 1932, gelatin silver print, 7 1/8 × 9 1/4 in. Collection of the New Mexico Museum of Art. Gift of the New Mexico Council on Photography, Willard Van Dyke Memorial Fund, 1986 (1986.217.7) © Murray and Neil Van Dyke.
THIS WEEKEND 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.
Photo: Anne Staveley
COMING UP
ADMISSIONS OPEN HOUSE FRIDAY OCT. 24TH AT 2:00 PM
Prep means Prepared. Ready for Anything. Mike Multari 505 795 7512 Serving Grades 7-12 sfprep.org Tuition Assistance Available
HUGE STOREWIDE PIANO
CLEARANCE At PianoWerkes Albuquerque
OPEN TO THE PUBLIC
Friday & Saturday, October 24-25 11:00am -5:30 pm
O
ur winter inventory is arriving and we have run out of showroom space. To solve this problem we are conducting a huge Clearance Sale where all overstocks, trade-ins and duplicate models of our world famous pianos are being sold at unusually large discounts.
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. Stars of the Royal Ballet / Choreography by Her Royal Highness Princess Norodom Buppha Devi
October 28, 7 pm $20–$40 discounts for Lensic members
• Grands, baby grands & uprights • Clavinova Digitals • Disklavier Player Pianos
• Avant Grands & Silent Pianos • Overstocks & Duplicates • New, Used & Discontinued Models
NEW YAMAHA, BÖSENDORFER, SCHIMMEL, ESTONIA, HAILUN USED STEINWAY, BALDWIN AND YAMAHA
SPECIAL PRIVATE INVITATION DAY: THURSDAY OCTOBER 23
RESERVE A PRIVATE ADVANCE APPOINTMENT BY CALLING 505.884.5605 4640 Menaul Blvd. NE, Albuquerque www.pianowerkes.com
A “Masterpiece of Oral and Intangible Heritage” deserving cultural preservation and promotion —UNESCO
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
PASATIEMPOMAGAZINE.COM
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Advertising Opportunity
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Santa Fe’s Guide to the Holidays Featuring the season’s best of local FOOD | FUN | SHOPPING | TRADITION
“...among the elite of today’s classical music” -Gramophone
“Vieaux’s performance spun magic...” -The Fort Worth Star-Telegram
Free preview talk at 3:00 pm
Publishing November 23 Space Reservation Deadline: October 28
Call 988.1234
Sunday insertion in The New Mexican: 60K+ Readers Additional distribution to local businesses, hotels and attractions.
Call now to reserve: 505-995-3852
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PASATIEMPO I October 17 - 23, 2014
Need an Audiologist? We hear you!
STAR CODES Heather Roan Robbins
As Mercury conjuncts Venus in friendly Libra this weekend it loans
us a spirit of compromise and agreement. We can enjoy an interpersonal respite before Scorpio’s colder winds whistle in on Thursday. Our minds turn to all things Venusian. We want to know what’s fair and what’s beautiful — and what’s more romantic. Libra has a serious edge, and its political adage is “no justice, no peace: know justice, know peace.” We’ll see these reflected in the headlines and around the dinner table. Beauty will feed our soul and so will a moment of gentle social interaction, a shake of the hand or spark of eye contact. Let’s strengthen friendships now while people are feeling sociable. Friday and Saturday bring a friendly, if interpersonally demanding, Leo moon. Look up to see a glorious and heartwarming moon-Jupiter conjunction in the early evening sky to the west. It can expand our heart and any emotion we have in there. But we choose the content. On Sunday and Monday, a more industrious, if cranky, Virgo moon calls us back to unfinished business. Midweek, the waning Libra moon gives us an opportunity to warm our connections and clear our emotional debts. The sun, Venus, and moon all enter brooding, focused Scorpio on Thursday. It will be payback time, so let’s do our best to clear karmic slates now and welcome a more positive reflection in the weeks to come.
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Friday, Oct. 17: The spark of delicate optimism can grow into a warm flame of possibility. Our hearts hurt easily, but they are enlivened by appreciation. Be grateful for anything that supports life, anything we want to grow as the moon conjuncts with Jupiter in Leo tonight. Saturday, Oct. 18: We may feel old and cranky this morning as the moon squares Saturn. What we take seriously is so obvious to us, and what others take seriously can feel so silly. Midday is more spacious, if inefficient, until the moon enters more industrious Virgo in the early evening. Sunday, Oct. 19: We may focus too much on the problem as the Virgo moon trines Pluto; let’s diagnose well but keep a healthy perspective. The situation has more possibilities but may require us to use our hard-won wisdom. Monday, Oct. 20: Cut people extra slack on this rather cranky morning as the Virgo moon squares Mars. Kindness makes progress midday. Notice important incoming information tonight. Tuesday, Oct. 21: The moon, sun, and Venus in Libra encourage healthy compromise that allows all parties to flourish. Clear the air and fix imbalances over the next few days. Make aesthetic decisions now. Wednesday, Oct. 22: Roll with early morning turbulence as the moon squares Pluto and opposes Uranus and then get right with the world. Balance diet, chores, relationships, and politics. Pay and forgive debts. Thursday, Oct. 23: Notice the dramatic mood shift as the sun, Venus, and the moon roll into stormier Scorpio. Priorities are clarified. Old wrongs haunt us; retribution makes more sense, but underneath that is a call for transcendence. ◀ www.roanrobbins.com
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PASATIEMPOMAGAZINE.COM
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IN OTHER WORDS book reviews The Dog by Joseph O’Neill, Pantheon Books, 240 pages The unnamed protagonist of Joseph O’Neill’s The Dog, an expat in Dubai, is the kind of guy who brings a copy of Philanthropy magazine to a coffee meeting in the Mall of the Emirates. “It must be confessed, I was hoping the publication would make me look good,” he admits. He’s the kind of guy, in other words, with an awareness of how he is perceived, by others and perhaps by readers of his story — which may influence his preference for standing on higher ground. And yet he is a philanthropist and a do-gooder. He donates more than a third of his salary to charity, and as part of his role as “officer” for the wealthy Lebanese Batros family — a job he takes after a bitter breakup with one of his New York law-firm colleagues — he promotes the creation of a foundation that donates to medical clinics in Africa. “When I question the worth of my life, it comforts me to think that, but for my instrumentality in this matter, a significant number of humans would likely be living less healthy, less happy, less worthwhile lives. One might say that this unforeseen good contains nothing less than the hidden meaning of my move to Dubai.” One could as easily say that the unforeseen good — or bad, or good/bad motives with good/ bad outcomes — forms part of the meaning of The Dog. X, as he will hereafter be known (we do know the first letter of his name), obsesses over the ethics of his and others’ actions. For instance, one of his rules is “It is wrong to Google a person who does not want to be Googled by you.” He grapples with whether to write on a diving companion’s Facebook wall, to defend the man against malicious posts and save himself from “culpable helplessness.” Even his occasional nightly forays for sex are, as he sees it, morally justifiable: “a John can do good” by paying and treating his companion well. The trouble is, X does Google people, and he doesn’t post anything on his diving companion’s wall. Furthermore, he doesn’t consider the possibility that paying his nighttime companions through a third party might not be entirely to their benefit. If the road to hell is paved with good intentions, X is in an aimless purgatory that has the unbearable heat of a lower realm. It is fitting that The Dog is set in a place of never-quite-finished high-rises, abandoned luxury cars, a befuddling legal system, and soaring temperatures. X’s work occupies much of his attention. He gets a job in Dubai after running into a college 16
PASATIEMPO I October 17-23, 2014
friend, Eddie Batros, in New York; in his eagerness to escape the city where his memories and his ex dwell, he decamps for the “abracadabrapolis” of mirage-rich Dubai. Once X is in his position working for the Batros family, he spends his time composing bitter “mental mail” directed at his absent employers and drafting disclaimers to avoid any personal liability for the actions he takes. He oversees an intern, Alain Batros, Eddie’s chubby teenage nephew, whose allowance is dependent on his weight-loss successes. X refuses to assume the burden of wearing “some unwarranted caretaking hat” — he is not responsible for Alain, he clarifies, reiterating his confused stance toward the wellbeing of others. (Alain is anything but a tragic figure, however. His attempt to extort a bidoon, a stateless individual who is usually descended from foreigners, is telling of his society’s moral incongruities.) In his spare time, X occasionally goes offshore diving, indulges in pedicures, and meets with friends. A rare moment of action occurs when an acquaintance’s wife visits, provoking an unexpected outburst. Mostly, though, X ruminates. This does not make for a terribly dramatic novel. But there is a different kind of drama — and melancholy lure — in the daily human struggle to understand what it means to do “the right thing,” whatever that might be. The Dog is O’Neill’s follow-up to his acclaimed 2008 novel, Netherland, which similarly followed a man in lands foreign to him (in that book, a Dutchman becomes involved in New York City’s cricket culture). Proved beyond question there, and reaffirmed here, O’Neill is a highly accomplished wordsmith, as well as a bit of a showman. Sentences in The Dog can wind on for up to half a page, or they can be weighed down in a mire of legalese that reflects the convolutions of X’s moral and legal conflicts. Parenthetical statements are so rampant that there are instances of six parentheses in a row. The absurdity in some so-called reasoning is evident in such statements as “You never know until you know.” By turns pensive, aggressive, and darkly funny, this novel isn’t terribly uplifting. It leaves one with a sense of resignation that’s impossible to ignore in the face of statements like “it may be that most lives add up, in the end, to the sum of the mistakes that cannot be corrected.” But, even so, there are worthwhile insights and thoughtful moments to savor along the way. With its minimal plot, the strength of The Dog lies in its philosophical parsings and dexterous styling. — Grace Labatt
SUBTEXTS One woman’s wilderness Don’t look for breathtaking panoramas in Debra Bloomfield’s new photo collection, Wilderness, released as the United States marks the Wilderness Act’s 50th anniversary. The 55 color pictures are the photographer’s emotional response to the natural world she experienced on a journey by plane, ferry, and skiff to the Tongass National Forest in Southeast Alaska. Ravens and low-fl flying l small aircraft appear the way a hiker, snowshoer, or boater sees them, rather than the way they look when amplified by a super-telephoto lens. An essay by Rebecca A. Senf explains, “The photographs she created do not physically describe what one particular wilderness place looks like — they are not intended to. … Instead she tells us what wilderness means. What it feels like to be there.” Bloomfield also reveals what it sounded like on the several journeys she took over five years; the book comes with a compact disc that features raven calls, droning bush planes, and shouting ferry workers. Environmental writer Terry Tempest Williams endorses this latest effort by Bloomfield, whose tribute to the Colorado Plateau was published in 2004 as Four Corners. In her essay “The Wake of Beauty,” Williams writes, “Debra Bloomfield is creating a body of work for our eyes and ears that beckons us to experience our own wild hearts beating in harmony with the heart of the Tongass National Forest, now threatened.” She joins Bloomfield for a book signing event at 4:30 p.m. Friday, Oct. 17, at Collected Works Bookstore, 202 Galisteo St. For more information, call 505-988-4226. — Sandy Nelson
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Shakespeare’s Globe Theatre on Tour: King Lear thursday, october 30 | 7:30 pm tickets: $27–100 location: lensic performing arts center
Notes on Theater: King Lear wednesday, october 29, 2014 | 5:30–7:30 pm tickets: $60 per person location: hotel santa fe Enjoy special insights, lively conversation, hors d’oeuvres, and beverages with Joseph Illick and
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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.
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Partially funded by the City of Santa This project is supported in part by New Mexico Arts, a division of the Department Fe Arts Commission of Cultural Affairs, and by the National and the 1% Lodgers’ Tax. Endowment for the Arts.
PASATIEMPOMAGAZINE.COM
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Casey Sanchez I For The New Mexican
WATER WISE
Book explores the cultures of irrigation-dependent communities
Juan Estevan Arellano
Canova de Trampas, a canal made of a carved tree; opposite page, partidores, or partitioned acequias, in Aldama, Chihuahua, Mexico; acequia photos by Juan Estevan Arellano, courtesy the University of New Mexico Press
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“Few people have learned to use water as wisely as those who rely on the acequias,” writes Juan Estevan Arellano in his new book, Enduring Acequias: Wisdom of the Land, Knowledge of the Water. Released by the University of New Mexico Press, the book examines acequias — those gravity-driven, open-air irrigation systems of reservoirs, channels, and locks — that are found all over the dry regions of the world. Acequias include the ancient water-sharing systems of the Romans, Incans, and Toltecs and the newer sustainable-agriculture communities in Spain and Mexico. Fittingly, the narrative begins with a personal account of Arellano’s upbringing in Northern New Mexico, where he was steeped in acequia culture. “I’ve been in acequias since I was a little kid, even before I was allowed to be in the river,” Arellano told Pasatiempo. Few people are more qualified to talk about New Mexico’s acequias than this lifelong Nuevomexicano, who discusses and signs copies of his book on Thursday, Oct. 23, at Collected Works Bookstore. From cleaning ditches to drafting local water policy, he has been involved at all levels of acequia leadership. At the Acequia Junta y Ciénaga in Embudo, where he lives, Arellano has served as mayordomo and commissioner. A former concilio member of the New Mexico Acequia Association, he has translated into English one of the earliest Spanish-language farming and irrigation technique texts, the 1513 publication Obra de Agricultura. Last year, the New Mexico Community Foundation named him one of 10 Luminarias, an honor given to state residents who make a profound difference in their communities. The man is obsessed, in a good way, with acequia culture. In 2012, with Enrique LaMadrid, he co-wrote Juan the Bear and the Water of Life: La Acequia de Juan del Oso, a children’s book about the history and functions of acequias. With architect Arnie Valdez, he is writing an acequia handbook — a practical guide to building, maintaining and managing these canals. Over the past decade, he has presented papers at several acequia and water-sharing conferences in Mexico and Spain. In the meantime, he and his son are filming a documentary on global acequia culture that will draw heavily on source material from Enduring Acequias. The book grew out of Arellano’s experiences with modern-day acequia revivals among sustainable-agriculture movements in Mexico and Spain and his search for the acequia system’s origins, which he said can be traced back to the Bronze Age Indus Valley of what is now northwest India. The word acequia can be traced to the Arabic word assaqiya, a word used in ancient Yemen for the bearer of water or wine, he said. “Like a lot of Nuevomexicanos, I thought we were [the] only ones that had acequias,” Arellano said. “It was only about 20 years ago I realized they were everywhere in the arid world, from Asia to North Africa. There are even acequias in Italy and Switzerland. They are all over Mexico.” While acequias are deeply associated with the Spanish land grants and colonial system of Spanish-era Northern New Mexico, Arellano’s history points out that Pueblo Indians were building and maintaining acequias long before the conquistadores arrived. The acequias attributed to the Spanish actually came from the labor and architectural knowledge of the Tlaxcaltecas, a Nahuatlspeaking indigenous group from Central Mexico that helped the
PASATIEMPO I October 17-23, 2014
Spaniards build settlements throughout New Mexico and southern Colorado. “The Tlaxcaltecas were commissioned by the Spaniards in the early 1600s to build acequias in New Mexico,” Arellano said. “They learned from indigenous acequia systems already in place in New Mexico, what they knew from Mexico, and from the Spanish acequia systems on the Iberian Peninsula, which are actually Moorish in origin. The acequia system here in New Mexico is actually a hybrid of indigenous, Moorish, and Spanish elements.” While communities in Colorado, Arizona, and Texas have acequias, no other region of the U.S. can match New Mexico’s wide web of water channels. Outside of Northern New Mexico, Arellano said, acequias are found in Ruidoso and Las Cruces. In Albuquerque, a movement is afoot to rebuild acequias that have closed or fallen into disrepair. New Mexico even formally recognizes acequias as political subdivisions of the state. Along with their local government powers to distribute and use surface water, acequia associations have the legal power of eminent domain and are authorized to borrow money and enter into contracts for maintenance and construction.
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While the communal property rights of acequias may be enshrined in New Mexico law, Arellano said many newcomers ignore the laws by denying passage to acequia community members who clean the ditches each spring. Through planting willows and Russian olive trees along acequia easements, many of these property owners have found a way to block acequia access and destroy the ditch walls by planting trees with long and fast-growing roots. “What’s happening is that some of the people coming into the area did not grow up in acequia culture. They see the acequia and think it belongs to them. They don’t realize that they are part of the community,” Arellano said. “People are building property fences all the way to the banks of the acequia, even though they used to have a legal 15-foot easement. There are people using pumps to get water to land above the acequia that does not have water or irrigation rights. It’s like stealing cable or electricity from your neighbor.” Such abuses don’t go unchallenged, with many acequia associations willing to spend months and years in court to safeguard their water rights. In other cases however, population shifts and a waning interest in agriculture have led several acequias to suffer from neglect.“Since people are not paying attention to them, they are crumbling everywhere you go; [people are] letting them go back to nature, to the wild,” Arellano said of some of the canal systems. “In the past, acequias were the roads to the community. They needed to maintain them if they wanted to travel from one hamlet to another.” Still, Arellano has hope for the future of New Mexico acequias. “Over the past 10 years, a lot of people moving in want to go back to sustainable agriculture and grow organically, so there’s more land under cultivation than what there was in the late 1990s,” he said. The author welcomes the arrival of wineries in the area, as vineyards thrive on drip irrigation and high altitudes; the same vines can be productive for decades longer than fruit trees. “Acequias have benefits beyond irrigation. A lot of developers in Santa Fe think acequias waste water, but that’s been disproved by studies from New Mexico State University,” Arellano said. “Acequias help build aquifers by filtering the water, [and] aquifers are where we get our drinking water. They help livestock, who don’t have to go the river and can drink directly from acequias. Most people are unaware of the other positive effects of acequias on the environment.” ◀
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details ▼ Juan Estevan Arellano gives a Southwest Seminars lecture, “New Mexico’s Lifeblood: Acequias and Their Origins” 6 p.m. Monday, Oct. 20 Hotel Santa Fe, 1501 Paseo de Peralta $12 at the door, 505-466-2775, southwestseminars.org ▼ Juan Estevan Arellano discusses & signs copies of Enduring Acequias 6 p.m. Thursday, Oct. 23 Collected Works Bookstore, 202 Galisteo St. No charge, 505-988-4226
PASATIEMPOMAGAZINE.COM
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Bill Kohlhaase I For The New Mexican
the first few pages of Alice McDermott’s Someone (Farrar, Straus and Giroux), readers meet an accident-prone young working woman through the eyes of seven-year-old Marie, the “someone” of the book’s title. Marie is waiting on a Brooklyn stoop for her father to come home. The young woman, named Pegeen, shows Marie a run in her stocking and tells how a “regular Prince Charming” came to her aid after she fell on the subway. Boys play stickball in the street, two Sisters of Charity walk by “smiling from inside their bonnets,” and the smell of bread is in the air. When we next see Marie, just a few sentences later, she is a pregnant young woman waiting to place an order in a neighborhood deli. “In a few months’ time, I would be at death’s door, last rites and all,” she tells us. Those first pages encapsulate the entire book as events steer Marie’s unremarkable life. The stories jump back and forth in time. All have the feel of both memory and immediacy. Common, ordinary occurrences — births, heartbreaks, weddings, deaths — guide the course of Marie’s life. She is perpetually on the stoop, waiting: “[L]ittle Marie. Sole survivor, now, of that street scene. Waited for the first sighting of my father, coming up from the subway in his hat and coat, most beloved among all those ghosts.” McDermott, in a phone call from her Maryland home, said that Marie was a product of her times and her environment. “She’s a small person, not particularly beautiful as a child or a young woman. She’s from a working-class immigrant family where there aren’t a lot of options for her. There aren’t a lot of people in her life who want to hear her opinion; it was truly a time when children were seen but not heard. But, like all of us, she has a very active interior life.” Marie predates her creator by at least a generation. “I was thinking about women throughout the 20th century,” McDermott said, “and especially those that came of age in the middle of the century, born into certain expectations of the times. I wanted to explore what a woman’s life was supposed to be and what it was like living through a century where those expectations changed. These were women of my mother’s generation, her friends, my teachers, the women I encountered as I was growing up.” This generational status, one that includes a certain ignorance of relationship and sexual matters, means Marie is buffeted by life. “Things happen to her rather than her being the author of her own story,” McDermott explained. “As she matures, as times change, as women of that generation did, she learns how to come into her own.” Writing dialogue in the voice of a child is one thing. But thinking like one? “It could be that I have some sympathetic understanding of the child I was, that I can still relate to that perspective. But I think [writing in a child’s voice] comes out of the effort to see the entire world the character dwells in and seeing it through their 20
PASATIEMPO I October 17-23, 2014
Alice McDermott
eyes. As a writer you have to put yourself in service to the character, get behind their eyes by delineating the world where the character develops. You have to listen to the character and see him inside his certain world to know what conclusions he would draw.” In Marie’s world, death serves as a touchstone, from its first visitation foreshadowed in the book’s opening to the progressing reality of Marie’s own mortality. For a time, Marie takes a job in a funeral parlor as a hostess and “consoling angel,” work that she takes to. “I didn’t necessarily plan or make up these deaths [to structure the story],” McDermott said. “It’s just reality. That’s the way life goes, unfortunately. There are births in the story that could be said to serve the same purpose. Birth and death are the bookends of her story. The darkness before birth and that after death. I’m interested in her time in the light, of giving her some kind of awareness between those two marks of the story.”
You’re always a first-time novelist, no matter how many books you’ve written, a novice telling a story that you haven’t told before. McDermott is celebrated for the wonderfully and deeply realized characters in her novels. Her 1998 novel, Charming Billy, is the atypical story of an alcoholic from an Irish family that dashes stereotypes as it creates another of the author’s singular ghosts (Billy’s story opens after his death). Charming Billy won the National Book Award. Two of her seven novels — 1992’s At Weddings and Wakes and After This, from 2006 — have been finalists for the Pulitzer Prize. In McDermott’s work, plot is secondary, a kind of natural occurrence rather than an engineered construct. “I’m more interested in character than events,” she said. “I’ve observed that about myself, as a writer. I find events, even the most dramatic sort, not to be such fertile ground. Things happen, then they’re over. What interests me is what each individual character makes of what happens. Character is primary. What happens as far as plot and events is not as intriguing to me as what’s happening inside this particular person.” Someone, published in 2013, is an especially tight example of McDermott’s character development and discriminating eye toward setting and circumstance. The way shadows fall, the ache felt in a scar, the smell of that baking bread — each contributes to meaning, not so much in a thematic sense but in character awareness and a certain inevitable progression, even if it comes in a jumble of chronology. “It’s something I’m always aware of and striving for, how the artifacts of the story fit, the art of bringing them together, to orchestrate a tale so everything is contributing another layer of meaning
Patrice Glibert
IN
CHARACTER BUILDER that’s conveyed on the surface and beneath the surface, in obvious and subtle ways. Our task as fiction writers isn’t just to report something that didn’t really happen. We have to give what we write a sense of reality. The tool of our tradition is language. For me, it’s getting language to approach the things for which we have no language, things we can intuit but can’t express. That’s what we do: manipulate language in a way that something new is conveyed.” McDermott teaches at Johns Hopkins University in Baltimore. “I’ve always tried to pretend this writing is a real job, so I teach one day a week and the other four I try to be at my desk,” she confided. “I tend to do a normal nine-to-five working day. But life sometimes gets in the way.” She works on the skills of fiction with her students but also develops their courage. “The craft and mechanics of writing can only take you so far. Then you get to the point [where] you’re stepping into thin air. You’re looking for the magic thing, the thing that can’t be said, and somehow you have to say it. It’s setting an impossible task for yourself and then achieving it.” In the last year, promoting Someone has taken precedence over writing, but now she’s ready to “get back to the grind.” She admitted to currently working on two novels — one well along, one still unwinding. “I don’t really feel any pressure to work, to produce,” she said. “But once you get back to your desk and away from the distractions of publishing, it’s both a wonderful and a terrible thing. You’re always a first-time novelist, no matter how many books you’ve written, a novice telling a story that you haven’t told before. Everything else about publishing — how the book gets to the reader, how critics judge its success — is all out of my hands. My obligation is to keep pounding away at the words.” ◀
details ▼ Alice McDermott in conversation with Michael Silverblatt, part of the Lannan Foundation’s Readings & Conversations series ▼ 7 p.m. Wednesday, Oct. 22 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $6, discounts available; 505-988-1234, www.ticketssantafe.org
2014
THE ART AND ARTISTS OF THE
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A N N I V E R S A R Y by J U DY T U WA L E T S T I WA
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W E A V I N G J E W E L R Y F O L K
A R T
P O T T E R Y SCULPTURE P A I N T I N G
5PM
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Artist Stops - To view artist samples, go to our website.
G A L I S T E O
To Rt. 14: Madrid, Cerrillos & San Marcos
1- JANET PFEIFFER -BeesWing Studio --NM landscapes --encaustic
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2- SHAUN GILMORE - Visual art-paintings, drawings, sculpture and prints
5- VERNON WILSON - Paintings, drawings and hand-pulled prints 7- AMY SEALOVE - Original sterling silver and bronze jewelry 8- RENAISSANCE STONE CARVING STUDIO - Artisan stone carving 9- NICHOLAS TROFIMUK - Beautiful fine art photography 11- DONNA MITCHELL - Hand woven rugs and saddle blankets 12- PRISCILLA HOBACK - Murals and paintings, clay & minerals 13- BARBARA KING - High fired porcelain & stoneware - functional and art 14- BARBARA HOLLOWAY - Contemporary handwoven artwear
4 the
RANCHITOS de GALISTEO Camino Libre
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Marcellina Lane
. 5 mile
9 Chevy Lane
Camino Los Abuelos
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CR42 10 11 The H ill Via Si
Rt. 41 ʻLa Sala de Galisteoʼ Restoration
INFO &MAPS
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Restroom at the church Restroom in the Community Center Lot
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The Old Bridge
The Galisteo Creek
La O t ra Vanda
Ave . Vie ja
10- JIM SLOAN - Buckeyes
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ga Ve La
6- SAM SLOAN - Photography of the southwest
Camino Cabreros
Camino San Cristobal
4- BARBARA SEILER - Fine art photography and clay art
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Linda Vista Stables
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CR42 La Jara
INFO & MAPS at ʻLa Sala de Galisteoʼ
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3- GAIL GILES - Contemporary & southwest weavings; jewelry & accessories
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To Rt. 285, Santa Fe & I-25
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McKee Road
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Map Not To Scale Mileage noted is accurate
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Via La Puente
GVFR
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El Tanque Viejo
15- GALISTEO COMMUNITY CENTER ANNA CÁRDENAS - Hand-built micaceous pottery, ceramics, sugar-keepers with New Mexico clays 13 FREDDIE CÁRDENAS - Oil paintings of landscapes, ‘camposandos’, New Mexico skies ja Vi e KENNY CHAVEZ - Recycled folk art: hanging vases, bottle cap snakes nida Av e MARGRETA CORDERO - Small sculpture & paintings, jewelry and Nacha Mendez CD’s RICHARD FENKER - Fine art photography, framed and prints To Stanley, 23- LUCINDA SNYDER - “bags that are stylish, EVELYNE FRANCESCHI - Hand made Chocolates Moriarty & I- 40 impeccably made... attention to detail...” 16- FRANK & CINDY LUX - Functional stoneware pottery; abstract paintings 24- JULIA CAIRNS - Lively, colorful, whimsical artwork 17- JEAN ANAYA MOYA - Traditional New Mexico straw appliqué originals, prints, cards & fabric; also childrens’ books 18- KAREN PRADO - Holistic art, leather purses, medicine bags, wall hangings 25- ELIZABETH ROSE - Figurative sculpture- cut steel, ceramic, 19- JUDY TUWALETSTIWA - Paintings, photographs and cards
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Food Stops A
Muffy Barnes Grilled Cheese Banh Mi Grilled Cheese Sandwich Southern Grilled Cheese Sandwich Ham and Cheese Sandwich Side: Sous Vide Egg
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Galisteo Beach Club --Wraps or Plates Ginger Sesame Grilled Salmon w/ Wasabi Slaw Grilled Organic Lamb w/ Mint Red Onion Relish Grilled Chicken w/ Avocado Relish Grilled Balsamic Autumn Vegetables with Feta All served with a side of organic baby greens Chocolate Mint Brownies, Apple Crisp, Grilled Peaches (a la mode ), Beverages
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La Cocina de Mela Homemade Spanish foods - tacos, burritos, beans, posole, Melasʼ Red Chile, sopapillas Drinks & LOTS more!
bronze for garden or home; wallpieces, paintings, large and small
20- LORRAINE WEISS - Hand made vintage amulets, symbolic pieces, gems.
26- LOISIA L. WATSON - “Expressions in color... healing with art.”
21- JENNY STOCKER - Etchings, lithographs, woodcuts, drawings
27- JANICE WALL - Mixed media monoprints
22- VICKI SNYDER - Wood-fired functional ceramics
28- EVELYNE FRANCESCHI - Hand made Chocolates
Community
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Robert Nott I The New Mexican
Where the JOBS are SFUAD’s Laura Fine Hawkes aims to get grads working
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hildhood exposure to theater and opera drew Laura Fine Hawkes to the stage — and then behind the scenes. She studied drama in high school before graduating from the theater program of the College of Santa Fe, now Santa Fe University of Art and Design, as an acting major in the early 1990s. But a love of visual arts steered her toward the technical side of the discipline, where she helped build and paint sets while also taking sculpting and painting courses on campus. After moving to Los Angeles to try her luck as an actress, she quickly learned that working as a technician offered a more dependable living. “The smartest people in the industry were working in scenic design,” she said during a recent interview in the Greer Garson Theatre at SFUAD. “I found that there was more work every single day.” Plus, as a die-hard opera fan, she said, “I could watch opera singers all the time if I designed for opera.” Fine Hawkes worked as a designer for the Center Theatre Group at the Mark Taper Forum and the Geffen Playhouse, both in Los Angeles; the Houston Grand Opera; the Houston Shakespeare Festival; and other nationally known performance-arts groups. She designed sets for several academic institutions — including SFUAD — and worked as an art director for televised concerts, events, and commercials. SFUAD hired Fine Hawkes this summer to chair the Performing Arts Department. She succeeds John Weckesser, who retired from the school in December 2013 after working there for nearly 50 years. Larry Hinz, president of SFUAD, said Fine Hawkes brings the experience of a working professional into the classroom. “She is living the life our students and graduates pursue,” he said. “As an alumna, she has a love for Santa Fe, a love for our school, and a passion for our students.” She’s also bringing a visual artist’s eye to upgrading the school’s technical systems. That includes reconfig-
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PASATIEMPO I October 17-23, 2014
goal is to train the department’s 125 students, including 53 incoming freshmen, to land jobs once they graduate. “I don’t know any other way to train except to teach them how to work and how to adapt: inform them [of] what the industry is seeking and prepare them for those jobs,” she said. Current students are unlikely to see many changes this semester, but the new chairwoman hopes to introduce some fresh ideas by January. She wants to cross-train theater department students with film department and creative writing department programs on campus, among other goals. A diverse skill sets helps students, as it helped her, work outside traditional theater arenas. Fine Hawkes, for example, created the Air Force One Discovery Center in the Air Force One Pavilion of the Ronald Reagan Presidential Foundation and Library in California and she was art director for the live-streamed multimedia show 24 Hours of Reality: Cost of Carbon, for Al Gore’s Climate Reality Project. Though she had no hand in picking this fall’s dramatic offerings, as that was decided before she came aboard, she will play an artistic role in the spring lineup. In terms of a season, she said, “We remain a training ground for young performers and technicians. That is the crux of why we exist. Unlike a theater company with a mission toward solely new works, we have a responsibility to expose students to the breadth of theater repertory and musical theater canon [they will encounter] in their future careers.” She is married to Chris Hawkes, who works at the university as the theater department’s new technical director. (“It is a dual appointment,” she said.) Her contract allows her to work as Laura Fine Hawkes an art designer for outside companies, though she hasn’t committed to any projects as she seguring the roughly 500-seat Greer Garson Theatre into ues into her new role as department chairwoman. “It’s a 140-seat theater-in-the-round on the existing stage. the same and yet it’s different,” she said of the theater Fine Hawkes is aiming for a smaller theater audience department from which she graduated 20 years ago. “But because attendance has dropped off in the past few there is a new movement going on that is exciting. ... I years. Part of that, she said, is a challenge faced by many want to see if I can bridge that gap between stage and performance-arts groups: aging audiences dying off and camera and ‘themed’ entertainment. Whether it’s a live an inability to attract younger audiences. When the show in an apartment complex in Abu Dhabi or Cirque private Laureate International Universities worked with du Soleil or a television show or web show, there are jobs. the City of Santa Fe to take over the College of Santa Fe It’s an endless string of possibilities for our students.” almost five years ago, she said, “We did apparently lose That includes training them in the techniques of much of that long-cultivated audience. I suspect that theater-in-the-round — an approach that drives the was due to initial community reaction and/or hesita- season opener, Neil LaBute’s Some Girl(s), directed by tion regarding the transition in ownership.” Her main Gail Springer. ◀
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Gail Springer writes in the director’s notes for her production of Neil LaBute’s dark comedy Some Girl(s), many of us have probably used Google to seek out past lovers to contemplate the romantic road not taken. LaBute’s play, which had its U.S. debut at the Lucille Lortel Theatre in New York City in the spring of 2006, follows a man in his early twenties named Guy who decides, in his last days of bachelorhood, to revisit four old flames for reasons that aren’t entirely clear until the play is nearly over. One of the women was a jilted high school girlfriend. Another is still open to fooling around. The third — an older, married ex — wants to get even. And the fourth has a surprise for Guy, as he does for her. Springer said the play asks us to contemplate what people really mean when they talk to each other in the heat of love, particularly when ego keeps cutting into the romance. “The man has a very different perspective of what it was all about than the four women,” Springer said. LaBute’s writing, she said, is controversial in that “it’s unclear whether it’s funny or horrifying.” The play does feature some mature themes, including adult language and some disrobing, and thus is most appropriate for those sixteen and older. The play opens at 7 p.m. on Friday, Oct. 17, and runs for two weekends at the Greer Garson Theatre on the campus of the Santa Fe University of Art and Design, 1600 St. Michael’s Drive. Sunday performances are at 2 p.m. Tickets are $5 and $15. Call 505-988-1234. Some Girl(s) opens a fall season that continues with a studentdirected production of Elaine May’s Hotline from Nov. 7 to 9; Donald Margulies’ Get a Room — The Room Plays 1: Misadventures or I Don’t Know What I’m Doing, directed by Springer, on Nov. 16; Stephen Adly Guirgis’ Den of Thieves, directed by Jon Jory, opening Nov. 21 for a twoweekend run; and a musical theater and dance workshop performance on Dec. 12 and 13. — R.N.
New Fall Menu Come in for a taste of Chef Cristian’s spin on fall flavors. Featuring butternut squash and pumpkin ravioli with a touch of nutmeg and ricotta cheese, served in a brown butter sage sauce. Don’t forget to make your reservations for the holidays ahead of time. We have private dining rooms, we cater banquets large and small and we are open on Thanksgiving. Buon Appetito!
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VISION COMES FROM WITHIN
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BASED ON AN INCREDIBLE TRUE STORY WRITTEN DIRECTED BY BRAMHOOVER AND TONIHOOVER BY DYLANBAKER
SFUAD students Jade Scott Lewis (Guy) and Shelby Gray (Bobbi) perform in Neil LaBute’s Some Girl(s); all photos Eric Swanson, courtesy SFUAD
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23
TERRELL’S TUNE-UP Steve Terrell Bill Hearne gets Real Back in the mid-1970s, probably before I was quite 21, my pals and I crawled into a hopping little honky- tonk way on the south end of Cerrillos Road called the Bourbon & Blues. At least, it was considered way south back in those days. Playing that night was a couple — a blind couple — from deep in the heart of Texas. Nobody I knew had ever heard of them before that night. But somehow they packed the place. They played a lot of country classics, a bunch of Jerry Jeff Walker songs. The dude in the thick glasses and Hoss Cartwrightsized cowboy hat flat-picked his guitar with unassuming grace, while his wife’s piano sounded like
who lives in Alamosa, Colo., but has many musical cronies in Northern New Mexico. Numerous area pickers and singers perform on it, as well as some notable Texans, including piano man Earl Poole Ball (best known as Johnny Cash’s piano player, though he also played on the Byrds’ landmark country-rock album, Sweetheart of the Rodeo), and Jerry Jeff Walker, who sings his own “Dust on My Boots” with Hearne. Hearne never has claimed to be a songwriter, but he’s got a knack for taking others’ material and making those songs his own. On the new record, he draws from some familiar sources: Guy Clark, Lyle Lovett (Hearne has shared the stage in Santa Fe with Lovett,
My very favorite Hearne songs have always been the hard-core honky-tonkers. On All That’s Real, he does a crackerjack cover of a true touchstone of the genre,“City Lights,” which was written by “Whispering” Bill Anderson but is most associated with Ray Price.
something from some archetypal Old West saloon. The beer flowed that night at the B&B, and the dance floor was no place for claustrophobics. I believe everyone left the place that night a fan of Bill and Bonnie Hearne. In 1979, the Hearnes moved from Texas to Red River, where they made a living playing for ski crowds. After more than a decade there, they moved to Santa Fe and quickly became a fixture. Now Bill Hearne is the undisputed king of country music in Santa Fe. He’s releasing a new CD, All That’s Real, which, like most of his recordings, I can’t listen to without drifting back to that first appearance at the Bourbon & Blues. Bonnie, who has been retired for several years due to medical problems, even sings on a couple of songs. All That’s Real is co-produced by Bill Hearne and Don Richmond, a master of many stringed instruments
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PASATIEMPO I October 17-23, 2014
a fan of Bill and Bonnie since he was a kid), Delbert McClinton, and Gordon Lightfoot. There are so many highlights here, it’s hard to know where to start. The album starts with a Clark gem called “Rita Ballou” (“Hill country honky-tonkin’ Rita Ballou/Every beer joint in town has played the fool for you …”). Both McClinton numbers — “Ruby Louise” and “Real Good Itch” — are among the best on the album, both having a roadhouse rock ’n’ roll edge. Bonnie Hearne sings harmonies on “Real Good Itch” as well as “One of These Days,” a tune best known for Emmylou Harris’ version. I wouldn’t have complained had Bonnie sung lead on that one. My very favorite Hearne songs have always been the hard-core honky-tonkers. On All That’s Real, he does a crackerjack cover of a true touchstone of the genre,
“City Lights,” which was written by “Whispering” Bill Anderson but is most associated with Ray Price. When I saw that this album had a version of Leonard Cohen’s “Bird on a Wire,” my first thought was that this might not be the best tune for Hearne to tackle. Fortunately, though, he sings it with soul. The song is aided by Richmond’s pedal steel and Taos rocker Jimmy Stadler’s organ and piano. All That’s Real makes me proud the Hearnes made Santa Fe their home and nostalgic for the glory days of the Bourbon & Blues. The official CD release party for this album is scheduled for 7:30 p.m. Oct. 28 at La Fonda, where Richmond joins Hearne onstage. If you can’t wait, Hearne plays Saturday, Oct. 18, at the Cowgirl BBQ; Monday and Tuesday, Oct. 20 and 21, and Oct. 27 at La Fonda; and back at the Cowgirl for a solo happy-hour gig on Oct. 24. Also recommended: ▼ Joe West’s Theater of Death. If West only concentrated on writing, performing, and recording his songs, he’d still be pretty darn remarkable. For well over a decade he’s been my favorite singer/songwriter from these parts. But West’s spirit is a restless one. In recent years he has expanded his game, slipping the surly bonds of genre and medium, experimenting with time-traveling transvestite rock opera, avant-garde radio, and, of late, the stage. Last spring he created a dramatic ensemble called Theater of Death and performed a series of dark, oneact plays at Madrid’s Engine House Theatre. This shouldn’t be a surprise, considering that West started out in the theater years before he became a professional musician. And now, with a group of musical conspirators, he has recorded an eight-song extended-play album of tunes from that show. Three of the selections are titled “Zombie Jam.” They’re sinister-sounding instrumentals — mostly blues and spook-house jazz — the first of which includes some bursts of sound collage and fake newscasts. A song called “La Llorona” has Busy McCarroll singing in Spanish and “Rien Rien” features Lori Ottino singing in French. And there’s a phony radio ad for snake-oil patent medicine. A couple are soon-to-be-classic West songs. “Dysfunction” offers a sardonic ray of hope for folks rising from bad life circumstances. “Night on the Town” is a sweet tune about an elderly couple celebrating their wedding anniversary. (“Tonight we’re gonna party like it’s 1952,” he sings.) This EP will be sold at the upcoming performances of the new Theater of Death production, “The Absinthe Plays.” These are on Oct. 24 through Oct. 26, Oct. 30 through Nov. 2, and Nov. 7 through Nov. 9 at the Engine House Theatre, 2846 N.M. 14 in Madrid. The show starts at 8 p.m. except on Sundays, when curtain time is 3 p.m. Tickets are $20. ◀
2014 Luminaria GaLa LeopoLdo the Frog sunday, november 9 | 4:oo pm
tickets: $10 per person with a child $25 per adult without a child location: united church of santa fe
2014 Luminarias
from left to right: SuSan herrera of eSpañola, Dutch Salmon of Silver city,
pam roy of Santa fe, richarD moore of albuquerque, carmella paDilla of Santa fe, triSha moquino of cochiti pueblo, charmay allreD of Santa fe
saturday, november 1st
Captivating Tales from the Opera Swamp!
featuring the hall ensemble
5:30 pm
La Fonda on the pLaza in santa Fe tickets $150
speciaL musicaL perFormances by
roberto mondraGón and cipriano viGiL for SponSorShip, table anD ticket information call terry mulert, Director of aDvancement 505.820.6860 ext. 17 tmulert@nmcf.org www.nmcf.org
Photo © Don Usner
ticketsSantaFe.org | 505 988 1234 performanceSantaFe.org | 505 984 8759
Partially funded by the City of Santa This project is supported in part by New Mexico Arts, a division of the Department Fe Arts Commission of Cultural Affairs, and by the National and the 1% Lodgers’ Tax. Endowment for the Arts.
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26
PASATIEMPO I October 17-23, 2014
PASA TEMPOS
album reviews
JASON FEATHERS De Oro (Totally Gross National Product) With his ghostly falsetto and his lyrical infatuation with rural Wisconsin, Justin Vernon is an unlikely candidate for a collaboration with the hip-hop singer. Yet the Bon Iver frontman has lent his haunting voice to some of the most arresting tracks on Kanye West’s last two albums, My Beautiful Dark Twisted Fantasy and Yeezus. But Vernon pushes things into much stranger territory with his contributions to De Oro, a satirical concept album he co-wrote, produced, and performed with the Florida-native and Minneapolis-transplant alt-rapper Astronautalis. The mix of syrupy crunk beats, electro synthesizers, and vocoder overdubs is surprisingly well matched to Vernon’s high-pitched crooning, and Astronautalis’ wordplay-filled raps. In the album’s concocted narrative, the two indie singers re-create themselves as a space cowboy and a Southern rapper, swaggering studs out to scandalize the small towns of the Florida Panhandle. It’s a fantastic album, but one that would paradoxically embarrass many of its listeners were it to spill from their car windows or earbuds. Over nine tracks, the two men, in their fictional identities, make pseudo-boasts of sexual conquests at a Courtyard Marriott and indulge in gangster posturing at a Golden Corral’s buffet line. But they do so in the company of some of the most luscious beats and hypnotic choruses to come out this year. It’s high camp meets high art, a seriously unserious rap album, or perhaps hip-hop’s first spaghetti western. — Casey Sanchez CARIBOU Our Love (Merge Records) Dan Snaith (aka Caribou) begins his latest effort with “Can’t Do Without You.” The subtle dance track uses the phrase as a mantra — Snaith loops it at a low frequency for a few measures before springing the phrase into a ghostly falsetto — while building to a frenzy, bringing the plaintive sentiment into a beehive of loud beats and buzzing sound effects. It’s quite the entrance for an album that spends the rest of its duration taking things down a notch. This is not always a bad thing. “Silver” is a soul song that appears to simply hover in space, and “Mars” lets a flute slither across a minimalist, Eastern-style beat. However, elements of Our Love feel rehashed from the last decade of trends: it has elements of the laid-back, hazy genre of chillwave, as well as the soulful mumbles and yacht-rock nods of what’s become known as “indie R&B.” Whether or not your ears have been tuned to those subgenres, you’ll likely enjoy the way he condenses the best aspects of them into brief songs. Snaith’s specialty is in making sampled sounds advance and recede like they’re running laps and you’re standing at one end of the track. It’s an alluring trick that helps produce hypnotic headphone music, but as with much of the album, it’s a trick we’ve heard before. — Robert Ker
2014 Galisteo Studio Tour
October 18 & 19 | 10:00 to 5:00 | Galisteo Village PASATIEMPOMAGAZINE.COM
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“The First Amendment reads more like a dream than a law, and no other nation, so far as I know, has been crazy enough to include such a dream among its fundamental legal documents.”
KURT VONNEGUT, JR. Writer
“Congress shall make no law... abridging the freedom of speech, or of the press.” -The First Amendment of the Constitution of the United States of America
santafenewmexican.com 28
PASATIEMPO I October 17 - 23, 2014
RANDOM ACTS Un escen na Andalou
La Emi, Em miArte Flamenco director Emmy Grimm, presents a program of dance and song at 8 p.m. on Friday, Oct. 17, at Skylight (139 W. San Francisco St.). The show features Frankfurtborn Juan Siddi, who came to Santa Fe to work with consummate flamenco artist María Benítez in 2002. Now he’s the artistic director and lead dancer of the six-year-old company Juan Siddi Flamenco Santa Fe. Joining Grimm and Siddi are company singer Kina Méndez, who was born into the Méndez clan of Gypsy artists in Jerez de la Frontera, Andalusia; and guitarist Joaquin Gallegos, a Santa Fe native who studied in Andalusia and Granada, Spain, and has performed internation nally. Tickets for the all-ages performance are $10 in advance at www.skylightssantafe.com and $15 att the door. Call 505-982-0775 for more information. — Paul Weideman
THIS WEEK
An Amerrican once dated a Quebecoise
From Spain with love
What morre can be said about Of Montreal? The distii nctly American indie band has coasted on n many musical trends since forming in 1996 without ever becoming truly mainstream. Th heir continued relevance is in great part due to o frontman Kevin Barnes’ proclivity porate various musical influences to incorp — from glam rock to electronica to R&B — into the band’s evolving style, all the while maintainiing a radio-friendly (yet not too radio-frien ndly) base of musical operations. On this to our, Of Montreal is largely pushing materiial from 2013’s critically acclaimed Lousy With Sylvianbriar, though the band has a 13th h album, Aureate Gloom, expected out in 2015. The band arrives at Skylight (139 W. San Francisco St.) on Sunday, Oct. 19, with Seattle-based indie/synthpop tour mates Pillar Point. Tickets for the all-ages show are $20 and can be purchased in advance at www.holdmyticket.com (service fees may apply). Doors open at 7 p.m.; the music starts at 8 p.m. For more information, visit www.skylightsantafe.com or call 505-982-0775. — Loren Bienvenu
The Santa Fe Symphony continues its season with a return visit from guest conductor Oriol Sans. A native of Catalonia, he received his musical training at several schools in Barcelona and the University of Michigan, where he earned his doctorate in conducting in 2011. He’s among the candidates eager to assume the position of principal conductor with the ensemble. He’ll lead Rossini’s William Tell Overture, Arturo Márquez’s Danzón No. 2, Joaquín Rodrigo’s ever-popular Concierto de Aranjuez (with guitar soloist Jason Vieaux), and Tchaikovsky’s Symphony No. 4. The 4 p.m. concert takes place at the Lensic Performing Arts Center (211 W. San Francisco St.) on Sunday, Oct. 19. Tickets ($11-$76) can be purchased through www.ticketssantafe.org or by calling 505-988-1234. — James M. Keller
Breadth of breath
Ernö Dohnányi was a powerhouse pianist with a particular penchant for Mozart, Beethoven, and Schubert. When he was a young man, his compositions earned accolades from Brahms. After living for decades in Budapest, he met with anguish in World War II: One son was killed in combat, and the other was executed for trying to assassinate Hitler in n 1944. To put these tragedies behind him, he moved firstt to Argentina and then to the United States, wheree he spent years as the musical kingpin of Floridaa State University. Serenata of Santa Fe offers hiss rarely encountered Sextet for Piano, Violin, Viola, Cello, Clarinet, and Horn (from 1935), which by turns suggests Brahms, Strauss, and Korngold. Also on the program are the Trio for Clarinet, Horn, and Piano (circa 1905) by the fecund Carl Reinecke and the Temporal Variations for Oboe and Piano by Benjamin Britten (from 1936). This “Temporall Light” concert for wind aficionados takes place at First Presbyterian Church of Santa Fe (208 Grant Ave.) at 7:30 p.m. on Friday, Oct. 17. Find tickets ($15-$30, with student discounts) through www.ticketssantafe. org or by calling 505-988-1234. — J.M.K.
PASATIEMPOMAGAZINE.COM
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Michael Abatemarco I The New Mexican
The apprenticeships of Eugene Newmann
An artist ponders living and learning
E
ugene Newmann’s paintings seem to straddle a line between figuration and abstraction. If there ever was a clear distinction between those genres in his work, it has disappeared — after all, most contemporary art seems to blur those lines by definition. Newmann, who received a 2008 Governor’s Award for Excellence in the Arts, is self-taught. Born in Bratislava, Czechoslovakia (now the capital of Slovakia), in 1936, he grew up in Barranquilla, Colombia (Spanish is his first language), and New York City. In the 1950s he attended the University of Chicago, getting his bachelor’s degree in business in 1957. He was also introduced to philosophy during his time as a student. “There was no art making,” he told Pasatiempo. “They had an art history program, but they left the art making to the Art Institute of Chicago. The college was a snobbish place. We had to study Socrates. He thought that painting was a strange business. He thought the world was an illusion, and why would you want to make an illusion of an illusion? The
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PASATIEMPO I October 17-23, 2014
position was logical. The world was unreal, so what are you doing faking what’s unreal to begin with?” Newmann’s current exhibit, Selections: Then and Now, on view at David Richard Gallery, is an assortment of works spanning more than 40 years. The show includes paintings in oils, watercolors, and acrylics, as well as monotypes. The pieces from the 1970s were made soon after his 1972 move to Northern New Mexico from the Monterey Peninsula, where he met his wife, Dana. Though Newmann has been engaged with art from a young age, he received little encouragement from his orthodox Jewish family, which considered artistic representations to be idolatrous. But in the 1960s, when Newmann was in Monterey, cities along the California coast were alive with the spirit of the counterculture movement. In the arts, it was a time of experimentation and challenges to the status quo. “I lived [on] the Monterey Peninsula from ’62 to ’72,” Newmann said. “Dana was good friends with Joan Baez. I was not as much. At that time, I was
not very sociable. For about a year and a half I was a bartender at one of the bohemian bars. It was called the Palace, and it was built into the old Cannery Row. Before it became gentrified or upscale, it was mostly derelict canneries. There were two or three of these joints where you could occupy the cannery space, and there were artists living in the cracks. A group of us got together and got some old cannery equipment, including these wonderful maple boards we used to make the bar. A photorealist painter did a fool-the-eye continuation of the room into the cannery. It was a place where drug dealers, musicians, and writers hung out. Down the coast, in Big Sur, there was the beginning of Esalen Institute. It was a hippie place — I mean, it was hip.” Several works on exhibit are from the collection of David Hill, who founded, along with David Douglas, Santa Fe’s Collected Works Bookstore, now coowned by Dorothy Massey and her daughter Mary Wolf. “In the early years, David supported a lot of us by buying work. He bought Sam Scott’s work, Julie Sullivan’s, mine, Frank Ettenberg’s. He used to put up paintings in the bookstore. Over the years he accumulated a lot of my work.” The pieces from Hill’s collection come primarily from a group called Small Bodies, in which figures are suggested but are largely abstract. “They all referred to the tradition of the reclining nude,” said Newmann. Other selections include works from the artist’s more recent series, Riff, which draws its title from improvisational jazz; Fragments/Figments; and Falling, Falling, Fallen, which evolved out of Newmann’s interest in artistic representations of Christ’s deposition from the cross. For those works, the artist appropriated and adapted gestures and forms directly from the masters of that genre, including El Greco, Édouard Manet, and Francisco de Goya. “I did all these depositions a few years ago based on Caravaggio’s and other artist’s depositions, because of my interest in the imaging of death. I got to be sixty-five or seventy years old, and I thought, it’s time to take account of that fact in some way. In the Western tradition, it’s been taken account of by the religious painters. The deposition is an interesting moment, because Christ is neither quite dead nor quite alive. In my kind of metaphorical thinking, painting is not quite dead and not quite alive. It’s sort of in some limbo between being vital and being just material, dead stuff.” It’s almost impossible to discuss Newmann’s work without referring to the figure, because it’s there, time and again — just not always in an explicit or even recognizable way. Sometimes the gesture of a body in motion becomes a linear brushstroke in a painting that reads as more purely abstract than figurative. Somewhat reluctantly, Newmann
Eugene Newmann: Small Bodies 14, 1984, oil on canvas; opposite page, Man Reading, 1979, monotype
is giving a talk, “Figuration and Abstraction in Contemporary Painting,” along with Gregory Botts at the David Richard Gallery on Saturday, Oct. 18. He wonders what, if anything, is left to say on the matter. “I don’t know that there’s a useful distinction to make,” he explained. “At one time, it was a stance that one took; you were asked to be a hero either for abstraction or figuration. It’s not that the distinction has disappeared, but it’s been superseded by other issues. I don’t know if there’s much point in beating around about it anymore. I’ve heard about that distinction in my life, and I’ve said a lot about it. I’m not sure exactly what it is that I said, but it counted at the time.” However, reluctance from a man who once told Pasatiempo that he “had gone from being totally unknown to being celebrated in New Mexico without ever passing through success” comes across more as humble than reluctant — and, it turns out,
the artist does have a lot to say on the matter. “I started painting in the mid-1950s. At that point, you had to declare. How were you going to approach making an image? There were just a ton of propositions, and it was something to develop. I can’t figure that some kind of ideological position is going to be the ticket to a new image for me. If you’re young, that’s a different story. Plant your flagpole and say, ‘Here I stand.’ I’ve never been loyal to either one of those things. Because of that — I know people don’t accept this — I kind of think of myself as a dilettante, an amateur painter. I didn’t go to school. I didn’t belong to any faction. I never showed with groups who had a position or point to make. I still don’t. What you see is an image. The world is an image. It has incredible amount[s] of relevance to different parts of one’s life and sight. It’s a recognition thing. It’s an alert. It’s an alarm. It’s beautiful. It’s a report on reality. The way people think about
it is: What are the recognitions involved? You can recognize a clearly specified world component, and, if not, it’s appealing to you on some other level where you don’t quite know what the reference might be. In that sense, every image is both abstraction and figuration. People will try to find that horse in there no matter what.” ◀
details ▼ Eugene Newmann, Selections: Then and Now ▼ Opening reception 5 p.m. Friday, Oct. 17; exhibit through Nov. 22 ▼ Artist talk: “Figuration and Abstraction in Contemporary Painting,” with Eugene Newmann & Gregory Botts, 2 p.m. Saturday, Oct. 18 ▼ David Richard Gallery, 544 S. Guadalupe St., 505-983-9555
PASATIEMPOMAGAZINE.COM
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Linda Carfagno
F
d e n n e t p F e i l d m n I F e e s F t a i v t n a a l S s w l i l n u g f in ilm festivals in small mountain towns are hotbeds of indie creativity and high-level networking, places to see movies that subvert the typical formulaic Hollywood fare. A positive reception on the festival circuit can ensure the success of a movie made for next to nothing and bring attention to small films from around the world. According to Indiewire and MovieMaker magazines, the Santa Fe Independent Film Festival,
Dave Moore, Jacques Paisner and Liesette Paisner
Santa Fe Independent Film Festival continues through Sunday, Oct. 19, at the Lensic Performing Arts Center, 211 W. San Francisco St.; Center for Contemporary Arts, 1050 Old Pecos Trail; and Jean Cocteau Cinema, 418 Montezuma Ave.; $250 festival pass includes parties & receptions, $10-$25 individual shows; www.ticketssantafe.org.
now in its sixth year and running through Sunday, Oct. 19, should be included on the list of well-known festivals like Sundance andTelluride, as well asToronto and NewYork. In the first year of SFIFF, 500 people showed up to watch movies. Since then it has grown exponentially, with this year’s attendance expected to exceed 10,000. Jacques and Liesette Paisner, festival co-founder and festival director, respectively, say SFIFF has become a tourist draw and moneymaker for the city. Films are
shown at the Lensic Performing Arts Center, the Center for Contemporary Arts, and the Jean Cocteau Cinema. The Paisners are often mistaken for a couple but are brother and sister. Liesette, 24, and Jacques, 34, look enough alike to pass as twins. They grew up in Santa Fe and went to the University of New Mexico. Dave Moore, the other co-founder of the festival, is also from Santa Fe and a UNM graduate, making SFIFF a truly homegrown endeavor. “We started the festival out of a love for film,” Liesette Paisner told Pasatiempo. “Though we dabble in film producing and writing ourselves, the festival is more about being cinephiles and finding what films will really speak to our community.” Films from past years, such as Tapia (2013) and Bless Me, Ultima (2012), might not have the significance elsewhere that they have here, she said, and Santa Fe audiences should have the opportunity to see them on the big screen.“We want to pick out those films and show why they are important.” The festival’s opening night, which was Oct. 15, featured a collection of short films made in New Mexico, including Bicycle Day, directed by Stephen Turselli, and Lightning in the Hand, directed by Joey Grossfield. Sun Belt Express, a feature-length dramedy about illegal immigration starring Tate Donovan, was made in Bernalillo, New Mexico, although it takes place in Arizona and Mexico. Director Evan Wolf Buxbaum and actor Miguel Sandoval, who lives in New Mexico and plays the movie’s multilayered villain, take questions from the audience following the screening at the Jean Cocteau on Saturday, Oct. 18, at 8 p.m. Additional short-film screenings include such thematic groupings as “Other Worlds,” “Labors of Love,” and “Strange Encounters.” Short films made by students in Santa Fe screen at 9:30 p.m. on Friday, Oct. 17, at the CCA. Panels with filmmakers, master discussions, and additional post-screening question-and-answer sessions — as well as various parties for SFIFF pass holders and invited guests — round out the film-oriented offerings. There are dozens of movies to choose from, including a wide range of foreign films and documentaries. A full
schedule of festival events is available at santafeindependentfilmfestival.com. Saturday features a noon horse ride to the Plaza led by Thundering Hooves, a grass-roots initiative to bring attention to the plight of wild horses; the event includes musical entertainment and activities for kids on the Plaza. Another associated event is the raffle to take home a new Tesla Model S electric car for the night, sponsored by the Jean Cocteau. Two of the cars are on display in front of the theater on Montezuma Avenue for the duration of the festival, and representatives are allowing test drives.To enter the raffle, stop by the display. Elsa and Fred, a comedy based on the 2005 SpanishArgentine film of the same name, revolves around two octogenarians who embrace a joie de vivre. It stars Santa Fe’s own Shirley MacLaine and a roster of big names, including Marcia Gay Harden, Christopher Plummer, and James Brolin. The screening at 6:30 p.m. on Saturday at the Lensic is preceded by the film festival awards ceremony, at which MacLaine receives a Lifetime Achievement Award. Jean Cocteau owner George R.R. Martin, author of the fantasy novel series A Song of Ice and Fire — adapted by HBO as Game of Thrones — also receives a Lifetime Achievement Award, and writer Hampton Sides accepts the American Author Award. Imogene Hughes, owner of Bonanza Creek Ranch, gets the Community Spirit Award. The Visionary Award goes to Ted Hope, CEO of Fandor, a streaming video service for movies outside the
mainstream, and producer of such independent films as In the Bedroom and American Splendor.That award is presented by Chris Eyre, director of Smoke Signals and Skins, and now director of the film school at Santa Fe University of Art and Design (SFUAD) and a member of the film festival advisory board. ThefilmfestivalhasapartnershipwithSFUADthrough which film students work as interns for the festival, helping out with everything from making photocopies to picking up the filmmakers at the airport.“We also get a few interns from Albuquerque, a few from New Mexico School for the Arts, and in past years from Santa Fe Community College,” Jacques Paisner said. “They get to be photographers, cut videos and reels, and if they stay on for a few years, we start adding responsibility.” Returning interns also get increased access to the festival. Liesette Paisner appreciates both the international makeup of the SFUAD student population and the youthful energy all of the interns bring to the SFIFF offices throughout the summer and fall. For the Paisners, the job is year-round; after struggling for the first few years, they are now able to make a living putting on the festival.“We thought we’d found a service that we could provide to local people, and it’s become something very rewarding, an honor to be able to shape something we wished we had as kids,” said Jacques Paisner. “We’ve developed a sense of responsibility from it and a sense of a film family in Santa Fe.” — Jennifer Levin
until he is officially licensed as a teacher; by contrast, Rapp has a warm relationship with his mother, who sews his costumes. Sven Schelker turns in a lovely performance as Rapp, both innocent and wise, pretty even when he’s not trying to look like Marilyn Monroe. He is not as political as some of his friends, perhaps because he is younger or because he’s never felt much need to hide who he is. There is tension between the old guard and the new — those who think the path to acceptance is fitting in and those who would rather be open about who they are. In 2003, when same-sex registered partnerships were legalized in Switzerland, Ostertag and Rapp were the first gay couple to legally marry. Ostertag finally came out to his family on his wedding day. — J.L. 102 minutes, not rated, Swiss German with subtitles, 5:30 p.m. Friday, Oct. 17, Center for Contemporary Arts, 4 chiles continued on Page 34
THE CIRCLE
True love can strike anyw ywhere. In 1958, a young teacher, Ernst Ostertag, joined The Circle, an underground group for gay men in Zurich. He meets eighteen-year-old Röbi Rapp, a hairdresser and female impersonator who sings at Circle parties, and immediately falls for him. We find out quickly that they stay together for life, because this is a true story, told through interviews with the couple and well-made dramatic re-enactments with actors playing their younger selves. The film moves between past and present with a pleasant rhythm; as the story unfolds, the interview portions provide a respite from the danger, and the passion, that Ostertag and Rapp experience as young men. The plot of the film concerns the consequences of being outed as gay men when Zurich was seen as one of the most open-minded cities in Europe. Homosexuality wasn’t a crime but, as we learn in the movie, the police could register men they suspected of being gay and create trouble for anyone whose secret got out. When a male prostitute begins killing his customers, the media bring police and public attention to The Circle, which has always prided itself on secrecy and encouraged its members to use fake names when socializing with one another. Against this backdrop, Ostertag tries to find his identity while dealing with his conservative, emotionally closed-off family and the pressures of keeping his sexuality a secret PASATIEMPOMAGAZINE.COM
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THE OVERNIGHTERS
Director Jesse Moss’ searing documentary, winner of a Special Jury Award for Achievement for Intuitive Filmmaking at the Sundance Film Festival, tells of desperate men who migrate to Williston, North Dakota, to work in the oil fields. Hydraulic fracturing is seen as a get-rich-quick opportunity, even for convicted felons. The unemployed laborers arrive with hopes of starting over but have nothing to begin with, not even housing. In the aftermath of the rush to Williston, rents have tripled and quadrupled, and the new arrivals, driven by a poor economy to travel great distances for work, find themselves homeless and unable to secure jobs. Concordia Lutheran Church pastor Jay Reinke takes them in, against the wishes of the town and many in his congregation. Their ranks swell to more than 1,000 over two years, and Reinke remains committed to 34
PASATIEMPO I October 17-23, 2014
housing and feeding them at his church, in the parking lot, and at his home. When city officials begin restricting the number of days the migrant workers can live in their RVs and campers, Reinke tells a town council that the new arrivals are a gift to the community. Accepting that offering is a burden, he says, but it expresses what it means to be a community and to be charitable, not merely as Christians but as human beings. The murder of a local resident is blamed on drifters and fuels the town’s fears of increased crime and stretched resources as more and more people arrive, but Reinke refuses to react with fear and implores the town to do the same. He makes his position, as well as the town’s, clear to the men so they know what they’re up against. He coaches them to maintain good, respectful relations and to be part of the community. The complaints of
community members and his congregation, justified at times, are increasingly superficial. One church member complains of cellphones disrupting services and dirt soiling the pews, but the alternative is people sleeping in their cars or on the streets. As controversial as the pastor’s decision is to take them in, his actions are inspirational, giving hope to those who have none. Reinke, who becomes a pariah to some residents, loses members of his congregation who are angry at his refusal to end the Overnighters program, even when it’s revealed that some of the men are unregistered sex offenders. Citing health concerns, the city attempts to end the program, giving the pastor 30 days to comply with zoning ordinances. “I don’t understand how a community can just simply turn its back on people who have no place to sleep,” says Reinke. He begins to question whether he belongs in Williston when a personal secret kept from his family becomes a crisis of faith. This deeply affecting, emotionally rich documentary wrings tears of compassion and sorrow up to its heartbreaking conclusion. The Overnighters is a devastating, timely, and unforgettable film. — Michael Abatemarco 90 minutes, rated PG-13, 12:30 p.m. Sunday, Oct. 19, Center for Contemporary Arts, 4 chiles
THE FOXY MERKINS
Margaret (Lisa Haas) and Jo (Jackie Monahan), two down-and-out prostitutes who turn tricks for women, make for an unlikely comic duo in Madeleine Olnek’s often-hilarious romp through the world of the sex trade. The beautiful Jo, an experienced pro from a wealthy family, takes the plain, overweight, but willing (if unsure of herself) Margaret under her wing to learn the business — and so begins a series of misadventures. Margaret learns the less-than-ideal but workable spots for sleeping (under the sinks and in the stalls of public restrooms, for instance) and how the Talbots store is the
place to scope out clients. Making things more complicated is Margaret and Jo’s tendency to misinterpret signals from prospective clients, which can lead to some amusing high jinks. The Foxy Merkins is a screwball comedy with a deadpan sense of humor that mostly works. But when it doesn’t — as in a drawn-out scene where what Margaret thinks is a prospective client follows her into a movie theater but turns out only to be interested in her popcorn — the comedy seems forced. The scene in the theater, where a children’s movie is showing, is funny enough, but the ensuing confrontation with the popcorn thief falls flat — as does an uncomfortable scene with two prospective clients attending a conference at a hotel. Olnek sneaks in some mockumentary-style interviews with prostitutes, and their stories often have a ring of truth. Desperation to survive drives some of
these women, while others see their actions merely as transactions. But the humor comes through, particularly when one hooker describes a tryst with a conservative Republican who only wants to flash her breasts and cry out, “Flat tax! Flat tax!” Margaret and Jo conduct most of their business in an upscale world of conservatives, in which they cavort with shopaholic swingers, wealthy cheapskates, and a veritable parade of loony characters. You can tell that Olnek leans far to the left, never wasting a chance to peak behind conservative facades to uncover the kinks lurking within. It’s a fun frolic with some guaranteed laughs that takes the buddy-film format to task while still giving us one more likable, if slightly skewed, twosome. — M.A.
Bututt waiaitit,th t theheerrree’s more moore!e Girlhood (Bande de Filles)
81 minutes, not rated, 6 p.m. Friday, Oct. 17, Jean Cocteau Cinema, 3 chiles Song From the Forest
Pie Lady of Pie Town
Trouble Dolls
A GIRL WALKS HOME ALONE AT NIGHT
Shot in black and white with rich contrasts that lend the film a bleak and claustrophobic atmosphere, A Girl Walks Home Alone at Night sets the proper tone for gothic horror. Sure to be a breakout hit at this year’s festival, it functions well as both offbeat horror and social commentary. The setting, after all, is contemporary Iran, and the subtext involves the age-old subservient role of women there. Most of the women we meet are prostitutes; most of the men are pimps and johns. But one woman is not what she appears to be. Horror, at its best, works as a foil to the status quo, holding up a mirror to our fears. A female vampire stalks the desolate streets of Bad City by night, preying on men, a story with roots in the succubus of folk legend, a female demon who uses sex to draw men to their doom. Although fictional, Bad City seems like just the sort of place where vampire superstitions still hold sway — and, like the classics in the genre, this film makes its vampire a haunted as well as haunting figure. (But, assuming its viewers are up on all the vampire lore, A Girl Walks Home wastes no time explaining anything.) The city itself is mostly vacant, except
for industrial machines that seem to run night and day. The film’s more surreal moments and its setting both recall the despairing landscape of David Lynch’s Eraserhead (1977). The lonesome vampire, played by Sheila Vand and identified simply as The Girl, speaks very little — but her hypnotic eyes express hunger and yearning in equal measure. We sense a being trapped by its very nature. The scenes in which The Girl stalks her victims are effectively creepy, but writer-director Ana Lily Amirpour deftly mixes comedy with the horror, setting her film to a memorable soundtrack of Persian rock and Europop. That the Girl is truly a monster is made clear in a scene involving a little boy. She asks him, “Are you a good boy?” He answers yes. Her warning to him, after threatening to feed his eyes to the dogs if he’s lying, is “Be a good boy.” Then she makes off on the lad’s skateboard in a scene of breathtaking beauty that manages to spook and elicit laughter at the same time. The Girl uses her strange power selectively, saving her demonic wrath for those who deserve it, particularly continued on Page 36
Buzzard
The Winding Stream
The Homesman
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men who brutalize and exploit women. This sets up an interesting romance between The Girl and the equally lonely Arash (Arash Marandi), a troubled young man who cares for his drug-addled father who’s also prone to having flings with prostitutes. Arash, who is different from the other men, expresses real concern for The Girl. This, we assume, moves her. One thing the film never makes clear is whether or not Arash knows The Girl’s secret (a late scene involving Arash’s pet cat suggests he does). It’s an odd little twist that keeps the viewer guessing. Amirpour’s evocative thriller may be the best of its type since 2008’s Let the Right One In. — M.A. 99 minutes, not rated, in Persian with subtitles, 8 p.m. Saturday, Oct. 18, The Screen, 3.5 chiles
SUN BELT EXPRESS
Allen King (Tate Donovan, who is very good at playing broken men) is a down-on-his-luck divorced dad in Tucson, Arizona, with a teaching job across the border in Mexico. His ex-wife, Margaret (Rachael Harris), is a state senator running for re-election. Their teenage daughter, Emily (India Ennenga), despises her mother’s conservative political platform and has begun spying on her father to figure out what went wrong in his
life. Allen, who was at one time a college professor, wrote a book on ethics. Now Emily carries that book around with her and quotes from it to her father. After discovering he’s transporting undocumented immigrants back to the United States after work, she hides in his trunk so she can take part in what she sees as his selflessness. Unable to change his plans once he discovers her, Allen picks up the four passengers. Everything goes smoothly until the car breaks down in
the Mexican desert, stranding the entire group — the men handcuffed and their pants removed — with a pair of gleefully racist U.S. law-enforcement officers. From this setup ensues a wacky road movie with a moral compass. This is not always a perfect film, but it tries hard, taking on Arizona immigration politics and the uneasy relationships between business owners and elected officials. We get to know the motivations and desires of the men stuffed in the trunk and of the woman Emily has ride with her and Allen in the car, and we watch a father and daughter learn to understand each other as whole people with ideas they care about. With her uptight body language and a general air of neurosis, Harris provides the requisite comic relief, while Miguel Sandoval is perfectly duplicitous as restaurant owner Ramon Velazquez, the man who pays Allen’s coyote salary. Standout performances come from Arturo Castro, who plays Miguel, and Mario Moreno, who plays Julian, two men trying to cross the border. They must travel in close confines, intimate as brothers. It would be easy for such a movie to pander to liberal sensibilities and exploit racial and cultural stereotypes, but Sun Belt Express — in many respects a traditional comedy with familiar beats — shies away from that type of cheap laugh. Some of the storytelling could be more original, but the plot is fresh enough to overcome the formulaic bits that sneak in at the end. — J.L. 91 minutes, not rated, English and Spanish with subtitles, 8 p.m. Saturday, Oct. 18 (director Evan Wolf Buxbaum and actor Miguel Sandoval will be present), Jean Cocteau Cinema, 3 chiles
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PASATIEMPO I October 17-23, 2014
TIME LAPSE
Jasper (George Finn), Finn (Matt O’Leary), and Callie (Danielle Panabaker), three roommates, discover their neighbor, a scientist (the great John Rhys-Davies in a thankless role), has been photographing them through a picture window. They stumble upon this disturbing fact while investigating the scientist’s disappearance and, they learn, his death. Positioned inside his home with a good view of theirs is a device that takes photographs of the future. Every night at 8 o’clock it spits out a Polaroid of the next day’s events. Jasper, a pill-popping gambler, uses the device to clean up at the dog races when the machine’s daily photos show tomorrow’s winning bets. Soon the friends are rolling in dough — until Jasper’s winning streak attracts the attention of his bookie (Jason Spisak), who wants in on the scam. The housemates’ troubles go from bad to worse as, each night, they re-enact the picture from the night before, afraid to get the details wrong and end up like the scientist who, they inexplicably surmise, died because he tempted fate and didn’t do what the future image said he should. How the three could possibly know this is anyone’s guess. It’s just one of many rather flimsy plot twists thrown in to get viewers from point A to point B. As the scientist, Rhys-Davies is so underused that he’s mostly just seen in photographs. Finn, a struggling artist, soon discovers an image from the device that shows his girlfriend, Callie, a struggling writer, in a compromising position with Jasper — only that hasn’t happened yet — setting up one of the film’s more intriguing problems as tension builds among Finn, Callie, and Jasper. Meanwhile, the scientist’s body rots beneath them in a locked maintenance room, and the police, the scientist’s colleague, and the appropriately menacing bookie all come poking around. Time Lapse has an interesting premise and does what it can with a small budget. But it gets mired in mediocre performances and a tired script. George Finn, the film’s standout actor, convincingly portrays Jasper’s increasing paranoia and desperation — but his actions often seem out of character. O’Leary is likable enough
as Finn: at least he’s consistent, if somewhat dull, as the voice of reason. Panabaker’s Callie, however, is all over the place, changing her motivations and love interests without any believability. Time Lapse aspires to the ranks of such classics as TV’s The Twilight Zone, but it really belongs more in the genre that includes Sam Raimi’s A Simple Plan (1998), in which similarly bad decisions lead to dire consequences. Unlike that film, Time Lapse lacks dramatic tension, and there’s not enough “science” of any sort to qualify it as science fiction. Set almost entirely in the roommates’ living room, the movie resigns itself to exploring interpersonal relationships and what happens when outside forces threaten to disrupt them, but writer-director Bradley King doesn’t give his characters the weight to pull even that off plausibly. — M.A. 104 minutes, not rated, noon Saturday, Oct. 18, Center for Contemporary Arts, and 6 p.m. Sunday, Oct. 19, Jean Cocteau Cinema, 2 chiles ◀
Andndd even evvenn more moore!e Marmato
One Year Lease
Gone Doggy Gone
Four Corners
Seeds of Time
This May Be the Last Time
Come to My Voice
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the man behi hin ind the A N I NT I MAT E SA M P ECK IN PA H M EM OI R
Jennifer Levin I The New Mexican
T
here are a few dozen books out there about legendary filmmaker Sam Peckinpah, director of such grittily violent Westerns in the 1960s and ’70s as The Wild Bunch, Pat Garrett and Billy the Kid, and Ride the High Country. Peckinpah was known for his temper and drug-andalcohol-fueled antics on and off the set — a legacy that, combined with the quality and import of his work, motivates scholars, critics, and fans to obsess over everything from his operatic use of violence to his treatment of women on film. Writers can’t help but attempt to psychoanalyze Peckinpah: He hated his mother; he was a creative genius who expected everyone to cater to his whims; he was a genuine madman. Max Evans, excowboy and author of The Hi-Lo Country, The Rounders, and numerous other novels and short stories, was a 40
PASATIEMPO I October 17-23, 2014
close friend of Peckinpah’s from the time they met in 1962 — when Peckinpah first decided he wanted to option The Hi-Lo Country — until his death from a heart attack in 1984. Now, at age 90, Evans has written a memoir about his experiences with Peckinpah and a cadre of other Hollywood bad boys, including actors Lee Marvin, Brian Keith, and James Coburn. Goin’ Crazy With Sam Peckinpah and All Our Friends, published this month by the University of New Mexico Press, is an as-told-to memoir, relayed to writer Robert Nott, who shares authorial credit. Evans, accompanied by Nott, reads from his work on Sunday, Oct. 19, at Collected Works Bookstore as part of the Santa Fe Independent Film Festival. “I’ve wanted to do this book for a long time,” Evans told Pasatiempo. “I could do a book 4 feet thick on Sam Peckinpah and never even slow down. It’s not bad that I waited this long. I threw away all the superfluous stuff and just got to the heart of the matter, without
pretension, without explaining every fallible thing about him.” Evans had been thinking about asking Nott to help him write the book because he hadn’t had success dictating into a voice recorder by himself, and long-standing injuries to his hands prevent him from writing for extended periods. “I don’t know why, but I asked him if he knew how to take shorthand, and it turned out he had taken a special course in shorthand. So we started meeting after that,” Evans said. Nott, the author of several books about Hollywood, including He Ran All the Way: The Life of John Garfield, was responsible for making sure the book’s film history is accurate; Evans didn’t want to do the research himself because it would require using a computer. He’s not an old fogy who’s afraid of technology, he said. It’s a magnetic thing. “Machines break down around me. I got sick of that, so I just don’t use them.” He discusses this in the book, as well as Peckinpah’s littleknown connection to mysticism, telling a story about
the time an invisible ringing phone prevented the two friends from getting into a deadly car accident. It’s a wonderfully incongruous moment, from a seemingly unlikely source. As Peckinpah descended into cocaine and pill addiction in the 1970s and became even more volatile, many of his friends refused to work or even socialize with him. He had eruptions of violence, including
EVANS DISCUSSES PECKINPAH’S LITTLE-KNOWN CONNECTION TO MYSTICISM, TELLING A STORY ABOUT THE TIME AN INVISIBLE RINGING PHONE PREVENTED THE TWO FRIENDS FROM GETTING INTO A DEADLY CAR ACCIDENT. IT’S A WONDERFULLY INCONGRUOUS MOMENT, FROM A SEEMINGLY UNLIKELY SOURCE.
wife drag the unconscious actor to bed. She warned Evans to take Marvin by the arms: If you took him by the legs when he was drunk, he’d kick you. Evans liked to drink, but he never drank while he worked. “And no matter how crazy I ever went, I never did get on the dope like Sam did,” he said, adding that Peckinpah respected Evans’ sobriety during his writing stretches. “When I was working, he left me alone or asked if there was anything he could do to help me.” Peckinpah never gave up the dream of making a movie of The Hi-Lo Country, but he never could find quite the right time or enough financing. It was through their connection that Evans got various writing gigs to keep cash in his pockets. When Peckinpah was blackballed by the film industry, which happened from time to time, Evans was just as likely to help him find work. Evans has a sharp, critical mind, and now that most of the people he writes about are dead, he has plenty of opinions to offer about the quality of many old Western films. Readers familiar with Peckinpah’s work will no doubt be interested in these observations, as well as
n depe nde n t Film Festival I e F a t n a S in full swing
details ▼ Goin’ Crazy With Sam Peckinpah and All Our Friends: book reading and signing with Max Evans & Robert Nott ▼ 3 p.m. Sunday, Oct. 19 ▼ Collected Works Bookstore, 202 Galisteo St., 505-988-4226
Max Evans; opposite page, Sam Peckinpah on the set of The Wild Bunch in 1969
AP Photo/Jake Schoellkopf
the time he punched his sixteen-year-old nephew in the face for beating him at poker. He had an intensely dependent relationship with Katy Haber, his assistant and mistress throughout the making of eight motion pictures. (Peckinpah was married five times: once to Marie Selland, three times to the Mexican actress Begoña Palacios, and once, briefly, to Joie Gould.) Evans stuck by Peckinpah until the end. In the book, he refuses to judge his friend for the behavior that drove others away. But he doesn’t downplay it either, allowing readers the freedom to psychoanalyze Peckinpah if they want to. (It’s incredibly tempting.) Included in the middle of Goin’ Crazy is a lengthy, unedited transcript of an interview Evans did with Haber in 1989, in preparation for an eventual memoir. It’s a riveting conversation in which Haber reveals that Peckinpah sometimes hit her. She questions how his friends could have had any respect for her back then. Evans said this revelation didn’t change how he felt about Peckinpah, but he was affected by how the filmmaker’s behavior had hurt Haber, about whom he can’t say enough nice things. “She saved his life several times. My God, what she gave to this man. She introduced him to Federico Fellini — she is responsible for that gift.” The memorable meeting, described in the book, took place in 1976 at a hotel in Venice, during a break from filming Cross of Iron. Drinking is one of the main activities in Goin’ Crazy. Evans, Peckinpah, and their friends drink in hotel bars, hotel rooms, private homes, and just about anywhere else you can imagine. Evans once had a drinking contest with Lee Marvin. Marvin passed out first — just moments before he would have hit the floor himself, writes Evans, who helped Marvin’s
in the behind-the-scenes scoops Evans provides. But you need not be a Peckinpah fan to enjoy this memoir, which is interesting and entertaining enough to serve almost as a novel about a loose-cannon filmmaker and the people in his orbit or as a sort of roughneckcowboy version of a Rat Pack tell-all. While Peckinpah’s films take up a good chunk of the book, his personal relationships and those of his friends are even more prominent, and Evans and Nott easily flesh out even the most peripheral players. There is great warmth in Goin’ Crazy and a type of open-hearted storytelling that serves as a counterpoint to so many serious academic treatments of Peckinpah’s life and work. ◀
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Paul Weideman I The New Mexican
IN
Off the
COLOR CHARTS Remembering artist
Bobby Brodsky
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PASATIEMPO I October 17-23, 2014
Bobby’s World: A Book About Bobby Brodsky, we experience a beautiful, colorful phantasmagoria and also a horrible mishmash of disjointed poetry and mistakenly drawn people and wonderful combination-creatures, a cosmic and earthly encyclopedia of landscapes and characters and houses and volcanoes and buttes and spaceships, grinning cats, sad snakes, hands with faces, gaudy coffee mugs, striped wolves with bones, cars full of naked pioneers, huge suns, jaunty buildings up and down hillsides, gorgeous crazy women and elephants and coyotes with three eyes in a row and men with three eyes in a row. You get the picture. The drawings made by Robert Derby Brodsky (1952-2012) in the last two years of his life are wildly wide ranging and inventive, if not “precisely executed.” His sister, Bette Brodsky, who produced the new book, said he was producing the drawings — almost all colored pencil on Arches paper — “at the rate of one every two days, day after day. I’d go over and he’d show me, and I just thought they were so weird and amazing. In the last year, he would get a newspaper — he loved to read the newspaper — and he cut out pictures that he would draw from.” One example shows up in Clown and Elephant, but Brodsky’s elephant’s trunk and tusks and an ear are all twisted up like in a Picasso painting. “He loved Picasso,” his sister said. “One of his identities toward the end of his life was Blavo Because-o, and he wore a beret and a striped shirt.” When Bette Brodsky conceived the project, she had recently been laid off after years at New Mexico Magazine. “I was a book designer, and I had done a ton of books for other artists [including Luis Jiménez, Roxanne Swentzell, Pablita Velarde, and Doug West], and I wanted to do a really nice book for my brother. At that time, he was foreclosed out of his house in La Cienega. He had built that himself and lived there for more than 30 years and built his very successful business, Rabbit Artworks, with his wife, Tina Davila.” Brodsky was born in Albuquerque and lived on a small North Valley farm during his early years. He spent his youth in Honolulu and in Claremont, California; his parents had split up and gone in different directions — his father to Claremont and his mother to Hawaii. Brodsky started working with clay as a freshman in high school, and he was selling works in ceramic at age fifteen. He was very driven to succeed as an artist, just like his father, who was very driven to be a flight scientist. “My dad’s first job was at Sandia National Laboratories; he was a bomb scientist,” Bette Brodsky said. “His people were Russian Jews who came to the States with six brothers and started a tanning business in Philadelphia.
My mom’s family were Irish Catholic, so it was a mixed marriage at the time.” Brodsky earned a bachelor’s degree in fine arts at the California College of Arts & Crafts in Oakland, California (now California College of the Arts). He and Davila met at CCAC and moved together to La Cienega in 1974; three years later they were married. Their three sons — Cris, Ben, and Alo — were born in the 1980s. The couple’s pottery was soon selling at galleries in Dallas, Santa Barbara, and Sedona. Their art-filled house was featured in New Mexico Magazine and Country Living. But by the early 2000s, things got “a little harried,” as Bette Brodsky puts it. “Bob began to howl. He crashed and burned in a major way for the first time. Tina left him, the house and studio were sold. He was down but not out and built a new life.” After Tina and Bobby divorced in 2004, he “reverted to his true self, what I call his hippie self,” Bette Brodsky said. He indulged in wine, women, and music and became an eccentric. “To me he was a wizard, a shaman, a soul man, and, like Mom and Dad too, a pixie, a sprite, an elf. He spoke in riddles and wrote poetry. He was funny and strange, exasperating and thoughtprovoking.” She said her brother might have achieved everything he wanted and didn’t know what to do next. “That’s kind of my premise in the book, but I have to emphasize that this is a story that I’m telling. I was there and I know a lot of what happened, but it’s a story.” After Brodsky died, his sister struggled for months about what to do with the tremendous variety of drawings she had. She went back to Claremont to visit her elderly father and stepmother. She drove around the city, remembering things from long ago. And she had her brother’s drawings all spread out on the dining-room table. She would think, what am I going to do with
Bobby Brodsky: Left, Peanut People, 2011, colored pencil on paper; below, Large Flying Saucer, 2011, colored pencil on paper; right, Brodsky throwing a bowl circa 1975; bottom right, I Didn’t Do It!, from Brodsky’s 2009 self-published poetry book, Ben Opposite page, left, Tin Man, 2011, colored pencil on paper; right, circa 1980s ceramic plate from Rabbit Artworks (pottery by Brodsky, painted decoration by Tina Davila)
Grey Crawford
these? Then she read a self-published poetry book that Brodsky did from 2006 to 2007 and was overwhelmed by the joy and creativity there. Somehow, the words helped her organize the book. The drawings and poems evolved together into the memorial book. “I set up some pages in [the desktop-publishing program] InDesign, and I started with a car because Bobby loved road trips. So it’s cities and landscapes. We lived in Paris when he was in high school, and he had been to Morocco and Spain, Israel, Russia, Mexico. The drawing of a camel and
the pyramids was imaginary, because he hadn’t been there. Finally, there’s a flying saucer and he lands in New Mexico, the end of that journey in the book.” Before that road trip in pictures, she has an introductory section. Rather than paragraphs and pages of gray text, she varies the appearance of the text and peppers it “like in a kid’s book” with small pictures: examples of Brodsky’s drawings and photographs of his family and ceramics. In continued on Page 44
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Missoni national sale oct. 13-24 15% off Missoni
Bobby Brodsky, continued from Page 43
Sanbusco Market Center • 500 Montezuma 982-3298 • 10-6 Mon-Sat 12-5 Sun • www.pandorasantafe.com
*David Marlow with Parasol Productions for the essential Guide.
Cris Brodsky
20 14
MAYOR’S AWARDS
for Excellence in the Arts
OC T 23
THURSDAY, OCTOBER 23, 6:30 - 9:30 PM Santa Fe Community Convention Center Sweeney Ballroom 201 West Marcy Street $70
FOR RESERVATIONS: SantaFeArtsCommission.org artscommission@santafenm.gov 505.955.6707
/ person | $700 / table of ten
Includes the awards ceremony and dinner RSVP by October 15 This years recipients:
George Ancona | Lawrence Fodor | Talia Kosh | Joanne Lefrak Jason Silverman | Danny Cron, Melissa Engestrom Youth Artist Award
the main part of the book, she punctuates the flow of crazycreative drawings with short writings — some by her brother and some her own observations — and snippets of lyrics from his favorite musicians, including Bob Marley, Steppenwolf, the Beatles, Bob Dylan, Jimi Hendrix, and Talking Heads. One of Brodsky’s local highlights was a 1998 exhibition at the Governor’s Gallery in the Roundhouse. It featured his elaborate, whimsical “Etruscan Hi first fi pieces i h he h sold ld fertility vessels.” “He loved embellishment. His that were covered jars, and the tops were curled like the top of a Tastee Freez ice cream cone. “Our mom was artistic. She had worked ... for Eckerts, a furniture and interiors shop in Albuquerque. She took his pottery and they started selling it there when he was about 15. Then he started interning with Dick Masterson and Jenny Lind. They had a pottery business on North Fourth. Tina and Bob’s business was functional, decorative ceramics. He threw the pots, and Tina did the amazing drawings. I was one of the women they hired to paint the ceramics based on Tina’s drawings. Bobby could throw pots all day. He could do a whole dinnerware set where every plate was the same size and every bowl was the same. He was a master potter.” He was also a sculptor, a glassblower, a musician, and a golfer. “And he was a successful businessman,” Bette Brodsky said. “He loved to make deals. But then there was the wonderful work that expressed his personality.” Happiness. Confusion. Abandon. Pinks, yellows, greens, blues, not really any blacks. Tongues stuck out. A tusky-trunky Picasso elephant. A psychedelic camel in Egypt. Floating saxophones. Brightly hued rockets from various nations. Animals together. Spotted “peanut people.” The Tin Man with three eyes in a row. ◀
details ▼ Bette Brodsky signs her book Bobby’s World: A Book About Bobby Brodsky; music by Joe West & friends ▼ 6 p.m. Tuesday, Oct. 21
Generously sponsored by:
▼ Collected Works Bookstore, 202 Galisteo St., 505-988-4226
Brodsky drawing at home in La Cienega, 2011
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PASATIEMPO I October 17-23, 2014
S E R E NATA
Friday, October 17, 2014 of Santa Fe 7:30pm First Presbyterian Church, 208 Grant Ave, Santa Fe Music of Reinecke, Britten and Dohnanyi
Temporal LIGHT SERENATA OF SANTA FE presents
Elena Sopoci, violin Shanti Randall, viola Sally Guenther, cello Pamela Epple, oboe
S E R E NATA
Keith Lemmons, clarinet of Santa Fe Shu, violin | Shanti Randall, viola Elena Sopoci & Michael Scott Temple, horn Dana Winograd, cello | James Shields, clarinet Debra Ayers, percussion piano Gail Springer, soprano | Jeff Sussmann,
FOR FOR TICKETS TICKETS CALL: CALL: 505-989-7988 505-989-7988 or or e-mail e-mail serenataofsantafe@gmail.com serenataofsantafe@gmail.com For For more more information information visit: visit: SERENATAOFSANTAFE.ORG SERENATAOFSANTAFE.ORG
Santa Fe Science Café For Young Thinkers
50th Event! “Music and Math”
Cris Moore
Santa Fe Institute Thursday, October 23 6 – 7:30 PM O’Keeffe Education Annex 123 Grant Avenue, Santa Fe Music and math are both full of predictable patterns and passionate surprises. How do composers use mathematical structures to fascinate our minds and stir our hearts? And how does mathematics come alive for those who explore it? We'll talk about connections between these two profoundly human pursuits from Pythagoras to Harry Potter, from fractions to fractals, from Bach to Brubeck, and from the music of the spheres to the mysteries of the primes. Admission is Free. Youth (ages 13-19) seating a priority, but all are welcome! Cris was educated in mathematics, physics, and integrated science at Northwestern and at Cornell. He has written widely about subjects at the boundaries between physics, computer science and biology. Go to www.sfafs.org or call 603-7468 for more information.
Serving Students Preschool - Sixth Grade
ADMISSIONS Thursday, November 6 begins at 8:30am to 10:30am
Lecture & Workshop Jerome Bernstein, M.A.C.P., NCPsyA. Jungian analyst in Santa Fe Lecture: Borderland Consciousness: Re-establishing Dialogue between the Western Psyche and ‘The Psyche-Left-Behind’
All-school performances
Small group collaboration
Integrated arts presentations (9:1 student-teacher ratio)
Weekly buddy program
RSVP 505.983.1621
admission@riograndeschool.org Busy November 6? Schedule a private visit
TUITION ASSISTANCE AVAILABLE
Do you want your child to be challenged, inspired, and nurtured? Experience the Rio Grande way!
Friday, October 24th 7-9pm $10 2 CEUs The Western ego construct has become so left-brain Logos dominant that it has increasingly lost its connection to spirit. The cause and effect is addiction to materialism and loss of soul to the point where our collective addictive behavior threatens our very survival through civilization’s refusal/inability to come to grips with the crisis of Global Warming. These primary symptoms of our collective dissociation are reflected in our disconnection from Nature and in our language as well. The speaker asserts in his book, Living in the Borderland: The Evolution of Consciousness and the Challenge of Healing Trauma, that the collective unconscious is endeavoring to compensate the Western psyche’s overspecialization in the name of preserving the Western psyche and our species in spite of its suicidal behavior by impelling its reconnection with Nature. The resultant consciousness emergent from this compensatory dynamic is what he calls “Borderland Consciousness.” There will be a four and a half minute video clip depicting what Borderland consciousness looks like as experienced in an individual. His thesis is that the story of the expulsion of Adam and Eve from the Garden of Eden in the Book of Genesis is the foundational myth of Western civilization. With that expulsion our species was cleaved from an at-one-ness with Nature along with the birth of what was to become Western civilization and the Western ego in all of its wonder. Simultaneously, our species’ inflated dominion over the Earth has led to a hubris that is suicidal. The focus of this presentation will be: Can our species survive its own genius and its pathology to avoid extinction in what a growing number of scientists tell us will occur in 100 years or less?
Workshop
Saturday, October 25th 9am-4:30pm $80 6 CEUs This workshop will follow-up in depth on the question posed in Friday night’s lecture. Borderland consciousness as a bridge for connecting the Psyche-Left-Behind and the Western psyche will be further explored. The full 52 minute video from which the Friday evening’s clip was taken will be shown and discussed. Approaches to healing the Western psyche’s dissociation will address the crucial role of extant Native American cultures and those oral traditional languages that have survived genocide. It is emphasized that this workshop will be fully participatory. All attendees are invited to bring their own views and experiences to the discussion. The workshop will not be clinical in its focus in the traditional sense, but will be focused on addressing the clinical implications of the collective dissociation of the Western psyche. Both events take place at Center for Spiritual Living, 505 Camino de los Marquez, Santa Fe
For details & workshop pre-registration call Deanne Newman, 505-988-5033 For expanded program details go to www.santafejung.org
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46
PASATIEMPO I October 17-23, 2014
B
y the time Minimalism reached its apogee in the late 1960s, there emerged a working definition of the art form. Minimalist art often incorporated reductive geometric forms, and colors were used sparingly. These works were also often industrially produced — leading to the development of Finish Fetish works that used high-tech materials such as plastics, resins, coated glass, and automotive paints and finishes — and were associated with artists like Larry Bell, Craig Kauffman, and Billy Al Bengston. California-based artist Tony DeLap has also been counted along with the Minimalists and Finish Fetishists and, over the decades, among various subgenre artists, including hard-edge painters. But DeLap keeps such labels, particularly Minimalism, at arm’s length. In Tony DeLap: A Unique Perspective, a new documentary about the artist from filmmaker Dale Schierholt (the first in a planned series of films showcasing the legacies of postwar West Coast artists), DeLap stated that his aim is not to minimalize his art but to complicate it. “I never cared for the word ‘minimalism,’ ” he told Pasatiempo. “It always sounded like something that’s simpler than it should be.” There is, however, a simple grace to the works of DeLap, whose Selected Works From Fifty Years of Making Art opens Friday, Oct. 17, at Charlotte Jackson Fine Art, but there is nothing simple in their construction or effect. The San Franciscan likens his interest in minimal forms to viewing of the Golden Gate Bridge when the fog rolls in and only the towers can be seen. In other words, perhaps some works of Minimalist art can be regarded as possessing the details of a larger construct while remaining validly complete compositions that don’t refer to anything other than themselves. Tony DeLap: A Unique Perspective premiered recently at the Laguna Art Museum in Laguna Beach, California. It screens in Santa Fe at the Jean Cocteau Cinema on Monday, Oct. 20, where DeLap is on hand to sign copies of his new monograph, published this year by Radius Books. The tome, Tony DeLap: Painting, Sculpture & Works on Paper, 1962-2013, includes a foreword by Douglas Dreishpoon, chief curator at the Albright-Knox Art Gallery in Buffalo, New York, and an essay, “Now You See It, Now You Don’t,” by art historian and critic Barbara Rose. Early in his career DeLap focused on painting; then, in the early 1960s, an experiment in two-dimensional work led to the development of pieces that lie somewhere between painting and sculpture. “I was doing some paintings that I took off the wall and did a painting on the back side. So I had a painting on both sides, but it was in real space, like a piece of sculpture. You could walk around it. With modifications and so on, that painting, in a sense, was a new avenue of approach for me. It was certainly more sculptural, but the nature of my work through the years has aspects of both.” DeLap’s three-dimensional pieces are often made with much consideration of the space surrounding them so that, depending on a viewer’s perspective, a
work can change dramatically. One untitled wall piece from 1993, for instance, is a twisting sliver of wood extending out from the wall. From one position, all that can be seen is this wood form. But from another viewpoint, flat, painted circles appear. “Looking at my work straight-on, a bit of it is hidden,” the artist said. “The edges of paintings, for example, will be cut back against the wall so that, at an angle, you’ll see a different form. Moving to the other side, you no longer can see what you first saw.” This illusory aspect of DeLap’s sculpture is one of the reasons he’s also associated with the Op Art movement that arose, like Finish Fetishism, from the Minimalist vanguard in California. Op Art relies on optical illusions to create an effect. Although it took off on the West Coast, beginning in the 1960s, it has antecedents in movements like Cubism, Dadaism, and Constructivism (the last, with its focus on minimal, interpenetrating geometric forms, was an obvious influence for DeLap). But, unlike the work of many of his East Coast 1960s-era contemporaries,
Michael Abatemarco I The New Mexican
ART WORLD ALL-ROUNDER
S TA LWA R T T O N Y D E L A P D E F I E S C AT E G O R I Z AT I O N
there’s also something truly hands-on about DeLap’s pieces. “The work I was doing was aligned with socalled new art, which somewhat quickly took on a lot of names. It took on the names Op Art, Finish Fetish, and, of course, Minimalism, which was new and flourishing in New York. It seems that, here on the West Coast, we had our own take on Minimalism, as compared with what was being done there. A good number of the New York Minimalists, like Donald Judd, were having their work made on the outside. They would indicate, by plan, what they wanted and would go to a fabricator and have the work made. Out here, we were more prone to develop our work on our own. Speaking for myself, there would be more handcrafted work and much less outside fabrication. I pretty much made all of my own work. There was a period when there were a few things I simply could not do technically, such as anodizing a color on metal and things of that sort. But I pretty much always stayed working with shaping wood, working with canvas and paint, and crafting my own thoughts and ideas.” Though only a few of DeLap’s more sculptural pieces are included in the exhibit, several of his lesser-known drawings are on display, helping to illuminate his considerable output as a whole. The drawings show DeLap’s interest in experimenting with form and line and with interruptions to geometric shapes — a circle truncated by an angular wedge, for instance — concerns that lend such compositions a tension between their elements and the white space surrounding them. “I’ve done an immense amount of drawing. It’s almost disgusting to see all this work that’s been accumulating over all that time, particularly the drawings,” DeLap said. “I find that drawing is a way for me to find out about things I wanted to pursue in a different medium, whether it be painting on a larger scale or sculpture. There’s an excitement about working things out on paper, and it would sometimes surprise me. The surprise always hooks you, because you’re always hoping it will come around again.” ◀
details ▼ Tony DeLap: Selected Works From Fifty Years of Making Art Opening reception 5 p.m. Friday, Oct. 17; exhibit through Nov. 17 Charlotte Jackson Fine Art, 554 S. Guadalupe St., 505-989-8688 ▼ Tony DeLap: A Unique Perspective screening and book signing 4 p.m. Monday, Oct. 20; no charge for admission (tickets are available at Charlotte Jackson Fine Art) Jean Cocteau Cinema, 418 Montezuma Ave., 505-466-5528
Left: Tony DeLap; Untitled, 2000, graphite and collage on paper; opposite page, clockwise from upper left; Simply Complex, 2013, collage on paper; Drawing for Sculpture, 1963, mixed media; Untitled (PTR), 2006, collage on paper; Isis, 1963, graphite on paper; Untitled 1981, collage on paper, Untitled 13, 1996, collage on paper; Untitled, 1993, graphite and collage on paper; Triple Trouble, 1966, graphite and watercolor on paper PASATIEMPOMAGAZINE.COM
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“SEDUCTIVE. GRIPPING. Expertly blends touches of Hitchcock and Highsmith.” – Peter Debruge, VARIETY
Proud Sponsors of the CCA Cinematheque
THE CINEMATHEQUE Oct 17 - Oct 23 1050 Old Pecos Trail • 505.982.1338 • ccasantafe.org
Santa Fe’s only not-for-profit, community-supported independent theatre, showing the best in cinema.
October 15 - 19, 2014 CCA Weekend Schedule Saturday October 18 Friday October 17
Fri and Sat at 2:00 and 6:00 • Sun at 11:30 am and 3:30 • Mon at 1:30 and 7:45 Tues at 3:00 • Wed and Thurs at 1:30 and 7:45
12:00p - DIY Filmmkaing Workshop with Laura Terruso* 12:30p - Marmoto 2:00p - Soul of a Banquet* 3:00p - Kirk Ellis & Hampton Sides Masters Discussion 5:00p - Cheatin’* 5:30p - The Circle 7:00p - Welkome Home* 7:30p - Four Corners 9:15p - Santa Fe Student Short Program*
10:30a - Seeds of Time 12:00p - Time Lapse* 1:00p - Ted Hope Masters Discussion 2:00p - Tricky Negotiations Shorts Program* 3:00p - Labor of Love 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
SUNDANCE FILM FESTIVAL SHORTS ANIMATED SHORTS
6p Mon + Weds, 8p Tues + Thurs
LIVE ACTION SHORTS
Sunday October 19 10:00a - Labor of Love Shorts Program 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 Go to santafeindependentfilmfestival.com for the full schedule and info! ADVANCE TICKETS available at Lensic Box Office at 988-1234, or ticketssantafe.org. (Remaining tickets will be sold at CCA Box Office on day-of show)
A Glenn Greenwald Video Lecture: EDWARD SNOWDEN, the NSA, and the US SURVEILLANCE STATE 7:00p Tues, October 21 • $5 Sugg. Donation Presented by CCA and Lannan Foundation
8p Mon + Weds, 6p Tues + Thurs
Wild Earth Guardians present
DAMNATION
7:00P WEDS, OCT 22 • $12 Benefits the Gila River
AN EVENING WITH JON JOST featuring a screening of
COMING TO TERMS
HELD O POPULA VER BY R DEMA ND!
Fri and Sat at 4:15 • Sun at 1:45 • Mon at 6:00 • Tues at 1:00 • Wed and Thurs at 6:00
Sneak Preview
and followed by a Q&A moderated by Gene Youngblood (Expanded Cinema)
’’
HIGHEST RATING
★★★★★ ★★★★★
‘‘
‘‘
’’
THE GUARDIAN
A GIRL WALKS HOME ALONE
PATRICIA
‘‘
’’
ROLLING STONE
ELLAR
HIGHEST RATING
’’
US WEEKLY
HIGHEST RATING
★★★★ ★★★★ ★★★★
‘‘
‘‘
’’
ASSOCIATED PRESS
LORELEI
ARQUETTE COLTRANE LINKLATER
HIGHEST RATING
TIME OUT NEW YORK
HIGHEST RATING
7:00p Thurs, Oct 23
ETHAN
AND
HAWKE
Written and Directed by
Richard Linklater
Saturday at 8:00
Fri 8:00 • Sat at 11:45 am Sun at 7:30 • Mon at 3:45 Tues at 5:00 Wed and Thurs at 3:45
MARMATO Sunday at 5:30
Santa Fe’s #1 Movie theater, showcasing the best DOLBY in World Cinema. ®
D I G I T A L
SURROUND•EX
BOYHOODMOVIE.COM
Live simulcast with Juliette Binoche Tuesday at 7:00
SANTA FE University of Art and Design 1600 St. Michael’s Dr. information: 473-6494 www.thescreensf.com
Bargain Matinees Monday through Friday (First Show ONLY) All Seats $8.00 48
PASATIEMPO I October 17 - 23, 2014
Monday October 20
Tuesday October 21
Weds October 22
3:30p - Boyhood 4:00p - Sagrada: Mystery of Creation* 6:00p - Sundance Shorts: Animation* 8:00p - Sundance Shorts: Live Action*
3:30p - Boyhood 4:00p - Sagrada: Mystery of Creation* 6:00p - Sundance Shorts: Live Action* 7:00p - Glenn Greenwald Video Lecture: Snowden, the NSA, and the US Surveillance State 8:00p - Sundance Shorts: Animation*
3:30p - Boyhood 4:00p - Sagrada: Mystery of Creation* 6:00p - Sundance Shorts: Animation* 7:00p - DamNation 8:00p - Sundance Shorts: Live Action*
*indicates show is in The Studio
Thursday October 23 3:30p - Boyhood 4:00p - Sagrada: Mystery of Creation* 6:00p - Sundance Shorts: Live Action* 7:00p - Jon Jost: Coming To Terms 8:00p - Sundance Shorts: Animation*
Concessions Provided by WHOLE FOODS MARKET
PASATIEMPOMAGAZINE.COM
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MOVING IMAGES chile pages
— compiled by Robert Ker
MEN, WOMEN, AND CHILDREN Director Jason Reitman rose to acclaim with films such as Juno and Up in the Air, which were character studies rich with insight. For his latest film, he stretches himself across the wide ensemble hinted at in the title and in the process loses his eye for detail. The major questions Reitman asks are whether the digital era brings us closer together or pushes us further apart and how the online lifestyle affects the human experience. His answer, however, is a shrug — it’s an attempt to start a dialogue but doesn’t give us much to talk about. Adam Sandler, Jennifer Garner, and narrator Emma Thompson are the biggest names among the able cast. Rated R. 119 minutes. Regal DeVargas, Santa Fe. (Robert Ker) THE MET LIVE IN HD: LE NOZZE DI FIGARO Ildar Abdrazakov and Marlis Petersen star in this staging of Mozart’s opera, which is broadcast live from the Met. Richard Eyre directs, and James Levine conducts. Screens at 11 a.m. Saturday, Oct. 18, with a 6 p.m. Tuesday, Oct. 21, encore. Lensic Performing Arts Center, Santa Fe. (Not reviewed) Día de los puercos: The Book of Life, at Regal Stadium 14 and DreamCatcher in Española
opening this week THE BEST OF ME In the latest adaptation of a Nicholas Sparks weepie-romance novel, young Dawson (Luke Bracey) meets Amanda (Liana Liberato), and they fall into deep, profound love. Alas, Amanda’s daddy doesn’t like the cut of Dawson’s jib or the model of his pickup truck, so the lovers are torn apart. Fast-forward 20 years, and the couple (now played by James Marsden and Michelle Monaghan) reunite. This is apparently the whole plot. Rated PG-13. 117 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE BOOK OF LIFE Guillermo del Toro produced this animated comedy, directed by Jorge Gutierrez, about a hero named Manolo (voiced by Diego Luna) who is killed by a rival (Channing Tatum) over the woman he admires (Zoe Saldana). All is not lost, however — he can travel through fantastical worlds to return to her. Guillermo’s good name and an unusual visual style inspired by the Day of the Dead provide hope for this fable, but the “come at me bro” humor in the trailer does not. Rated PG. 95 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Not reviewed) 50
PASATIEMPO I October 17-23, 2014
BORN TO FLY: ELIZABETH STREB VS. GRAVITY Hailed as the Evel Knievel of dance, choreographer Elizabeth Streb performs exhilarating aerial feats — hybrids of dance and death-defying acrobatics. The documentary takes us inside the Streb Extreme Action Company, based in Williamsburg, Brooklyn, to interview members of the devoted troupe. The film highlights the physical demands her aerodynamic theatrics place on the dancers and their great dedication and the sacrifices they make to take part. We learn about their interpersonal relationships, dreams, and goals. The archival and contemporary footage is breathtaking. The troupe risks injury and worse in such daring outdoor stunts as a thrilling dance piece performed over the Thames on London’s iconic Ferris wheel, the London Eye. Not rated. 82 minutes. The Screen, Santa Fe. (Michael Abatemarco) FURY In this variation on the Das Boot formula, Brad Pitt, Shia LaBeouf, Logan Lerman, Jon Bernthal, and Michael Peña play the five-man crew of a Sherman tank in the climactic years of World War II. Deep in the heart of enemy territory, they find themselves facing hundreds of German soldiers without any aid. David Ayer directs. Rated R. 134 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed)
PATEMA INVERTED This Japanese anime film centers on Patema, a princess of an underground kingdom who falls into a pit and finds herself on the surface world. There she meets a boy named Eiji, and together they learn that gravity runs different ways for people above and below ground. From there it’s a matter of keeping Patema from drifting up, up, and away. Not rated. 98 minutes. In Japanese with subtitles. Jean Cocteau Cinema, Santa Fe. (Not reviewed) PRIDE This film is sneaky-good. It’s not groundbreaking in any way, but it’s uplifting and makes a pertinent point, all while wrapped in the garment of an old-fashioned working-class comedy. Based on real events, it’s set in 1984, when British coal miners were on strike and Margaret Thatcher was determined to “starve them back to work.” A group of gay and lesbian activists in London, spearheaded by a young man named Mark Ashton (Ben Schnetzer), decides that downtrodden and persecuted peoples need to rally for one another’s causes, and they travel to Wales to support a small mining community that is not at all sure it wants their help. Smart writing and the steady hand of Tonywinning stage director Matthew Warchus keep the film from cloying, and a cast of unknowns mixes flawlessly with British greats Imelda Staunton, Paddy Considine, Andrew Scott, and Bill Nighy. Rated R. 120 minutes. Regal DeVargas, Santa Fe. ( Jonathan Richards) RUDDERLESS After the tragic death of his son, successful businessman Sam (Billy Crudup) retreats from the world, living on a boat docked at a marina, working odd jobs, and
slowly killing himself with alcohol until he discovers the songs his son wrote and recorded in college. When Sam starts playing the songs at a local club, he draws the attention of Quentin (Anton Yelchin), a struggling musician who convinces Sam to start a band. The feature, directed by William H. Macy, is at times excessive in its sentimentality. The musical performances and the band’s rise to minor fame are engaging and fun to watch, but this feel-good drama is pretty much by the numbers. Rated R. 105 minutes. The Screen, Santa Fe. (Michael Abatemarco) SANTA FE INDEPENDENT FILM FESTIVAL See dozens of offbeat movies from New Mexico and around the world at screenings Friday through Sunday, Oct. 17-19, at the Lensic Performing Arts Center (211 W. San Francisco St.), the Center for Contemporary Arts (1050 Old Pecos Trail), The Screen (1600 St. Michael’s Drive) and the Jean Cocteau Cinema (418 Montezuma Ave.). Tickets are available at www. ticketssantafe.org. A festival pass, which includes entry to parties and receptions, is $250; tickets to individual shows run from $10 to $25. For a schedule visit www. santafeindependentfilmfestival.com. ( Jennifer Levin) SUNDANCE SHORTS The best short films of the 2014 Sundance Film Festival come to the Center for Contemporary Arts as part of a traveling tour. Broken up into two programs, “Fiction and Documentary” (94 minutes) and “Animation” (90 minutes), these films showcase work by what could be the next wave of major independent filmmakers. Not rated. Center for Contemporary Arts, Santa Fe. (Not reviewed)
now in theaters ADVANCED STYLE Based on a blog by a young man named Ari Seth Cohen, this documentary from first-time director Plioplyte Lina celebrates exuberant, vivacious older women. Something like the Bill Cunningham for the silver-haired 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) ALEXANDER AND THE TERRIBLE, HORRIBLE, NO GOOD, VERY BAD DAY Steve Carell and Jennifer Garner are parents to Alexander (Ed
Oxenbould) in this loose adaptation of the picture book of the same name. When the entire family has a bad day all at once, they learn that the terrible, horrible, no good, very bad days make the excellent, incredible, not bad, very good ones that much sweeter. Rated PG. 81 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) ANNABELLE The creepy doll from 2013’s The Conjuring got 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 scarylooking 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 plucky a 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 2-D only at Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Robert Ker) DRACULA UNTOLD Long before he “vanted to suck your blood,” Count Dracula was a man named Vlad the Impaler (Luke Evans) who made a Faustian bargain to gain a bunch of CGI-infused powers to fend off enemies and protect his people. What’s the downside? That’s where the blood-sucking comes in. Rated PG-13. 92 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) 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.
Born to Fly: Elizabeth Streb vs. Gravity
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. (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. The story — Amy Dunne (Rosamund Pike) mysteriously disappears, leaving her husband, Nick (Ben Affleck), as a possible murder suspect — unfolds forward and in flashback continued on Page 52
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and is told from the viewpoint of two unreliable, notvery-likeable narrators. It’s strategically assembled and briskly paced and weaves in commentary on our gossip-fueled schadenfreude-heavy 24/7 news cycle. 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 which opera, injects much-missed fun back into the science-fiction genre. Chris Pratt plays Star-Lord, the leader of a gang of intergalactic misfits and outlaws that includes a talking raccoon and a tree (voiced by Bradley Cooper and Vin Diesel, respectively). They 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) HECTOR AND THE SEARCH FOR HAPPINESS The theme of ditching a rather unfulfilling and ordinary existence to travel the world is a popular 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 burned-out 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 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 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) THE JUDGE 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
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Read movie reviews online at www.santafenewmexican.com/pasatiempo
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PASATIEMPO I October 17-23, 2014
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? Vera Farmiga, Vincent D’Onofrio, and Billy Bob Thornton co-star. Rated R. 141 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) 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) 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) 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. (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) 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)
SAGRADA: THE MYSTERY OF CREATION The church of La Sagrada Família in Barcelona is actually a construction site. Begun in 1882 by architect Antoni Gaudí, it remains a half-completed exercise in artistic astonishment. Stefan Haupt’s documentary serves as an intriguing biography of the building, its story made personal through interviews with spiritually invested architects and artisans. Not rated. 89 minutes. In French, Spanish, and Catalan with subtitles. Center for Contemporary Arts, Santa Fe. ( James M. Keller) 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. Rated R. 103 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) TRACKS Mia Wasikowska plays a young woman who treks across the Australian desert. Adam 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 TWO FACES OF JANUARY This thriller is 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. The con man 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)
other screenings Center for Contemporary Arts, 505-982-1338 7 p.m. Wednesday, Oct. 22: DamNation presented by WildEarth Guardians. 7 p.m. Thursday, Oct. 23: Coming to Terms with filmmaker Jon Jost in person. Jean Cocteau Cinema, 505-466-5528 Ash. Regal Stadium 14, 505-988-2775 John Wick, Ouija. The Screen 7 p.m. Tuesday, Oct. 21: 1,000 Times Goodnight, New York Film Critics screening featuring a simulcast Q&A with star Juliette Binoche. ◀
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) Mon. to Thurs. 3:30 p.m. Buzzard (NR) Sat. 9:15 p.m. Cheatin’ (NR) Fri. 5 p.m. The Circle (NR) Fri. 5:30 p.m. Come to My Voice (NR) Sun. 5:30 p.m. Coming to Terms (NR) Thurs. 7 p.m. DamNation (NR) Wed. 7 p.m. Four Corners (NR) Fri. 7:30 p.m. Girlhood (NR) Sun. 7:30 p.m. Go in the Wilderness (NR) Sun. 2 p.m. Gone Doggy Gone (NR) Sat. 9:30 p.m. Marmato (NR) Fri. 12:30 p.m. The Overnighters (PG-13) Sun. 12:30 p.m. Sagrada:The Mystery of Creation (NR) Mon. to Thurs. 4 p.m. Seeds ofTime (NR) Sat. 10:30 a.m. Sun. 5 p.m. Song From the Forest (NR) Sun. 3 p.m. Soul of a Banquet (NR) Fri. 2 p.m. Stray Dog (NR) Sat. 5:30 p.m. Sundance Shorts — Animation (NR) Mon. 6 p.m. Tue. 8 p.m. Wed. 6 p.m. Thurs. 8 p.m. Sundance Shorts — Fiction & Documentary (NR) Mon. 8 p.m. Tue. 6 p.m. Wed. 8 p.m. Thurs. 6 p.m. Time Lapse (NR) Sat. 12 p.m. Welkome Home (NR) Fri. 7 p.m. JEAN COCTEAU CINEMA 418 Montezuma Avenue, 505-466-5528, www.jeancocteaucinema.com Advanced Style (NR) Sun. 11:15 a.m. Wed. and Thurs. 4:10 p.m. Ash (NR) Thurs. 6:30 p.m. Buzzard (NR) Fri. 10 p.m. Five Star (NR) Fri. 8 p.m. The Foxy Merkins (NR) Fri. 6 p.m. Geek USA (NR) Fri. 1 p.m. Gone Doggy Gone (NR) Sun. 3:30 p.m. Inner Demons (NR) Sat. 10 p.m. One Chance (PG-13) Tue. and Wed. 8:30 p.m. Patema Inverted (NR) Tue. and Wed. 6:30 p.m. Thurs. 8:30 p.m. Sun Belt Express Sat. 8 p.m. This May Be the LastTime (NR) Fri. 3:30 p.m. Time Lapse (NR) Sun. 6 p.m. Trouble Dolls (NR) Sat. 6 p.m. Sun. 1 p.m. The Winding Stream (NR) Sat. 3:30 p.m. REGAL DEVARGAS 562 N. Guadalupe St., 505-988-2775 The Drop (R) Fri. to Thurs. 1:40 p.m., 7:35 p.m. Hector and the Search for Happiness (R) Fri. and Sat. 4 p.m., 9:45 p.m. Sun. to Thurs. 4 p.m. The Hundred-Foot Journey (PG) Fri. to Thurs. 1:05 p.m., 7 p.m. Kill the Messenger (R) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 10:05 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m. Men,Women & Children (R) Fri. and Sat. 1 p.m., 3:50 p.m., 6:50 p.m., 9:35 p.m. Sun. to Thurs. 1 p.m., 3:50 p.m., 6:50 p.m. My Old Lady (PG-13) Fri. and Sat. 1:25 p.m., 4:25 p.m., 7:25 p.m., 10 p.m. Sun. to Thurs. 1:25 p.m., 4:25 p.m., 7:25 p.m. Pride (R) Fri. and Sat. 1:15 p.m., 4:15 p.m., 7:15 p.m., 9:55 p.m. Sun. to Thurs. 1:15 p.m., 4:15 p.m., 7:15 p.m. Tracks (PG-13) Fri. and Sat. 4:40 p.m., 10:05 p.m. Sun. to Thurs. 4:40 p.m. REGAL STADIUM 14 3474 Zafarano Drive, 505-424-6296, www.fandango.com Alexander and the Terrible, Horrible, No Good, Very Bad Day (PG) Fri. to Wed. 12:05 p.m., 12:35 p.m., 2:15 p.m., 3 p.m., 4:30 p.m., 5:10 p.m., 7:45 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) Fri. to Wed. 1:15 p.m., 4:15 p.m., 7:20 p.m., 10:10 p.m.
The Book of Life 3D (PG) Fri. to Wed. 12 p.m., 5 p.m. The Book of Life (PG) Fri. to Wed. 2:30 p.m., 7:30 p.m., 10 p.m. The Boxtrolls (PG) Fri. to Wed. 12:10 p.m., 2:35 p.m., 5:05 p.m., 7:25 p.m., 10 p.m. Dracula Untold (PG-13) Fri. to Wed. 12:45 p.m., 3:15 p.m., 5:35 p.m., 8:05 p.m., 10:25 p.m. The Equalizer (R) Fri. to Wed. 1 p.m., 4:10 p.m., 7:15 p.m., 10:20 p.m. Fury (R) Fri. to Wed. 1 p.m., 4:05 p.m., 7:10 p.m., 10:15 p.m. Gone Girl (R) Fri. to Wed. 12:20 p.m., 3:05 p.m., 3:50 p.m., 6:30 p.m., 7:05 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. John Wick (R) Thurs. 8 p.m., 10:25 p.m. The Judge (R) Fri. to Wed. 12:30 p.m., 3:45 p.m., 7 p.m., 10:15 p.m. Left Behind (PG-13) Fri. to Wed. 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. Ouija (PG-13) Thurs. 8:10 p.m., 10:30 p.m. This Is Where I Leave You (R) Fri. to Wed. 12:25 p.m., 9:50 p.m. THE SCREEN Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com 1,000 Times Goodnight (NR) Tue. 7 p.m. Born to Fly: Elizabeth Streb vs. Gravity (NR) Fri. and Sat. 4:15 p.m. Sun. 1:45 p.m. Mon. 6 p.m. Tue. 1 p.m. Wed. and Thurs. 6 p.m. A Girl Walks Home Alone (NR) Sat. 8 p.m. Marmato (NR) Sun. 5:30 p.m. Rudderless (R) Fri. 8 p.m. Sat. 11:45 a.m. Sun. 7:30 p.m. Mon. 3:45 p.m. Tue. 5 p.m. Wed. and Thurs. 3:45 p.m. TheTwo Faces of January (PG-13) Fri. and Sat. 2 p.m., 6 p.m. Sun. 3:30 a.m. Mon. 1:30 p.m., 7:45 p.m. Tue. 3 p.m. Wed. and Thurs. 1:30 p.m., 7:45 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. 4:35 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. Annabelle (R) Fri. 4:55 p.m., 7:15 p.m., 9:55 p.m. Sat. 2:20 p.m., 4:55 p.m., 7:15 p.m., 9:55 p.m. Sun. 2:20 p.m., 4:55 p.m., 7:15 p.m. Mon. to Thurs. 4:55 p.m., 7:15 p.m. The Best of Me (PG-13) Fri. 4:50 p.m., 7:25 p.m., 10 p.m. Sat. 2:10 p.m., 4:50 p.m., 7:25 p.m., 10 p.m. Sun. 2:10 p.m., 4:50 p.m., 7:25 p.m. Mon. to Thurs. 4:50 p.m., 7:25 p.m. The Book of Life (PG) Fri. 4:30 p.m., 7 p.m., 9:30 p.m. Sat. 2 p.m., 4:30 p.m., 7 p.m., 9:30 p.m. Sun. 2 p.m., 4:30 p.m., 7 p.m. Mon. to Thurs. 4:30 p.m., 7 p.m. The Boxtrolls (PG) Fri. 4:25 p.m., 6:55 p.m., 9:40 p.m. Sat. 1:55 p.m., 4:25 p.m., 6:55 p.m., 9:40 p.m. Sun. 1:55 p.m., 4:25 p.m., 6:55 p.m. Mon. to Thurs. 4:25 p.m., 6:55 p.m. Dracula Untold (PG-13) Fri. 4:45 p.m., 7:35 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:35 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:35 p.m. Mon. to Thurs. 4:45 p.m., 7:35 p.m. Fury (R) Fri. 4:40 p.m., 7:40 p.m. Sat. and Sun. 1:45 p.m., 4:40 p.m., 7:40 p.m. Mon. to Thurs. 4:20 p.m., 7:10 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. 5 p.m., 7:30 p.m., 9:45 p.m. Sat. 2:25 p.m., 5 p.m., 7:30 p.m., 9:45 p.m. Sun. 2:25 p.m., 5 p.m., 7:30 p.m. Mon. to Thurs. 5 p.m., 7:30 p.m.
dracula untold 2:15** 4:45 7:35 fury 1:45** 4:20 7:10 the boxtrolls 2d 1:55** 4:25 6:55 the judge 1:50** 4:15 7:20 alexander & the terrible, 2:05** 4:35 7:05 horrible, no good, Very bad day gone girl 1:40** 4:15 7:20 book of life 2d 2:00** 4:30 7:00 left behind 2:25** 5:00 7:30 annabelle 2:20** 4:55 7:15 best of me 2:10** 4:50 7:25 **saturday & sunday only *friday & saturday only times for friday, october 17 - thursday, october 23
9:50* 4:40/7:40* 9:40* 4:40/7:50* 9:40* 4:40/7:45* 9:30* 9:45* 9:55* 10:00*
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RESTAURANT REVIEW Alex Heard I For The New Mexican
Get your fenugreek on Raaga
544 Agua Fría St., 505-820-6440 www.raagacuisine.com Lunch 11 a.m.-2:30 p.m.; dinner 5-9:30 p.m. Mondays-Saturdays; closed Sundays Vegetarian options Online ordering and takeout available Patio dining in season Handicapped accessible Noise level: moderate Beer & wine Credit cards & checks
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The Short Order Raaga is a worthy addition to your list of regular haunts, especially if you’re craving a break from Southwestern food. The spicy East Indian menu served here comes with a generous helping of ambience, thanks to the driving spirit behind the restaurant: Paddy Rawal, who knows how to make you feel welcome. The cuisine is spicy and creative. The menu’s sauce-rich entrees sometimes feel heavy, but you can combine those with picks from a strong selection of lighter appetizers and salads. Wine and beer are served, including British imports that pair especially well with this food. Recommended: pappadum, rosemary & olive oil naan, stuffed poblano, chicken tikka masala, lamb vindaloo, chicken mint salad.
Ratings range from 1 to 5 chiles, including half chiles. This reflects the reviewer’s experience with regard to food and drink, atmosphere, service, and value. 5 = flawless 4 1/2 = extraordinary 4 = excellent 3 1/2 = very good 3 = good 2 1/2 = average 2 = fair 1 1/2 = questionable 1 = poor
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PASATIEMPO I October 17-23, 2014
Raaga is a first-rate East Indian restaurant whose big, spicy menu gets an extra kick from the personality of its owner and chef, Pramod “Paddy” Rawal. A native of India who learned to cook the old-fashioned way (by helping his mother) and through formal training and experience (at culinary school and during stints in India, Egypt, London, Dubai, Australia, and elsewhere in the U.S.), Rawal is the type of old-school restaurateur who loves to work a room — which means he’s likely to come to your table and ask how you’re doing. When you say you’re doing just fine and ask about the ingredients in this or that dish, he’ll deflect the question with a smile, reminding you that he reveals such secrets in a class he teaches at the Santa Fe Culinary Academy and in a cookbook, which will be available soon at the restaurant. Rawal’s friendliness is genuine, and Raaga feels like a place where management and staff really want you to have a good experience. For lunch one day, we ordered steamed mussels, which are served in a bowl of coconut-based broth flavored with curry leaves and chopped scallion greens. Two of the mussels didn’t open, and though it’s a myth that this means they’re spoiled, it did mean we couldn’t get at them. We mentioned this to our waiter, who soon reappeared with an extra serving. Rawal showed up after that to make sure we were satisfied. At two meals in Raaga’s indoor dining area — long parallel rows of modern booths and tables set up in an old building on Agua Fría Street — most everything clicked. Dinner one night started with three appetizers that were all excellent: pappadum, naan with rosemary and olive oil, and a stuffed poblano, which combines a classic Indian comfort food — the samosa — with a touch of the American Southwest. Pappadum is a wide, thin, crunchy toasted wafer made from a seasoned dough. Rawal’s version, which is lentil-based, was baked perfectly and served with a tangy mint sauce. The naan, a leavened flatbread, was good and fresh, with generous sprinklings of dried, toasted rosemary. To make the samosa, Rawal takes a skinned poblano, stuffs it with something savory and starchy, and then batter-fries the whole shebang. The result was delicious — not oily or greasy and just spicy enough to keep it interesting. When you order entrees at Raaga, you’re asked to pick the level of spiciness you want, described on the menu as “mild, medium, hot, or hell.” One waiter told us that there are actually seven available spice levels, but we kept it simple and went with medium and hot. What we got was pretty fiery, so be sure to confer with your waiter before giving “hell” a try. There are plenty of spices in play at Raaga, of course. With Indian food, so much is going on that it can be hard to pick out what exactly you’re eating. But over the course of two meals, most of the Indian classics seemed to get a
turn, including curry powder, cumin, anise, cardamom, ginger, fenugreek, masala blends, and turmeric. I’ve been to Indian restaurants where the spice is so overwhelming that eating the dishes feels like a challenge. That didn’t happen at Raaga, a sure sign that Rawal knows what he’s doing with his complex blends. The chicken tikka masala — grilled chicken, pimientos, onions, garlic, and tomato — had a nice gingery taste, and the chicken chunks were juicy and tender. Another winner is the surmai (fish) kofta, a blend of dumplings, spinach, and fenugreek that comes in a rich cashew cream sauce. During a lunchtime visit, we tried one of the fresh salads Raaga serves: the chicken mint, which combines pieces of breast meat with spring-mix lettuce, red cabbage, chickpeas, cucumber, mango chutney, and vinegar. That came together very well, as did a lamb dish featuring one of Rawal’s favorite sauces, a hot red vindaloo. That feast’s one disappointment was the tandoori shrimp. They were a little dry, and the dish came with a side of very bland steamed green beans that could’ve used some herbs, oil, and vinegar. There weren’t many missteps, though, which means Raaga is a keeper, the kind of friendly neighborhood restaurant that’s worth checking out on a regular basis. ◀
Dinner for three at Raaga: Pappadum ................................................. $ 3.95 Rosemary & olive oil naan ........................ $ 3.95 Stuffed poblano ......................................... $ 6.95 Baingan bhartha ........................................ $ 8.95 Surmai kofta .............................................. $ 8.95 Paneer palak .............................................. $ 8.95 Chicken tikka masala ................................. $ 9.95 Guinness stout .......................................... $ 5.00 TOTAL ....................................................... $56.65 (before tax and tip) Lunch for two, another visit: Steamed mussels ........................................ $ 8.95 Chicken mint salad ................................... $ 7.95 Lamb vindaloo ........................................... $16.95 Tandoori shrimp ........................................ $20.95 Newcastle brown ale ................................. $ 5.00 TOTAL ....................................................... $59.80 (before tax and tip)
THANK YOU
OR SH HOWIING 201 14 BALLLOON N FIE ESTA VIISITOR RS FO
THE WAY TO SANTA FE
THANKK YOU
to the organizationss, businessess, volunteers andd addvertisers who came toggether to promote tourism and generate new business for Sannta Fe during Albuquerque Ballloon Fiesta:
TOURISM Santa Fee Santa Fe Chamber of Com mmerce The Santa Fe New Meexican Fashion Outlets of Sannta Fe Inn on thhe Alamedda Local Fllavor
DO YOU KNOW THE WAY TO
Santa Fe? Your Day Trip Guide to the City Different
Way to Santa Fe Advertisers Asian Adobe e Asian Resstaurant Back Road Pizza Broken Saddle Riding Company Caff ffe ff e Greco Carollyn n Pollack Sterling Jewelry Deserrt Son Faashion Outlets of Santa Fe Queen’ss Ran nsom Galleryy 901 Georg gia O’K Keeff ffe e Museum Gold Hou use e Ind dian n Pueblo Cultturall Cente er Jaccque eline e’s Plaace e Jame es Kallaas Jew wellerss Je ewel Marrk Musseum m off Ind diaan Artss an nd Cu ultu ure e Naative e Jaccketts Muse eum m of New w Mexiico Ne ew Mexicco Histo oric Site es New Mexiico Histo ory Musseum Orig gins Reaal De eal Co ollecction n Saanbu usco Markket Ce ente er Santaa Fe Botan nical Gard den Santta Fe Place e SWAIA Winterr Indiaan Markett So othebyy’s Intternattionall Realty Turquo oise Bu utterfl fly fl Wheellwrigh ht Musseum
Togeethher wee made it happenn!
Booth Staff TOUR RISM SF staff ff an nd su upportters Randy Randalll Mona Baca Cynthia Delgado nette Armijo Antoin Judiith Karolick Frank Garnica Daviid Carr Melanie Moo ore Sue egy Ran ndall Marricruz Loya Jose Salg gado Jose e Galllegos Susaan Norton Luis Bayyard do An nyaa Alariid John n Crrant Dan Gersh ho n Cham mber staff ff and d su upportters Bridg get Dixson Caasey Sautter Vallerie Alarid d Jamiie Araanda Dianaa Roem mbach h Giillis Laang JD Frye Dem mi Mallnar Cynth hia Ko oenig Mark Koenig g Victoriaa Brune eni Izzzie Zun niga San nta Fe New Mexican Kristti Salazaar Conn nie Rojass Mary Margare et Vigil-Weidemaan Paul Weidemaan
850K
Estimated # of visitors who attend Balloon Fiesta.
34%
Fiesta visitors reporting spending additional time in New Mexico outside of Albuquerque. (2011 Balloon Fiesta Survey)
400
Total hours worked at Tourism Santa Fe’s 2014 Balloon Fiesta booth promoting Santa Fe attractions and local businesses.
10K
# of Santa Fe New Mexican “Way to Santa Fe?” day trip guides handed out at 2014 Balloon Fiesta.
35K
# of“Way to Santa Fe?” day trip guides distributed by The New Mexican to more than 200 regional airports, hotels and visitors centers in the days before and during the 2014 Balloon Fiesta.
Fashion n Outletss: Valerie Varela Guru Shab bd Khalsaa Je essica Kirrker Do ominique e Mazire Guiino Sanch hez
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C A L E N D A R
L I S T I N G
G U I D E L I N E S
• To list an event in Pasa Week, send an email or press release to pasa@sfnewmexican.com or pambeach@sfnewmexican.com. • Send material no less than two weeks prior to the desired publication date. • For each event, provide the following information: time, day, date, venue, venue address, ticket prices, web address, phone number, brief description of event (15 to 20 words). • All submissions are welcome. However, events are included in Pasa Week as space allows. There is no charge for listings. • To add your event to The New Mexican online calendar, visit santafenewmexican. com and click on the Calendar tab. • Return of photos and other materials cannot be guaranteed. • Pasatiempo reserves the right to publish received information and photographs on The New Mexican website. • For further information contact Pamela Beach, pambeach@sfnewmexican.com, 202 E. Marcy St., Santa Fe, NM 87501, phone: 505-986-3019, fax: 505-820-0803.
ARTS AND ENTERTAINMENT CALENDAR
October 17-23, 2014
CALENDAR COMPILED BY PAMELA BEACH
FRIDAY 10/17
Gentle Thunder
Santa Fe Center for Spiritual Living, 505 Camino de los Marquez Multi-instrumentalist, 7-9 p.m., $20 at the door, gentlethunder.com.
Gallery & Museum Openings Bill Hester Fine Art
621 Canyon Rd., 505-660-5966 Group show of paintings, including works by Sean Wimberly and Susanna Hester, reception 5-7 p.m.
Theater/Dance The Effect of Gamma Rays on Man-in-the-Moon Marigolds
Charlotte Jackson Fine Art
554 S. Guadalupe St., 505-989-8688 Selected Works From Fifty Years of Making Art, mixed media by Tony DeLap, reception 5-7 p.m., through Nov. 17. (See story, Page 46)
Santa Fe Playhouse, 142 E. DeVargas St. Paul Zindel’s 1964 play, directed by Quinn Mander, 7:30 p.m., $20, 505-988-4262, final weekend.
David Richard Gallery
EmiArteFlamenco
544 S. Guadalupe St., 505-983-9555 Selections: Then and Now, paintings by Eugene Newmann, reception 5-7 p.m., through Nov. 22. (See story, Page 30)
Skylight La Emi, with guest artists Juan Siddi, Kina Mendez, and Joaquin Gallegos, 8 p.m., $10 in advance at skylightsantafe.com, $15 at the door.
Ellsworth Gallery
215 E. Palace Ave., 505-989-7900 Beyond Reason, sculptural assemblages by William Dubby Fuqua and drawings by Lisa Rainbird, reception 5-7 p.m., through Nov. 15.
Some Girl(s)
Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr. Neil LaBute’s 2005 dark comedy directed by Gail Springer, 7 p.m., $15, discounts available, 505-988-1234, ticketssantafe.org, Fridays-Sundays through Oct. 26. (See story, Page 22)
Flying Fish Gallery
821 Canyon Rd., 505-577-4747 Inner Space, paintings by Aggie Damron, reception 5-7 p.m., through Nov. 14.
Books/Talks
Gallery 822
Art collectors forum
822 Canyon Rd., 505-989-1700 Rural Light, oil paintings by Brandon Bailey, reception 5-8 p.m.
Greenberg Fine Art
205 Canyon Rd., 505-955-1500 Paintings by David Bottini, reception 5-7 p.m.
Karan Ruhlen Gallery
225 Canyon Rd., 505-820-0807 The Landscape: Real to Abstract, paintings by Martha Mans, Kurt Meer, and Stephen Pentak, reception 5-7 p.m., through October.
Liquid Outpost
211 Old Santa Fe Trail, 505-983-6503 Paintings, Drawings, and Photographs, work by Robert Redus, through October.
Peters Projects
1601 Paseo de Peralta, 505-954-5800 The Sixth Sense, group show, including paintings by Farrell Brickhouse and sculpture by Ligia Bouton, reception 5-7 p.m., through Dec. 21.
Santa Fe Baking Company
504 W. Cordova Rd. 505-988-4292 Essence of New Mexico, paintings by Dominic Monti, reception 5:30-8 p.m., through Nov. 2.
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PASATIEMPO I October 17-23, 2014
Matthews Gallery, 669 Canyon Rd., 505-992-2882 A free community series; 5-7:30 p.m. today and Oct. 24. Patina Gallery shows paintings by Daniel Kosharek, 131 W. Palace Ave.
Seventh Annual Historic Canyon Road Paint Out & Sculpt Out
The event opens with an evening art walk and numerous artist receptions; artists’ demonstrations and associated events continue Saturday, details and participating galleries listed online at visitcanyonroad.com.
Silver Sun Gallery
656 Canyon Rd., 505-983-8743 From Kilimanjaro to Provence: Taking Paints on the Road, work by Lee MacLeod, reception 4-7 p.m., through November.
Ventana Fine Art
400 Canyon Rd., 800-746-8815 Group show of paintings, including works by Angus, John Axton, Tricia Cherington-Ratliff, and Lynne E. Windsor, reception 5-7 p.m.
Classical Music Serenata of Santa Fe
First Presbyterian Church of Santa Fe, 208 Grant Ave. Temporal Light, music of Britten, Dohnányi, and Reinecke, 7:30 p.m., $15-$30, ticketssantafe.org, 505-988-1234.
TGIF recital
First Presbyterian Church, 208 Grant Ave. Soprano Cecilia Leitner and pianist Sergio Rodriguez; music of Faure, Poulenc, and Debussy, 5:30-6 p.m., donations welcome, 505-982-8544, Ext. 16.
Artist talk
Santa Fe Community College Board Room, 6401 Richards Ave. Book artist Carol Barton, 7-9 p.m., presented by Santa Fe Book Arts Group, santafebag.org.
Beyond Reason
Ellsworth Gallery, 215 E. Palace Ave., 505-989-7900 Artists William Dubby Fuqua and Lisa Rainbird discuss their work, 3 p.m.
Debra Bloomfield and Terry Tempest Williams
In Concert
Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The author/photographer and the contributing writer discuss Wilderness, 4:30 p.m. (See Subtexts, Page 16)
Ali Ryerson
Transformation of Cultural Studies
Museum Hill Café, 710 Camino Lejo Jazz flutist, 7 p.m., a Santa Fe Music Collective concert, $25, 505-983-6820.
Museum of Indian Arts and Culture, 710 Camino Lejo, Museum Hill, 505-476-1250 MIAC and the Institute of American Indian Arts honor Santa Clara Pueblo historian Dave Warren with a symposium; 6 p.m., no charge, register online at eventbrite.com.
Skylight
Canyon Road Paint Out & Sculpt Out student musicians
Events Japanese tea demonstration
New Mexico State Capitol Rotunda, 491 Old Santa Fe Trail Chado New Mexico hosts Peace Through a Bowl of Tea, demonstrated by Izumimoto Sogen, 1:30-3 p.m., no charge, chadonewmexico.org.
Nightlife
Swiss Bakery Pastries and Bistro
Irish multi-instrumentalist Gerry Carthy, on the patio, 7-10 p.m.
Tiny’s
Doug Montgomery, 6-8 p.m.; Branden James, 8 p.m.-close; call for cover.
SATURDAY 10/18
Burro Alley Café
Offroad Productions
Trio Los Primos, 6 p.m., no cover.
¡Chispa! at El Mesón
Three Faces of Jazz, featuring guest trumpeter Tom Rheam, 7:30-10:30 p.m., no cover.
Cowgirl BBQ
An American Forrest, Americana, 5 p.m.; singer/songwriter Tiffany Christopher, 8:30 p.m.-close, no cover.
Duel Brewing
Alternative-soul band Hello Dollface, 7:30 p.m.-close, no cover.
El Farol
C.S. Rockshow, with Don Curry, Pete Springer, and Ron Crowder, 9 p.m.-close, call for cover.
Hilltop Bar at The Lodge at Santa Fe
Pachanga Club Fridays, Latin-dance night with DJ Aztech Sol, 9:30 p.m., call for cover.
La Fiesta Lounge at La Fonda
Syd Masters & The Swing Riders, country, 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
Danny the Harp, bluegrass, on the deck, 2 p.m., no cover; Karaoke Kamikaze, 8 p.m., call for cover.
Palace Restaurant and Saloon
Half Broke Horses, 4:30-7:30 p.m., no cover; Santa Fe Film Festival after-party, with dance band Chango, 10 p.m., call for cover.
Pranzo Italian Grill
Pianist Robin Holloway, 6-9 p.m., call for cover.
2891-B Trades West Rd., 505-670-9276 Hot Mess, group show, including drawings by Todd Ryan White and Susan Begy, reception 6-8 p.m.
Seventh Annual Historic Canyon Road Paint Out & Sculpt Out
More than 100 artists participate in live demonstrations along Canyon Road and in galleries; 10 a.m.-3 p.m., festival parade noon, Santa Fe Public School music student performances at galleries 1 and 2 p.m., flash mob public-participation event 3 p.m., details and participating galleries listed online at visitcanyonroad.com.
Waits Studio Works
2855-A Cooks Rd., 505-270-2654 Grand opening of immersive community projects Site Blackdom and Blue Jean Project 6-8 p.m.; including works by Ai Krasner and Matthew Ford; launch party 8 p.m.-midnight.
Theater/Dance/Opera 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, final weekend.
The Metropolitan Opera: Live in HD
The Lensic Mozart’s Le Nozze di Figaro, 11 a.m., $22-$28, 505-988-1234, ticketssantafe.org.
Some Girl(s)
Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr. Neil LaBute’s 2005 dark comedy directed by Gail Springer, 7 p.m., $15, discounts available, 505-988-1234, ticketssantafe.org, Fridays-Sundays through Oct. 26. (See story, Page 22)
Second Street Brewery
Books/Talks
Second Street Brewery at the Railyard
New Concept Gallery, 610 Canyon Rd., 505-795-7570 Cecilia Kirby Binkley, Ann Hosfeld, Linda Petersen, and Reg Loving, 2 p.m.
Watermelon Mountain Jug Band, 6-9 p.m., no cover. Roots duo Carolina Wray, 7-10 p.m., no cover.
Shadeh
Clear Channel Radio Rock ‘n’ Roll Night, 9 p.m.-4 a.m., no cover.
Friends of the Santa Fe Public Library book sale
Southside Branch, 6599 Jaguar Dr. Hardcovers $1, paperbacks 3 for $1; includes children’s books, gift books, and VHS videotapes, 10:30 a.m.-4 p.m., santafelibraryfriends.org, continues Sunday.
Artists panel on landscape paintings
Artist talk
Casweck Galleries, 713 Canyon Rd., 505-988-2966 Potter Angie Yazzie discusses micaceous pottery, followed by a Q & A session, 5-7 p.m.
Gallery talk
Tai Modern, 1601 Paseo de Peralta, 505-984-1387 Gallery manager Steve Halvorsen discusses traditional bamboo craft, 1-2 p.m.
Opera Breakfast: Mozart’s Le Nozze di Figaro Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The Opera Guild’s lecture series, held in conjunction with live HD broadcasts of the Metropolitan Opera, opens with St. John’s College professor Don Fineberg, 9 a.m., $5 at the door.
Check with venues for updates and sp ecial events Agoyo Lounge
Vanessie
Gallery & Museum Openings
Café Café
David Richard Gallery, 544 S. Guadalupe St., 505-983-9555 A panel discussion featuring artists Eugene Newman and Gregory Botts, 2 p.m.
Singer/songwriter Ben Wright, 5:30-8 p.m.; classic-rock band The Jakes, 8:30 p.m.-close; no cover.
(See addresses at right) Rock/blues/funk band Dusk, 9 p.m., call for cover.
Figuration and Abstraction in Contemporary Painting
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 Bishop’s Lodge Ra nch Resort & Spa 1297 Bishops Lodg e Rd., 505-983-6377 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Tra The Blue Rooster il, 505-982-1851 101 W. Marcy St., 50 Odd Fellows Hall 5-206-2318 1125 Cerrillos Rd., Burro Alley Café 505-473-0955 207 W. San Francisc Omira Bar & Grill o St., 505-982-0601 1005 St. Francis Dr Café Café ., 505-780-5483 500 Sandoval St., 50 Palace Restaurant 5-466-1391 & Saloon 142 W. Palace Ave., ¡Chispa! at El Mesó 505-428-0690 n 213 Washington Av Pranzo Italian Grill e., 505-983-6756 540 Montezuma Av Cowgirl BBQ e., 505-984-2645 319 S. Guadalupe St. Santa Fe Bar & Grill , 505-982-2565 187 Paseo de Peral Duel Brewing ta, DeVargas 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., 505-955-6705 Eldorado Hotel & 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., 505-982 El Paseo Bar & Grill -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 Tin y’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
10/18
Impulse Groove Foundation: Silent Performance, a concert transmitted through headphones and accompanied by bassist Brian Hardgroove, 5-7 p.m. today and Saturday, all ages; also, local unsigned musical acts may submit two original recordings to compete for recording gear from Sennheiser Electronic Corporation and The Candyman.
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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.; Branden James, 8 p.m.-close; call for cover.
SUNDAY 10/19 Gallery & Museum Openings Axle Contemporary
Leonora Curtin Wetland Preserve, 27283 W. Frontage Rd., La Cienega Wilderness Acts, group show of outdoor installations , reception 1-4 p.m., through Nov. 9.
Classical Music High Desert Winds
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Wind ensemble; Meditations, music of Saint-Säens, Alfred Reed, and John Barnes, 2 p.m., no charge, concordiasantafe.org.
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., $11-$76, discounts available, 505-983-1414 or 505-988-1234, ticketssantafe.org.
In Concert Of Montreal McLarry Fine Art shows work by painter Peter Hagen, 225 Canyon Rd.
Public art panel discussion and creative-economy mixer
Evoke Contemporary, 550 S. Guadalupe St., 505-995-9902 Innovation and Creativity in Santa Fe: Emerging Leaders Building Support for the Arts; panelists include Shannon Murphy of After Hours Alliance Festival of Progressive Arts, Sanjit Sethi of Santa Fe Art Institute, and Vince Kadlubek of Meow Wolf, 4-6 p.m., no charge.
Poetry readings
Op. Cit. Books, Sanbusco Center, 500 Montezuma Ave., 505-428-0321 Santa Fe poet John Macker and Albuquerque poet Gary Brower, 5 p.m., signing follows.
Raya Golden
Big Adventure Comics, 801 Cerrillos Rd., 505-992-8783 The illustrator signs copies of her comic-book adaptation of author George R.R. Martin’s Meathouse Man, 1-3 p.m.
Outdoors Leonora Curtin Wetland Preserve: Cottonwood Celebration
27283 W. Frontage Rd., La Cienega Nature walks, children’s activities, and a mobile exhibit presented by Axle Contemporary titled Wilderness, 9 a.m.-4 p.m., no charge, 505-471-9103, santafebotanicalgarden.org.
Río Grande Peruvian Horse Club trail ride
Valles Caldera National Preserve, Jemez Mountains To sign up call 505-989-1135, $30 per rider.
Events National Archaeology Day
Center for New Mexico Archaeology, 7 Old Cochiti Rd., 505-476-4404
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PASATIEMPO I October 17-23, 2014
Tour the new facility, engage in family-oriented activities and demonstrations, and meet the archaeologists behind excavations at the Palace of the Governors, the Railyard, and the Santa Fe Community Convention Center, 10 a.m.-4 p.m., nmarchaeology.org.
Oktoberfiesta
Santa Fe Brewing Company, 35 Fire Place Live music, yodeling competition, and sausageeating contest, noon-7 p.m., no admission charge, proceeds benefit local nonprofits.
Santa Fe Independent Film Festival awards ceremony
The Lensic Honoring George R.R. Martin, Hampton Sides, Shirley MacLaine, Ted Hope, and Imogene Hughes, 6:30 p.m., $15-$150; ticketssantafe.org, 505-988-1234.
Nightlife
(See Page 57 for addresses)
¡Chispa! at El Mesón
Shades of Tjader, with David Brady on vibes, 7:30-10:30 p.m., no cover.
Cowgirl BBQ
Bill Hearne Trio, classic country, 2 p.m. (See Tune Up, Page 24); Sean Healen Band, folk rock, 8:30 p.m.-close; no cover.
Duel Brewing
Balkan-folk ensemble Rumelia, 7:30 p.m.-close, no cover.
El Farol
Tone and Company jam band, 9 p.m., call for cover.
La Fiesta Lounge at La Fonda
Syd Masters & The Swing Riders, country, 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.
Skylight Indie pop-rock band, Pillar Point opens, 8 p.m., $20, holdmyticket.com.
Theater/Dance The Effect of Gamma Rays on Man-in-the-Moon Marigolds
Low ‘n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe
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, closing night.
Mine Shaft Tavern
Some Girl(s)
Irish multi-instrumentalist Gerry Carthy, 7:30 p.m.-close, no cover.
Weston McDowell & The Shiners Club Jazz Band, 4:30-7:30 p.m., no cover.
Greer Garson Theatre, Santa Fe University of Art & Design, 1600 St. Michael’s Dr. Neil LaBute’s 2005 dark comedy directed by Gail Springer, 2 p.m., $15, discounts available, 505-988-1234, ticketssantafe.org, Fridays-Sundays through Oct. 26. (See story, Page 22)
Pranzo Italian Grill
Books/Talks
Country-rock band Bartender 4 Mayer, on the deck, 2 p.m., no cover; Cali Shaw Band, Americana, 8 p.m., call for cover.
Palace Restaurant and Saloon
Pianist/composer David Geist, 6-9 p.m., call for cover.
Second Street Brewery
Americana band Broomdust Caravan, 6-9 p.m., no cover.
Second Street Brewery at the Railyard
Hot Club of Santa Fe, Gypsy swing, 7-10 p.m., no cover.
Shadeh
Hip-hop night, 9 p.m.-4 a.m., no cover.
Skylight
Impulse Groove Foundation: Silent Performance, a concert transmitted through headphones and accompanied by bassist Brian Hardgroove, 5-7 p.m., all ages; also, local unsigned musical acts may submit two original recordings to compete for recording gear from Sennheiser Electronic Corporation and The Candyman.
Gallery panel discussion
David Richard Gallery, 544 S. Guadalupe St., 505-983-9555 The Paintings of Salvatore Emblema: Transparency Through Color and Light, panelists include art critic Peter Frank and Albuquerque Museum of Art curator Andrew Connors, 2 p.m.
David Bacon: Land and Water Use
Collected Works Bookstore, 202 Galisteo St., 505-988-4226 A conversation with the KSFR radio Living on the Edge host, 11 a.m., presented by Journey Santa Fe.
Friends of the Santa Fe Public Library book sale
Southside Branch, 6599 Jaguar Dr. $4 bag day; includes children’s books, and VHS videotapes, 1-3:30 p.m., santafelibraryfriends.org.
Nightlife
10/23
Nashville rock ’n’ roller Tim Easton
(See Page 57 for addresses)
El Farol
Mondays with Hilary Smith and Company, 8 p.m., call for cover.
Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The local authors celebrate Goin’ Crazy With Sam Peckinpah & All Our Friends, 3 p.m. (See story, Page 40)
Nightlife
(See Page 57 for addresses)
Cowgirl BBQ
Anthony Leon & His Grievous Angels, alternative country, noon-3 p.m.; Mose McCormick Band, country, 8 p.m.-close; no cover.
Duel Brewing
CD-release party for folk singer/songwriter Jim Keaveny’s album Out of Time, 5-7 p.m., no cover.
El Farol
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.
Mine Shaft Tavern
Folk singer/songwriter Eryn Bent, on the deck, 3-7 p.m.; blues band The Barbwires, 3-7 p.m.; no cover.
Tiny’s
Artist talk
Vanessie
Cowgirl BBQ
Museum of Contemporary Native Art, Main Gallery, 108 Cathedral Place, 505-983-1777 Material as Form, by Rick Gendron and Courtney Leonard, 6-7 p.m., by museum admission.
El Farol
Juan Estevan Arellano
Doug Montgomery, 6-8 p.m.; Branden James, 8 p.m.-close; call for cover.
TUESDAY 10/21 Books/Talks Betty Brodsky
Georgia O’Keeffe Museum Education Annex, 123 Grant Ave. Led by Lauren Camp, 9:30-11:30 a.m., held in conjunction with the exhibit Miguel Covarrubias: Drawing a Cosmopolitan Line, $8, register online at okeeffemuseum.org.
Karaoke Wednesdays with Michelle, 10 p.m., no cover.
La Fiesta Lounge at La Fonda
Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The author discusses Enduring Acequias: Wisdom of the Land, Knowledge of the Water, 6 p.m. (See story, Page 18)
Events Mayor’s Awards for Excellence in the Arts
Alternative-country band Anthony Leon & The Chain, 8:30 p.m.-close, call for cover.
Tiny’s
Nightlife
Vanessie
¡Chispa! at El Mesón
Country singer Wiley Jim, 7 p.m., call for cover.
Palace Restaurant and Saloon
¡Chispa! at El Mesón
Branden James, 6:30 p.m.-close, call for cover.
(See Page 57 for addresses)
Books/Talks
Sweeney Ballroom, Santa Fe Community Convention Center, 201 W. Marcy St. 25th annual ceremony; 6:30-9:30 p.m., recipients include George Ancona, Lawrence Fodor, Joanne LeFrak, and Danny Cron, $70 includes hor d’oeuvres and dinner, santafeartscommission.org, 505-955-6707.
Nightlife
(See Page 57 for addresses) Chris Ishee Jazz Duo, 7-9 p.m., call for cover.
Argentine Tango Milonga, 7:30-11 p.m., call for cover.
Cowgirl BBQ
Bluesman Kenny Skywolf, 8 p.m., no cover.
El Farol
Canyon Road Blues Jam, 8:30 p.m., call for cover.
Pianist Doug Montgomery, 6:30 p.m., call for cover.
Open-song night with Ben Wright, 7 p.m., no cover.
MONDAY 10/20
Open-mic night, 7-10 p.m., no cover.
Jean Cocteau Cinema The artist signs copies of Tony DeLap: Selected Works From Fifty Years of Making Art following the screening of Tony DeLap: A Unique Perspective, a film by Dale Schierholt, 4-6 p.m., no charge, but tickets available at Charlotte Jackson Fine Art, 505-989-8688. (See story, Page 46)
Junction
Electric jam session, 8:30-11:30 p.m., no cover.
Vanessie
Tony Delap
Midweek rock with the John Kurzweg Band, 8 p.m., no cover.
La Posada de Santa Fe Resort and Spa
Timbo jam session, 7 p.m.; no cover.
Hotel Santa Fe, 1501 Paseo de Peralta New Mexico’s Lifeblood: Acequias and Their Origins, by historian Juan Esteven Arellano, 6 p.m., $12 at the door, southwestseminars.org, 505-466-2775. (See story, Page 18)
Americana singer/songwriters Roy Schneider & Kim Mayfield, 8 p.m., no cover.
The Impossible Interview: writing workshop
Mine Shaft Tavern
Southwest Seminars lecture
Guitarist Jesus Bas, 7-9 p.m., no cover.
Blues band Night Train, 7:30-11 p.m., no cover.
The Alchemy Party, with DJs Dynamite Sol and Poetics, 7:30 p.m., call for cover.
Museum of Spanish Colonial Art, 750 Camino Lejo, Museum Hill, 505-982-2226 A lecture by art historian Annette Lermack, 2 p.m., $10.
(See Page 57 for addresses)
Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The author discusses Bobby’s World: A Book About Bobby Brodsky, 6 p.m. (See story, Page 42)
Skylight
Renaissance: The Northern Connection in Spain at the Beginning of the Colonial Era
Tim Easton
¡Chispa! at El Mesón
Bill Hearne, pure country, 7:30-11 p.m., no cover. (See Tune Up, Page 24)
La Fiesta Lounge at La Fonda
Books/Talks
In Concert
Nightlife
La Fiesta Lounge at La Fonda
Second Street Brewery at the Railyard
Drastic Andrew & The Cinnamon Girls, 1-4 p.m., no cover.
THURSDAY 10/23 Skylight Rock ‘n’ roll songwriter/guitarist, David Berkeley opens, 7:30 p.m., $12 in advance at holdmyticket.com.
Santa Fe Great Big Jazz Band, 7-9 p.m., no cover.
Max Evans and Robert Nott
School for Advanced Research lecture
SAR Boardroom, 660 Garcia St., 505-954-7200 The Archaeology of the Pueblo Revolt and Spanish Reconquest at Tunyo, San Ildefonso Pueblo, New Mexico, by Joseph Aguilar and Katrin H. Lamon, noon-1 p.m., no charge.
Bill Hearne, pure country, 7:30-11 p.m., no cover. (See Tune Up, Page 24)
Second Street Brewery at the Railyard
Tiny’s
Vanessie
Doug Montgomery, 6-8 p.m.; Branden James, 8 p.m.-close; call for cover.
WEDNESDAY 10/22 Books/Talks Gallery talk
Georgia O’Keeffe Museum Education Annex, 123 Grant Ave. Nature Morte: Contemporary Artists Reinvigorate the Still-Life Tradition, a lecture and book signing with author Michael Petry of London’s Museum of Contemporary Art, 6 p.m., $5, register online at okeeffemuseum.org.
Lannan Foundation: Readings and Conversations
The Lensic The series continues with author Alice McDermott and Michael Silverblatt, 7 p.m., $6, discounts available, ticketssantafe.org, 505-988-1234. (See story, Page 20)
The 27th Annual Galisteo Studio Tour runs 10 a.m.-5 p.m. Saturday and Sunday. Shown, painting by Kimberly Reed Deemer.
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Placitas Placitas Artists Series: Zofo Piano Duet
Las Placitas Presbyterian Church, NM 165 Eva-Maria Zimmermann and Keisuke Nakagoshi, music of Debussy, Holst, and Gershwin, 3 p.m. Sunday, Oct. 19, placitasartistsseries.org, $20 at the door.
Taos Taos Town Hall
400 Camino de la Placita AH, Taos Wilderness, group show of photographs celebrating the 50th anniversary of the Wilderness Act, reception 5-7 p.m. Friday, Oct. 17, through Jan. 9.
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.
Caffe Renato
Zofo Piano Duet Eva-Maria Zimmermann and Keisuke Nakagoshi perform on Sunday, Oct. 19, in Albuquerque at The Kosmos, 1715 Fifth St. N.W. and in Placitas at Las Placitas Presbyterian Church on NM 165.
Cowgirl BBQ
Country-rock band Bartender 4 Mayer, 8 p.m., no cover.
Duel Brewing
Indie-rock band Kristen Ford, 7:30 p.m., no cover.
El Farol
Guitarras con Sabor, Gypsy Kings-style rhythms, 8 p.m., no cover.
La Boca
Nacha Mendez, 7-9 p.m., no cover.
La Fiesta Lounge at La Fonda
Blues band Night Train, 7:30-11 p.m., no cover.
trucks, and chefs; live music, bacon-themed games, cooking demonstrations, and the best bacon dish contest, 11 a.m.-6 p.m. Saturday, Oct. 18, general admission $7; ages 4-12 $2, ages 3 and under no charge, dogs welcome, southwestbaconfest.com.
Chatter Sunday
The Kosmos, 1715 Fifth St. N.W. Zofo Piano Duet, Eva-Maria Zimmermann and Keisuke Nakagoshi, 10:30 a.m. Sunday, Oct. 19, the spoken-word segment this week is presented by author Lauren Camp, $15, discounts available, chatterabq.org.
New Mexico Symphonic Chorus
Pat Malone Jazz Trio, with Kanoa Kaluhiwa on saxophone, Jon Gagan on bass, and Malone on guitar, 6-9 p.m., call for cover.
First United Methodist Church, 314 Lead Ave. Season opener: music of Mozart and Britten, 3 p.m. Sunday, Oct. 19, $25 and $45, discounts available, nmschorus.org and brownpapertickets.com.
Lodge Lounge at The Lodge at Santa Fe
Richard Levy Gallery
La Posada de Santa Fe Resort and Spa
Irish multi-instrumentalist Gerry Carthy, 7-9:30 p.m., call for cover.
Pranzo Italian Grill
Pianist John Rangel and vocalist Barbara Bentree, 6 p.m., call for cover.
Second Street Brewery
514 Central Ave. S.W., 505-766-9888 Journey to Wilderness, photographs by Debra Bloomfield, through Oct. 24.
Cerrillos Fourth Annual Encaustic/Wax Exhibition
Guitar duo Wes & Mito, Gypsy Kings-style rhythms, 7:30 p.m.-close, no cover.
Encaustic Art Institute, 18 County Rd. 55-A (General Goodwin Rd.) Group show, through Nov. 2, gallery open noon-5 p.m. weekends only or by appointment, 505-424-6487, eainm.com.
Tiny’s
Galisteo
Afro-pop band Jaka, 6-9 p.m., no cover.
Swiss Bakery Pastries and Bistro
Dance band The Sprints, 8 p.m.-close, no cover.
Vanessie
Pianist Branden James, 6:30 p.m., call for cover.
OUT OF TOWN Albuquerque Outpost Performance Space concerts
27th Annual Galisteo Studio Tour
About 20 miles south of Santa Fe off U.S. 285 on NM 41 A self-guided tour of more than 30 studios (some within walking distance of each other); 10 a.m.-5 p.m. Saturday and Sunday, Oct. 18-19, maps and information available at La Sala de Galisteo Welcome Center and online at galisteostudiotour.org.
210 Yale Blvd. S.E. Le Chat Lunatique, theatrical jazzy-swing ensemble, Los Alamos 7:30 p.m. Friday, Oct. 17, $10-$15; Bassekou Kouyate & The Ngoni Blues Band, 7:30 p.m. Thursday, Oct. 23, Brownbag @ the Bradbury $15-$20; tickets available online at holdmyticket.com. Bradbury Science Museum Auditorium, 1350 Central Ave., 505-667-4444 Second Annual Southwest Bacon Fest Environmental Stewardship: Reporting on the Past; Albuquerque Balloon Museum, Planning for the Future, a discussion with Sam Loftin 9201 Balloon Museum Dr. N.E. and Lorrie Bonds Lopez, noon-1 p.m. Wednesday, Get your cholesterol on with everything bacon; Oct. 22, no charge, bring your lunch. dishes created by more than 40 restaurants, food
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PASATIEMPO I October 17-23, 2014
133 Paseo del Pueblo Norte, 575-758-0244 Venice: A Reality of a Different Order, prints and photographs by Robbie Steinbach, through Jan. 13.
PEOPLE WHO NEED PEOPLE Artists Art on the Edge 2015
New Mexico Museum of Art and Friends of Contemporary Art + Photography seek portfolio submissions; Arizona, Colorado, New Mexico, Oklahoma, and Utah artists eligible; visit callforentry.org for details.
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.
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.
Santa Fe Society of Artists jury
Applications and requirements available online at santafesocietyofartists.com; held at 10:30 a.m. Saturday, Oct. 25, at Garrett’s Desert Inn, 311 Old Santa Fe Trail.
Community Fight Illiteracy
Literacy Volunteers of Santa Fe will train individuals willing to help adults learn to read, write, and speak English; details available online at lvsf.org or call 505-428-1353.
Flower Angels
Help out weekly as a Flower Angel for Presbyterian Medical Services Hospice Center; contact Mary Ann Andrews for information, 505-988-2211.
Many Mothers
Help new mothers and families, raise funds, plan events, become a board member, and more; requirements and details available online at manymothers.org.
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.
Designers/Filmmakers/Visual Artists TRIBEC4H4CKS: NDN Country
Tribeca Film Institute, Vision Maker Media, and Institute of American Indian Arts invite designers, technologists, filmmakers, and visual artists to collaborate on producing interactive stories about indigenous culture during a free Hackathon held in Santa Fe Friday-Sunday, Nov. 21-23; visit tribecafilminstitute.org for application forms and details.
Performers Men’s Barbershop Chorus
Always in need of singers; all ages, all levels; rehearsals held 6:30-8 p.m. Mondays at United Methodist Church, 3368 Governor Miles Rd.; call Bill (505-424-9042) or Bo (505-983-4506) for information about participating in the annual Christmas carols program at Santa Fe retirement communities.
Santa Fe Bandstand 2015
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.
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. 17, Main Branch; songs and crafts, 11 a.m. Friday, Oct. 17, Eldorado; children must be accompanied by an adult.
Leonora Curtin Wetland Preserve: Cottonwood Celebration
27283 W. Frontage Rd., La Cienega Nature walks, children’s activities, and a mobile exhibit presented by Axle Contemporary titled Wilderness, 9 a.m.-4 p.m. Saturday, Oct. 18, no charge, santafebotanicalgarden.org, 505-471-9103.
National Archaeology Day
Center for New Mexico Archaeology, 7 Old Cochiti Rd., 505-476-4404 Tour the new facility, engage in family-oriented activities and demonstrations, and meet the archaeologists behind the excavations at Palace of the Governors, the Railyard, and Santa Fe Community Convention Center, 10 a.m.-4 p.m. Saturday, Oct. 18, nmarchaeology.org.
Bee Hive Kids Books party
328 Montezuma Ave., 505-780-8051 Music, stories, dancing, and treats, 11 a.m. Saturday, Oct. 18; craft fall-leaf sun-catchers, noon-1 p.m., no charge.
Santa Fe Science Café for Young Thinkers
Georgia O’Keeffe Education Annex, 123 Grant Ave. Music and Math, by Cris Moore of Santa Fe Institute, 6-7:30 p.m. Thursday, Oct. 23; geared toward ages 13-19. ◀
The Metropolitan Opera: Live in HD
UPCOMING EVENTS MUSIC
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.
J.D. McPherson
Skylight Rockabilly singer/songwriter, 7:30 p.m. Saturday, Oct. 25, $16 in advance at holdmyticket.com.
Concordia Santa Fe
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. The wind orchestra in Nightsongs, music of Frank Ticheli, David Dzubay, and Michael Gandolfi, 2 p.m. Sunday, Oct. 26, donations accepted, concordiasantafe.org.
Greensky Bluegrass
Skylight Rock-tinged bluegrass band, 7:30 p.m. Tuesday, Oct. 28, $15 in advance at holdmyticket.com
Santa Fe Pro Musica
St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. Transfigured Night, music of Schoenberg and Mahler, featuring mezzo-soprano Deborah Domanski, 4 p.m. Saturday, 3 p.m. Sunday, Nov. 8-9, $10-$65, 505-988-1234, ticketssantafe.org.
Dave Grusin and Lee Ritenour
The Lensic Jazz pianist and guitarist, 7 p.m. Sunday, Nov. 9, $25-$100, 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
Ralph Alessi Baida Quartet
The Lensic 7 p.m. Sunday, Nov. 16, $42-$62, 505-988-1234, ticketssantafe.org.
Ziggy Marley
First Presbyterian Church of Santa Fe, 208 Grant Ave. The Art of Bach, with violinist L.P. How, violist Christof Huebner, and cellist Felix Fan, 3 p.m. Sunday, Nov. 16; $15-$30, ticketssantafe.org, 505-988-1234.
Gig Performance Space, 1808 Second St. Jazz trumpeter, 7:30 p.m. Wednesday, Oct. 29, $20 at the door, gigsantafe.com. 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, with Pontiak, 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 band, 7:30 p.m. Wednesday, Nov. 5, $12 in advance at holdmyticket.com.
Alejandro Escovedo and Peter Buck
Skylight Veteran rock musicians, 7:30 p.m. Thursday, Nov. 6, $25, holdmyticket.com.
Santa Fe Music Collective jazz concerts
Museum Hill Café, 710 Camino Lejo Friday, Nov. 7, Arlen Asher Quartet; Friday, Nov. 21, vocalist Barbara Bentree; Friday, Dec. 12, saxophonist Doug Lawrence; all concerts begin at 7 p.m., $25, 505-983-6820, santafemusiccollective.org.
Kalin and Myles
Skylight Hip-pop duo, 7:30 p.m. Friday, Nov. 7, $18, VIP tickets $60, 505-988-1234, ticketssantafe.org.
Patty Griffin
James A. Little Theater, New Mexico School for the Deaf, 1060 Cerrillos Rd. Singer/songwriter, 7:30 p.m. Friday, Nov. 7, $48, 505-988-1234, ticketssantafe.org.
Serenata of Santa Fe
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 Bizet’s Carmen, 11 a.m. and 6 p.m. Saturday, Nov. 1; $22-$28, 505-988-1234, ticketssantafe.org.
OneBeat Albuquerque at the Rail Yards
Misty Lee: magician/séance medium
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
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.
BodyTraffic
Adriana Bustos
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.
Sacred Body
The Lensic Presented by New Mexico Dance Coalition, 7:30 p.m. Friday, Nov. 14, performers include Julie Brette Adams, Saltanah Dancers, and Harambe Hip Hop Crew, 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.
Armory for the Arts, 1050 Old Pecos Trail SITE Santa Fe presents the artist in a discussion on the Drug Policy Alliance and the Women’s Justice Project, 6 p.m. Tuesday, Nov. 4, $10, discounts available, 505-989-1199.
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.
Lannan Foundation: In Pursuit of Cultural Freedom
HAPPENINGS
The Lensic The series continues with journalist/author Ann Jones, with Andrew Bacevich, 7 p.m. Wednesday, Nov. 12, $6, discounts available, ticketssantafe.org, 505-988-1234.
Santa Fe Farmers Market Pavilion A community dinner that funds New Mexicobased artists and creative inititives by providing microgrants; doors open at 6:45 p.m. Friday, Oct. 24, $15-$50 cash only tickets sold at 6 p.m. Wednesday and Thursday, Oct. 22-23, at SITE Santa Fe, 1606 Paseo de Peralta, 505-989-1199
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.
SITE Santa Fe’s Spread 5.0: Community Nourishing Creativity
Unabridged: Lambda Literary Authors Series
Armory for the Arts, 1050 Old Pecos Trail Readings and panel discussions with authors Anna 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.
Patrick Nagatani and Lucy Lippard
Santa Fe Winter Indian Market
Santa Fe Community Convention Center, 201 W. Marcy St. The ninth annual market runs Thanksgiving weekend, Saturday and Sunday, Nov. 29-30, general admission $10; weekend pass $15; ages 12 and under no charge, tickets available at the door, swaia.org.
THEATER/DANCE
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.
King Lear
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.
Tinariwen performs at Skylight on Monday, Nov. 3.
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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. Open daily; okeeffemuseum.org.
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 Oct. 26 • Breach: Log 14, video installation by Courtney M. Leonard, Hallway Gallery • 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; exhibits run through December. Closed Tuesdays; iaia.edu/museum.
Museum of Indian Arts & Culture
Pop Gallery shows paintings by Carrie Ann Baade, 125 Lincoln Ave.
AT THE GALLERIES
Blue Rain Gallery
130-C Lincoln Ave., 505-954-9902 New work by blown-glass and mixed-media sculptor Rik Allen, through Sunday, Oct. 18.
McLarry Fine Art
225 Canyon Rd., 505-988-1161 New oil paintings by Raymond L. Knaub, through Oct. 24.
Patina Gallery
131 W. Palace Ave., 505-986-3432 Measure of Days, abstract paintings by Daniel Kosharek, through Oct. 26.
Pop Gallery
125 Lincoln Ave., 505-820-0788 Pop Femme Sugar Coated Strange, works by Women of New Brow Contemporary Art; benefit for Southwest CARE Center; through October.
Santa Fe Community Convention Center
201 W. Marcy St. Art in Architecture, group show featuring the American Institute of Architects Western Mountain Region award entries, through Saturday, Oct. 18.
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, through Oct. 30.
Wheelhouse Art
418 Montezuma Ave., 505-919-9553 Persistence of Vision, work by Dirk Kortz, through Oct. 27.
Winterowd Fine Art
701 Canyon Rd., 505-992-8878 The Measure of a Man, mixed-media assemblages by Emilio Lobato, through Thursday, Oct. 23.
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
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PASATIEMPO I October 17-23, 2014
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 • 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.
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 • Focus on
Photography, rotating exhibits: Cameraless, photograms by Leigh Anne Langwell, in conjunction with the Focus on Photography exhibit • Beneath Our Feet, photographs by Joan Myers • Grounded, landscapes from the museum collection • Photo Lab, interactive exhibit explaining the processes used to make color and platinum-palladium prints from the collection, through March • New Mexico Art Tells New Mexico History, including works by E. Irving Couse, T.C. Cannon, and Agnes Martin, through 2015 • Spotlight on Gustave Baumann, works from the museum’s collection, through 2015. Open daily through October; nmartmuseum.org.
UNM Art Museum
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.
213 Cathedral Place, 505-988-8900 Harvesting Traditions, work by ceramicist Kathleen Wall, through Jan. 4. Closed Mondays; pvmiwa.org.
Poeh Cultural Center and Museum
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, 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
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
Los Alamos Bradbury Science Museum
1350 Central Ave., 505-667-4444 Environmental Research and Monitoring, an interactive exhibit covering research projects on how to preserve archaeological sites, local wildlife, and fragile ecosystems. Core exhibits on the history of Los Alamos and the Manhattan Project as well as over 40 interactive exhibits. Open daily; lanl.gov/museum.
Los Alamos Historical Museum
1050 Bathtub Row, 505-662-4493 Tradition and Change in Córdova, New Mexico: The 1939 Photographs of Berlyn Brixner & the López Family of Wood Carvers. Core exhibits on area geology, homesteaders, and the Manhattan Project. Housed in the Guest Cottage of the Los Alamos Ranch School. Open daily; losalamoshistory.org.
Pajarito Pajarito Environmental Education Center
3540 Orange St., 505-662-0460 Exhibits of flora and fauna of the Pajarito Plateau; herbarium, live amphibians; also, butterfly and xeric gardens. Closed Sundays and Mondays; pajaritoeec.org.
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
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.
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
Maxwell Museum of Anthropology
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.
UNM campus, 1 University Blvd. N.E., 505-277-4405 Archaeology on Ice, exhibit exploring climate change in the Arctic, including tribal artifacts emerging as the ice melts, The museum’s collection includes individual archaeological, ethnological, archival, photographic, and skeletal items. Closed Sundays and Mondays; maxwellmuseum.unm.edu.
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.
Millicent Rogers Museum
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.
Kurt Meer: Clouds 2014, oil on canvas Karan Ruhlen Gallery 225 Canyon Road 505-820-0807 In The Landscape: Real to Abstract, Karan Ruhlen Gallery presents works by Kurt Meer, who paints landscapes associated with the Mississippi River; Stephen Pentak, the serene settings that live in his memory; and Martha Mans, Southwestern terrain. The show opens with a 5 p.m. reception on Friday, Oct. 17, and runs through October.
Robert Redus: Redwings 2012, acrylic on canvas over panel Liquid Outpost 211 Old Santa Fe Trail 505-983-6503 Robert Redus’ Paintings, Drawings, and Photographs opens at Liquid Outpost on Friday, Oct. 17, with a reception planned for 4 p.m. on Oct. 25. Redus’ vibrant works combine figurative elements and abstraction in dizzying, colorful compositions. The show is on view through October.
Tricia Cherrington-Ratliff: Reflections on Knowledge 2014, oil on panel Ventana Fine Art, 400 Canyon Road 1-800-746-8815 Seven artists — including Angus, John Axton, Frank Balaam, Barry McCuan, Tricia Cherrington-Ratliff, Lynne E. Windsor, and Jennifer Davenport — participate in the seventh annual Historic Canyon Road Paint Out and Sculpt Out at Ventana Fine Art. The gallery hosts an artists reception on Friday, Oct. 17, at 5 p.m. On Saturday, Oct. 18, artists paint on the grounds of Ventana from 11 a.m. to 3 p.m., with their works remaining on view there through Oct. 29. The Paint Out and Sculpt Out takes place Oct. 17 and 18 at galleries along Canyon Road, with more than 150 artists participating. For more information go to www.visitcanyonroad.com.
Susan Begy: June 2013 (detail, side one of two) 2013, ink, acrylic, and graphite on paper Offroad Productions, 2891-B Trades West Road, 505-670-9276 Hot Mess, curated by Kathryn M. Davis, is a group exhibition that includes drawings by Todd Ryan White, two-sided drawings by Susan Begy, installations by Caity Kennedy, works on paper by Phillip Vigil, and hallucinatory works by Shane Nichols. It’s a “brash collection of artworks that really shouldn’t share the same space,” Davis writes. The show opens Saturday, Oct. 18, with a 6 p.m. reception.
A P E E K AT W H AT’S S H OW I N G A R O U N D TOW N
Dominique Mazeaud: Pilgrimage to the Wild 2014, outdoor installation Axle Contemporary, 505-670-7612 or 505-670-5854 Axle Contemporary’s Wilderness Acts is a two-part exhibition celebrating the 50th anniversary of the Wilderness Act, signed into law by Lyndon B. Johnson in 1964. The exhibition, co-produced by Axle and the Santa Fe Botanical Garden, is a group of ephemeral outdoor installations on the grounds of the Leonora Curtin Wetland Preserve in La Cienega. The exhibit includes installations by Todd Brown, Cheri Ibes, Don Kennell, and others. The reception is at 1 p.m. on Sunday, Oct. 19; the works remain on view through Nov. 9. A companion show opens in Axle’s mobile gallery on Friday, Oct. 17, and is on view through Nov. 6. Visit www.axleart.com for daily locations.
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PASATIEMPO I October 17 - 23, 2014
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