Pasatiempo October 24, 2014

The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture October 24, 2014

The Royal Ballet of Cambodia

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Our All – Out Applefest COntinues!

4 Courses / $45. per person thru 10/30 (tax & tip additional) from 5:30

The Senegal St. Joseph Gospel Choir November 11, 7 pm $15–$35

A company of singers and traditional drummers, direct from Dakar! These inspiring voices bridge the Catholic and Islamic cultures of West Africa through songs, spirituals, and masses sung in four languages: Ouolof, Diola, Serere, and Portuguese Creole.

discountts for Lensiic memb bers

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PASATIEMPO I October 24 - 30, 2014

Tickets: 5055-9 988-12334 www.Tick ketsSantaFe.org service charges apply at all points of purchase

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

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FINE SHOPPING & DINING

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PASATIEMPO I October 24 - 30, 2014

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PASATIEMPOMAGAZINE.COM

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THE SANTA FE NEW MEXICAN

October 24 - 30, 2014

www.pasatiempomagazine.com

ON THE COVER 28 The Royal Ballet of Cambodia On Thursday, Oct. 30, the Lensic Performing Arts Center presents a program of Cambodia’s famous royal dance. All but destroyed in the late 1970s by the Communist Khmer Rouge regime, the art has been painstakingly and gorgeously restored. With its sinuous, otherworldly movement and sumptuous costumes, the Royal Ballet of Cambodia was declared a “masterpiece of oral and intangible heritage” by UNESCO in 2003.

On our cover are members of the Royal Ballet of Cambodia; photo by Anders Jiras.

MOVING IMAGES

BOOKS 16

40 42

In Other Words Film Noir: 100 All-Time Favorites

MUSIC AND PERFORMANCE 18 22 24 27

CALENDAR

Globe Theatre on Tour King Lear Pasa Tempos Album Reviews Listen Up Berlin Philharmonic Wind Quintet Random Acts Native Music Festival

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13 15 46

Art in Review Courtney M. Leonard Francisco Benítez Doña Inés Lost Her Slipper Art in Review Tools at Axle Contemporary

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

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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Mixed Media Star Codes Restaurant Review: Restaurant Martín

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

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

Pasa Week

AND

ART 32 34 38

20,000 Days on Earth Chile Pages

Ginny Sohn Publisher

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ADVERTISING DIRECTOR Heidi Melendrez 505-986-3007

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MARKETING DIRECTOR Monica Taylor 505-995-3824

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

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ADVERTISING SALES - PASATIEMPO Chris Alexander 505-995-3825 Amy Fleeson 505-995-3844 Mike Flores 505-995-3840 Laura Harding 505-995-3841 Kelly Moon 505-995-3861 Wendy Ortega 505-995-3892 Vince Torres 505-995-3830

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

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ADMINISTRATIVE ASSISTANT Claudia Freeman 505-995-3841

Ray Rivera Editor

Visit Pasatiempo on Facebook and follow us on Twitter @pasatweet

Lensic Presents

BODYTRAFFIIC

Contemporary dance from the acclaimed Los Angeles-based arbeito company founded by former Santa Fean Lillian Ba and Tina Finkelman Berkett.

November 7 & 8, 7:30 pm $15–$35 discounts for Lensic members

“BODYTRAFFIC has emerged as a force on the concert dance scene . . . it’s become a talk-about for its fierce performances in original repertoire by today’s top contemporary choreographers” —Dance Magazine, June 2014

Tickets: 505-988-1234 www.TicketsSantaFe.org SERVICE CH ARG ES A P P LY AT A LL P OI N TS OF P UR CHA S E

the lensic is a nonprofit, member-supported organization

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In Pursuit of Cultural Freedom

A lecture series on political, economic, environmental, and human rights issues featuring social justice activists, writers, journalists, and scholars discussing critical topics of our day.

Please Join Us for

OPEN HOUSE

ANN JONES

with ANDREW

BACEVICH

WEDNESDAY 12 NOVEMBER AT 7PM LENSIC PERFORMING ARTS CENTER This book…is not about war itself, nor even about soldiers as they are trained to see themselves and we, in turn, are taught to see and support them. It is about the damage done to soldiers, their families, their communities, and the rest of us, who for another half-century at least will pay for their care, their artificial limbs, their medications, their benefits, their funerals, and the havoc they dutifully wrought under orders around the world.

— From They Were Soldiers: How the Wounded Return from America’s Wars — The Untold Story © 2013

Ann Jones is a journalist, photographer and the author of numerous works of nonfiction, including Women Who Kill, Kabul in Winter, and War Is Not Over When It’s Over.

She has worked intermittently as a humanitarian volunteer in conflict and post-conflict countries in the Middle East, sub-Saharan Africa, and Central and South Asia and has reported from Afghanistan and the Middle East on the impact of war on soldiers and civilians. Jones also writes for The Nation, The Guardian, and TomDispatch.com.

TICKETS ON SALE NOW

ticketssantafe.org or call 505.988.1234 $6 general / $3 students / seniors with ID Video and audio recordings of Lannan events are available at:

www.lannan.org

c Joshua Sage 2014

Thursday October 30th 5:30-8 pm Light Refreshments at 5:30 pm Program will begin at 6 pm

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

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

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

7300 Old Santa Fe Trail Santa Fe, NM 87505 505.992.8284 8

PASATIEMPO I October 24 - 30, 2014

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

October 28, 7 pm $20–$40 discounts for Lensic members

Now–Oct 10 HOT SEAT DRAWINGS EVERY 1/2 HOUR

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.

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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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Marc Navarro

MoviNg Sale Friday october 24 9:00 -3:00 Saturday october 25 9:00-3:00

everything Must Sell!

Furniture - art – Collectibles -Rugs Native american - Mexican -Spanish 281 Rodeo Rd Santa Fe NM 87507 Furniture - art – Collectibles -Rugs ,

EXPERIENCE THE LIBERAL ARTS:

A Free Graduate Institute Event to Learn About the Liberal Arts Master’s Program Saturday, November 8, 2014 1-4:30 p.m.

St. John’s College, Levan Hall Admission is free David Carl, director of the Graduate Institute, and St. John’s tutor Lise Van Boxel will lead a discussion on short stories by Jorge Luis Borges. This event is an opportunity for prospective students to participate in a St. John’s College seminar and experience the great rewards of dialogue as learning.

Space is limited. Please RSVP before October 28 to Susan Olmsted at santafe.gradadmissions@sjc.edu or 505-984-6083.

1160 Camino Cruz Blanca | Santa Fe | New Mexico 87505 | 505-984-6000 | www.sjc.edu

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PASATIEMPO I October 24 - 30, 2014

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November 5 see & 6examples of their work at theESPAÑOLA Meet the artists and Collected st 9am-5pm Works Show, Friday, October 31 from 5 - 7 SANTA FE at the Community Center.

Show continues through the weekend.

Funded in part by Rio Arriba lodger’s tax

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PASATIEMPO I October 24 - 30, 2014

MIXED MEDIA

ADDDDDDDDDDDDDDDDDDDDDDDDDDDDF H H H H H H H H H H H NOWTHAT’S ITALIAN… HH H Rossini, Verdi, Puccini, Donizetti, Bellini… Join Maestro H H Anthony Barrese, Opera Southwest’s Artistic Director and H H Principal Conductor, as we explore the origins of Opera in Italy. H H H Learn how it all began with illustrations from the piano and audio clips.

H H H Monday, October 27, 5:30–7 pm H H Unitarian Universalist Congregation, 107 W. Barcelona Rd. H H Free to Guild members and students with ID; $10 non-Guild members H H JLLLLLLLLLLLLLLLLLLLLLLLLLLLL:

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Special Ghoulish Kids Menu, Coloring Contest, Prizes, Free Treats for the Kids with every kids meal, Halloween Drink Specials for the Grown-Ups! See ya at the Zia for Halloween Fun!

326 S. Guadalupe • 988 988-7008 • www.ziadiner.com

Eat for art: SPREAD to nourish a studio artist

“Small grants for big ideas” is SITE Santa Fe’s slogan for SPREAD, an event launched in 2011 to fund artists’ projects and creative initiatives. The fifth installment is Friday, Oct. 24, at the Santa Fe Farmers Market, 1607 Paseo de Peralta. SPREAD 5.0 participants pay $15 to $50 for dinner and a ballot. During dinner, eight artists make short presentations about their work, and the diners then vote for their favorite. At the end of dinner, the artist whose proposal receives the most votes receives all funds collected at the door to support his or her work.

The 5.0 project was initiated with a request for proposals by SITE. Artistic merit and innovation were emphasized; compared with past SPREAD events, there is less of a social or community aspect this year. “We shifted the focus this time to really encourage studio-based artists,” said SITE Santa Fe director and chief curator Irene Hofmann. “We had many applicants, and the eight finalists are in different stages of their careers but all committed studio-based artists. So it will be a different kind of presentation as we hear artists talking about their work and what inspires them rather than pitching particular projects.”

A wide range of media is represented in the artistic endeavors of finalists Janet Abrams, Chris Collins, Cannupa Hanska Luger, Jane Lackey, Mindy McGovern, Tom Miller, Willy Bo Richardson, and Lucrecia Troncoso.

“People who are curious about the art being made in Santa Fe that doesn’t always have a venue will be really excited to see the kind of high-quality work that goes on,” Hofmann said. The winning artist can use the SPREAD grant to support ongoing work, including materials and supplies, studio rent, framing costs, and other professional fees.

Doors open at 6:45 p.m. Ticket sales began on Wednesday, Oct. 22; any tickets remaining on Friday, Oct. 24, can be purchased by calling SITE at 505-989-1199. — Paul Weideman

New Mexico Performing Arts Society FIRST ANNUAL SILENT AUCTION, LUNCHEON AND CABARET Sunday, November 2, 2014 12 noon to 2:30 pm Bishop’s Lodge Resort For Tickets ($30) and/or to donate an item: Peter Merrill, petermerrill@cdrsllc.com or call NMPAS 505-474-4513 PASATIEMPOMAGAZINE.COM

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Case Trading Post: Artist at Work Series October 25

Candelaria Suazo

10:00 a.m. – 1:00 p.m.

Santa Clara Pueblo Pottery Demonstration

704 Camino Lejo • Museum Hill | 505-982-4636 | www.wheelwright.org

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PASATIEMPO I October 24 - 30, 2014

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It’s a week of mystery and mysterious solutions. Yesterday the sun,

moon, and Venus joined Saturn in curious, brooding, enigma-loving Scorpio. Tomorrow Mercury turns direct after three weeks retrograde, and lost items begin to be found, clues and hidden information begin to surface. But we may experience a little turbulence along the way.

This Scorpio lineup gives us a more specific, laserlike focus, which is great for meditation and research. And this focus can help stabilize us as the lineup also unearths strong contradictory emotions. It stimulates both our romance with solitude and any fear we may have of being alone, often simultaneously. It’s a good time to have contentment with our own company, but let’s not isolate. It’s no coincidence that the costumed Scorpio holiday of Halloween allows us to be both sociable and private at the same time.

Under this Scorpio influence let’s find a healthy way to honor our hunger for mystery. We may want to disappear from the tattered mundane world into a place of magic, a place where paranormal phenomena could be real and where potential is not weighed by the thimbleful.

This longing for magic grows as the sun and Venus conjunct in Scorpio and trine intuitive Neptune early next week. We may feel more intuitive, perceptive, and permeable as these aspects soften the boundaries and thin the veil between worlds. But the situation can also blur the boundary between imagination and reality.

We need to keep our eye on that boundary as Mercury turns direct this weekend. By the end of the week we can straighten out mistakes, misunderstandings, or delays that glitched the last few weeks, but right now let’s reach for understanding with an open heart and get the whole picture before jumping to conclusions.

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Friday, Oct. 24: Take a step back, let go of extraneous commitments, and tend to the soul. Notice the sparks of primal emotion but don’t get caught in melodrama or look for an excuse to alienate others. Instead, seek the depths in quiet solitude.

Saturday, Oct. 25: We know what we love and what we don’t as the sun conjuncts Venus. Be patient around emotional and informational turbulence as Mercury turns direct. Walk on the wild side tonight as the moon enters restless Sagittarius.

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Sunday, Oct. 26: Our hearts open to new longing as Mars enters Capricorn and whets our ambition. Untangle, reorganize, and clear flotsam. Deal with unexpected events and reassess priorities for the weeks ahead.

505.780.8835

Monday, Oct. 27: Get back on track. Blockades soften and the river begins to flow as the day progresses. A cheerful Sagittarius moon balances Scorpio intensity. Expect personal reserve but honest communication.

Tuesday, Oct. 28: With patience, work through frustration as the moon enters Capricorn and conjuncts Mars and Pluto. It’s tempting to push just to have an effect on the world, but be careful of the consequences. Be efficient not manipulative; have a project to work on.

Wednesday, Oct. 29: Keep lines of communication open. People change their minds. Adapt to new information or circumstances as the Capricorn moon squares Uranus and Mercury. What looks like a problem could bring improvement once the kinks are ironed out.

Thursday, Oct. 30: Expect contradictions. The mood is cheerfully stubborn, oblivious, and obsessed with relationships as the sociable Aquarius moon squares the sun and Venus in Scorpio. Interpersonal grit needs to be cleared to allow progress. Stop and do the work. ◀ www.roanrobbins.com

Fall into a remodel Sale!

9am - 5 pm Monday - Friday

Saturday by Appointment Only

1368 Rufina Circle, Santa Fe • (505) 471-0083 “The Best Little Floor Store In town!”

PASATIEMPOMAGAZINE.COM

15

IN OTHER WORDS book reviews Film Noir: 100 All-Time Favorites, edited

by Paul Duncan and Jürgen Müller, Taschen, 686 pages This delightful mess of a book emphasizes the European influence on the genre and, because it’s a Taschen publication, includes an abundance of illustrations. Film historian and professor Douglas Keesey’s introduction gives the reader a sense of where the book is headed when he writes, “Film noir remains the most disputed of all movie genres.” No wonder the editors and the many contributors

focus on a lot of titles readers may not immediately define as noir. Isn’t noir supposed to be about fallen heroes, dangerous femme fatales, and dead-end runs? The editors’ intriguing list of more than 100 movies includes some with plots and themes that fall outside those parameters: the silent German Expressionist 1920 horror film The Cabinet of Dr. Caligari, Alfred Hitchcock’s Rebecca (1940) and Rear Window (1954), and The Treasure of the Sierra Madre (1948), a Western by John Huston.

But the book has plenty of familiar titles and characters, from The Maltese Falcon’s Sam Spade to Murder, My Sweet’s Philip Marlowe, as well as numerous lesser-known European and Asian noir heroes in movies more people should know and embrace — including 1963’s High and Low from Japan and the FrenchItalian co-production Le Samouraï (1967). It’s refreshing to see the editors consider how filmmakers from other cultures interpret the dark world of noir. But what to make of a text that first specifies the classic period of noir as 1941 to 1959 and then almost immediately calls 16

PASATIEMPO I October 24-30, 2014

that time span “unwieldy”? And what about the comment that the genre has an almost Freudian obsession with water? The writing — by more than 25 international contributors — is all over the place, often riddled with clichés (“a heat so thick you could cut it with a knife” in the Rear Window write-up, for instance) but just as often rich with insights into a film’s themes and characters. The book has factual errors — John Garfield, for example, was not nominated for a supporting actor Oscar in 1947’s Gentleman’s Agreement, and Linda Darnell did not make her acting debut in 1945’s Hangover Square — and some photo captions are flippant (see The Treasure of the Sierra Madre section for the reference to Humphrey Bogart’s “ass”).

The tome is heavy on “A” pictures and European titles; the B’s seem to have fallen by the wayside, with a few notable exceptions, including Edgar G. Ulmer’s Detour (1945).

Quentin Tarantino’s Pulp Fiction (1994) makes the grade, but his Reservoir Dogs (1992) surprisingly does not. Batman fans will love the inclusion of Christopher Nolan’s The Dark Knight (2008) — one of the more recent titles.

Each entry comes with a list of credits; reproductions of film stills, lobby cards, and posters; factual tidbits; and the essayist’s comments.

A series of boxed quotations from filmmakers and essayists adds color. Of actor Joseph Cotten — who appears in the noirs Shadow of a Doubt (1943) and The Third Man (1949) — Eric Stahl writes that the actor was a “past master at being in a scene without needing to be seen.” That’s a great line, even if its meaning is unclear. Alain Silver’s intriguing comments about the 1952 thriller The Thief, produced without any dialogue though with a musical score and sound effects, makes readers happy that this obscure picture is now available on YouTube. And director John Boorman’s reflections — on the way that Lee Marvin’s character in Point Blank (1967), a man who recovers from being shot to fulfill a mission, mirrored the actor’s own experience as a World War II veteran who was wounded in combat — seem fitting. If a theme weaves together this eclectic list of titles, it’s probably best summed up by a quote in the book that’s attributed to director William Friedkin, whose 1985 action film To Live and Die in L.A. is included here. “The real focus of all my pictures is the fine line between cops and robbers — and the fine line between good and evil.”

The book actually weighs about 8 pounds, which doesn’t make it ideal for bathroom reading. But it is heavy enough to be used to knock somebody out — just like in a noir.

— Robert Nott

SUBTEXTS LGBT authors speak freely in Unabridged event Authors Ana Castillo, Justin Torres, and Andrew Holleran participate in a reading and conversation with editor and publisher Amy Scholder in Unabridged, the inaugural Lambda Literary Authors Series, at the Armory for the Arts Theater (1050 Old Pecos Trail) on Saturday, Oct. 25, at 7 p.m. The Lambda Literary Foundation, founded in 1987, operates from Los Angeles and New York City and presents the Lambda Literary Awards each year to celebrate books written by lesbian and gay authors. In an effort to extend its mission beyond large coastal cities, Lambda has partnered with Santa Fe Performing Arts to present this series. Castillo’s most recent book, Give It to Me, follows the misadventures of Palma Piedras, a forty-two-year-old newly divorced woman who has returned to Chicago from Colombia to deal with her family after the death of her grandmother. Castillo, who lives part-time in New Mexico, is one of the most celebrated Chicana authors writing LGBT literature. Among her honors are the Sor Juana Women of Achievement Award from the National Museum of Mexican Art in Chicago and fellowships from the National Endowment for the Arts in fiction and poetry. Torres is the author of We the Animals, winner of the VCU Cabell First Novelist Award from Virginia Commonwealth University. He was named one of 2012’s 5 Under 35 by the National Book Foundation. Andrew Holleran wrote about being gay in New York before the AIDS epidemic in Dancer From the Dance, published in 1978. His recent short novel, Grief, is about becoming intimately attached to one’s own grief and a man’s inability to show the people he loves who he really is. General admission is $25. VIP seating is $150 and includes an after-party with the moderator and authors. For reservations call 505-984-1370 or visit www.sfperformingarts.org.

— Jennifer Levin

Clockkwiise from ab bove: And drew Holleran, Ana Castillo, and Justin Torres

Dr. Glenda King

Nine Days by Minerva Koenig, Minotaur Books, 293 pages In Minerva Koenig’s debut novel, Julia Kalas is a career money launderer who enters federal witness protection and is sent to live in the tiny fictional central Texas town of Azula. She soon belly-flops her way into a murder mystery she intends to solve primarily because she is afraid for her own safety but also because she’s annoyed by loose ends and the ineptitude of local law enforcement. Julia is relatively fearless, and she sizes up people and situations quickly, a talent she attributes to her brain playing with others’ motives and opportunities like a puzzle. Sometimes she has all the pieces, but she’s not sure how they fit together, although this rarely stops her from plowing ahead anyway. Her brain will work it out later, she tells us.

Koenig, a practicing architect turned author, grew up in Texas.

She uses her firsthand knowledge of local geography and culture, as well as real estate and construction, to expert effect in Nine Days.

Azula is a town struggling for survival in the face of economic and social change. A main street that should have died off long ago is kept alive by a surprisingly diverse roster of business owners, many of them on the younger side. They include a lesbian hairstylist, a black diner owner, and a Jewish department-store proprietor.

Hector Guerra owns the bar where Julia gets a job; his sister, Tova, owns the hotel across the street. It is on this family that the mystery centers.

Class, race, sexuality, body acceptance, rape, trauma, masculinity, and the value of tradition are just a few of the hot-button issues Koenig manages to insert into the story without ever being overtly political or seeming to have an agenda. Present as well are many conventions of mysteries and thrillers, including drug cartels, undercover operatives, vicious violence, red herrings, and sudden epiphanies that twist the plot when you’re not expecting it. Koenig’s writing is hard-boiled yet fluid, transcending the clunky syntax typical of genre mystery novels and avoiding the purple prose that is their other hallmark.

It’s quite clear in the end that Koenig plans to write more mysteries featuring Julia Kalas. As the character develops, it would be nice to see the momentum of the stories rely less on references to the puzzle pieces sliding around in Julia’s brain and whether or not her instincts are on the fritz, which come up a bit too often in Nine Days. It will be interesting to see how Julia’s love life progresses. She is short and plump, so men, she says, don’t always know how to handle their attraction to her — which doesn’t stop her from getting a decent amount of action. She’s also a weight lifter, and we get to see her at the gym doing dead lifts, squats, presses, and curls, trying to regain the strength she lost while in protective custody, before entering witness protection. Julia is human, approachable, and very savvy, which makes her criminal past more and more morally ambiguous for the reader. Law enforcement personnel, she notes, aren’t the only people with honor. Nine Days has an ultramodern sensibility made all the more dear because the novel takes place so far outside an environment generally considered modern, especially in literature.

— Jennifer Levin

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17

GLOBE THEATRE MAKES THE ROUNDS WITH

KING LEAR

Loren Bienvenu I For The New Mexican

As Fortune’s wheel turns, new generations arise to replace the old, rulers are reduced to beggars, once proud shoulders bow, and guilty and innocent alike are punished.

18

PASATIEMPO I October 24-30, 2014

ilial ingratitude!” rages King Lear in the midst of a tempest, which, though violent, fails to match the intensity of the former monarch’s fury toward his daughters. Lear’s aged naiveté and conceit lead him to divide up his kingdom most disastrously in the opening scene of William Shakespeare’s great tragedy. Not long after, the rambling and raving Lear finds himself out in the cold. Thanks to a production of the play from Globe Theatre on Tour — a division of Shakespeare’s Globe, the storied company based in London — Lear’s wanderings bring him to the Lensic Performing Arts Center on Thursday, Oct. 30. The one-night engagement is presented by Performance Santa Fe. The play contains two main and overlapping plotlines, as outlined in its unwieldy 1608 First Quarto title: M. William Shak-speare: His True Chronicle Historie of the life and death of King Lear and his three daughters.

With the unfortunate life of Edgar, sonne and heire to the Earle of Gloster, and his sullen and assumed humor of Tom of Bedlam. Lear’s problem is not so much that two of his daughters are bad as that he fails to recognize the third one is good. He begins to get stretched “upon the rack of this tough world” when he asks them to prove

Famous Lears begin with Richard Burbank, the star actor in the Lord Chamberlain’s Men (Shakespeaare’s company), and extend to Laurence Olivier, Patrrick Stewart, and John Lithgow. Globe Theatre on To our features Joseph Marcell in the principal role. The St. Lucian actor is familiar to American audiences for his role as Geoffrey, butler to Will Smith and fam mily in the 1990s sitcom The Fresh Prince of Bel-Air. But Marcell is first and foremost a classically trained acctor with extensive Shakespeare credits; he was actuaally “discovered” by Fresh Prince casting agents when performing the title role in a Royal Shakespeare Compaany production of Othello.

In an interview with Shakespeare’s Globe’s “Adoptt an Actor” podcast series, Marcell recognized the distinction of the role: “I read somewhere that it is perhaaps the greatest honor an actor can be given when he gets to a certain age — because I am an actor of a certtain age — to be given the part of King Lear.” The part carries prestige because it is a particularly complex one and offers its actor many possible interpretations. Lear can be portrayed as wise or foolish, powerful or meeek, majestic or debased, or perhaps most poignantly, as a fluid character who evolves through all these phaases and ultimately finds redemption. In July, Marcell told The Oxford Times that he focuses on the challengee of ratcheting up Lear’s inner rage throughout the play, despite making him seem to calm down superficiaally.

He also stressed the importance of finding a pointt of empathy with the embittered patriarch.

The remaining seven cast members split up 15 ro oles among them. The practice of doubling or tripling ro oles was not uncommon in Shakespeare’s time. Howevver, women were not permitted to perform onstaa ge, whereas Globe Theatre on Tour’s production featu ures Gwendolen Chatfield as Goneril, Shanaya Rafaatt as Regan, and Bethan Cullinane as Cordelia. Male acto ors,

All cast photos Helena Miscioscia, except opposite page, photo by Ellie Kurttz

which one loves him the most, promising to reward the best flatterer with the largest share of his kingdom.

The elder two, Goneril and Regan, gush on cue with sycophantic praise. Cordelia, the youngest, refuses to engage in such false displays of affection and is promptly disowned. In a mirroring plotline, the Earl of Gloucester is similarly beguiled by a treacherous child — his illegitimate son, Edmund — into disinheriting his other child — his loyal son and heir, Edgar.

Typical of a Shakespearean tragedy, after a series of ups and downs (but mostly downs), the principal characters all perish in spectacular fashion. They are victims of poison, suicide, asphyxiation, duels, and, in the case of the two venerable and long-suffering old fathers, broken hearts. The most extreme torments are reserved for poor Gloucester, who is doubly punished for his credulousness toward Edmund and his loyalty to Lear. For this latter offense, Gloucester has his eyes gouged out at the hands of Regan’s husband, the Duke of Cornwall. (While committing the deed, Cornwall exclaims the memorable line: “Out, vile jelly!”)

Some audiences over the years have found the play so graphic and tragic that modified versions with happy endings have at times experienced greater success than the original. The most prominent reworking was done

by Irish poet Nahum Tate and was popular in England from the 1680s up to the 1830s. In Tate’s version, Lear’s favorite daughter gets married, rather than assassinated, at the end of the play. This telling is actually closer in line with the legend upon which Shakespeare’s play is based. Despite the First Quarto’s dubious claim that Shakespeare’s chronicle is somehow true, the playwright relied on the mythicized story of Leir, an ancient king of Britain, as the skeleton for his plot. However, he decided to cut out the part in which Leir ultimately triumphs in favor of the more grisly and dramatic conclusion that is now firmly canonical, post-Tate.

For aging male actors, Shakespearean and otherwise, the title role can serve as the hallmark of one’s career.

continued on Page 20

BURNING DOWN THE HOUSE: A SHORT HISTORY OF THE GLOBE ike William Shakespeare’s life, the theater where the actor and playwright showcased most of his plays is prone to legend. The original structure was built from the timbers of another theater with which Shakespeare was involved, and popular history recounts that the lumber was transported across the frozen Thames on a frigid Christmas evening to evade both the old theater’s difficult landlord and the tolls for carting materials across London Bridge. More recent evidence supports the first half of the story but not the second. Either way, the original Globe opened on the south side of the Thames in 1599.

This polygonal amphitheater of three stories could accommodate 3,000 rowdy spectators (of various classes) and thrived until a fateful performance of Henry VIII on June 29, 1613: During the show, a cannon used for dramatic effect lit the thatched roof on fire, and the entire structure burned down.

The second Globe Theatre was completed on the same site about a year later. This one featured a tiled roof. Shakespeare died in 1616, but the theater remained in operation until 1642. That year, the rise of Puritan influence in England led to the

closing of all theaters nationwide, and the Globe was demolished two years later. Though the influence of the Puritans waned centuries ago, it was not until 1997 that the Globe was restored once again. Formally named Shakespeare’s Globe, this reconstruction was the longtime project of American actor and director Sam Wanamaker, who first set up a trust to launch the enterprise back in 1970. The current theater is about 750 feet from the original site and is closely modeled on the first Globe. The replica is constructed of white oak and has a thatched roof (with sprinklers).

Productions by Shakespeare’s Globe range from works by the theater’s namesake and his Renaissance contemporaries to works by emerging and established playwrights of today. Though it was common in Shakespeare’s day for acting companies to embark on tours when bubonic plague broke out in their hometown or for other understandable reasons, Shakespeare’s Globe travels around the world in all seasons through its Globe Theatre on Tour division. One of Globe Theatre on Tour’s productions of ‘Hamlet’ is on a two-year tour that takes it to every country.

— L.B.

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King Lear, continued from Page 19

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often young boys, would have performed these parts in companies like the Lord Chamberlain’s Men, but the convention is even further reversed here, with Chatfield and Cullinane doubling in the traditionally male roles of Curan and the Fool. Another casting anachronism, which, judging from reviews, is a happy one, is that of Marcell as the lead. “King Lear is not a usual role for a non-white actor so demands a degree of suspension [of] disbelief from the audience,” the actor told The Oxford Times. He added that he knew of no other black British actor who had played Lear.

Director Bill Buckhurst has implemented other practices that are consistent with the play as it was performed in the 1600s. For example, the small company plays instruments onstage, provides its own sound effects, and concludes the play with a jig (with the deceased characters springing back to life after the final lines are spoken). On this tour, cast members are known to mingle with the audience in character before the play begins. And when performances have been in indoor venues, the house lights have remained on to approximate the effect of the play being performed in daylight at the open-air Globe. In part because this is a touring production — crisscrossing from Philadelphia to Napa Valley from September through December — sets, props, and costumes are modest.

The characters wear clothes that evoke early-20th-century semiformal attire with a slight Renaissance flair. Lear’s unpresuming royal regalia consists of a gray suit, red vest, crown, and the long underwear to which he is ultimately stripped down.

The production’s overall mix of new and old elements matches the timelessness of the play itself. Perhaps to achieve this effect, Shakespeare’s original mashes up two distinct periods: it draws on the contemporary court life of the writer’s own day as well as the archaic traditions of the pre-Christian Britain in which the Leir of legend lived (so Lear invokes Hecate and swears to Jupiter, despite reigning in a kingdom that some scholars argue closely parallels that of King James I). The decision to invoke multiple eras befits a tragedy that deals with cycles. As Fortune’s wheel turns, new generations arise to replace the old, rulers are reduced to beggars, once proud shoulders bow, and guilty and innocent alike are punished. “As flies to wanton boys are we to th’ gods,” laments Gloucester after his blinding, “They kill us for their sport.” With Marcell at the helm of this latest Globe Theatre on Tour production, the Lensic audience is sure to experience plenty of sport, but even more pathos. ◀

details ▼ Performance Santa Fe presents Globe Theatre on Tour’s production of King Lear 7:30 p.m. Thursday, Oct. 30 Lensic Performing Arts Center, 211 W. San Francisco St. $27-$100, discounts available; 505-988-1234, www.ticketssantafe.org ▼ Performance Santa Fe presents “Notes on Theater” with artistic director Joseph Illick; Globe cast members; and John Andrews, former director of academic programs at the Folger Shakespeare Library 5:30-7:30 p.m. Wednesday, Oct. 29 Hotel Santa Fe, 1501 Paseo de Peralta $60 includes appetizers and beverages; 505-984-8759, www.performancesantafe.org

20

PASATIEMPO I October 24-30, 2014

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22

PASATIEMPO I October 24-30, 2014

Kavita Shah Visions (Inner Circle Music) This is the debut album by singer Kavita Shah, a native New Yorker of Indian origin who is fluent in Spanish, Portuguese, French, and English. Musically, she’s just as multidimensional, and for Visions she has collected the musicians to embody that character. Among them are Benin-born guitarist Lionel Loueke, her co-producer; African kora player Yacouba Sissoko; pianist Steve Newcomb and bassist Linda Oh, both from Australia; and tabla player Stephen Cellucci. The title track by Stevie Wonder opens with cool, loose traps by French drummer Guilhem Flouzat and features multitracked harmonies by Shah. She exhibits a unique flexibility in key, articulation, and vibrato in this beautiful, romantic, layered mix. A short tabla exercise segues into a gripping cover of the kooky M.I.A. song “Paper Planes.” Steve Wilson guests on soprano sax and then switches to alto flute for Jobim’s “Triste” and to also sax for the Wayne Shorter tune “Deluge,” on which the leader adds enchanting lyrics. “Moray” is a delightful, knotty Shah original, sung in Portuguese.

“Oju Oba,” an Afro-Brazilian piece, has Loueke on guitar and sharing vocals. Hindustani classical music comes to the fore on a three-part rag desh for which she uses violins, viola, and cello — and feels the freedom to add heavy, slurred bass, taking it almost into the realm of graveyard rock. Overall, it’s fascinating, with enough steaming, complex jazz mixes to justify that description. — Paul Weideman CONCERTO MADRIGALESCO Mozart’s Maestri (Accent) Mozart was eight years old when his father, Leopold, shepherded him to London in 1764, along with his remarkable sister, Nannerl, who was four and a half years older. Young Mozart absorbed whatever the musical culture there could offer him. The most formative of those influences was Johann Christian Bach, the youngest son of the late Johann Sebastian. An exponent of the newly trendy galant style, which he mastered while residing in Italy, J.C. Bach had become a leading composer and concert producer in the British capital. From then until his death in 1782, he would be among the musicians Mozart most admired. In 1772, Mozart arranged three of J.C.’s keyboard sonatas into concertos, inserting expertly crafted orchestral interludes into the pre-existing solo sections. Harpsichordist Luca Guglielmi offers sparkling performances of all three (known as K. 107, Nos. 1-3), leading the expert period-instrument string players of Concerto Madrigalesco. Nowhere deep but everywhere delightful, these performances invite us to settle into a Chippendale chair in a Georgian drawing room, at least in our imaginations. Mozart probably never met Giovanni Marco Rutini, a cosmopolitan Florentine who worked all over Europe (including a stint as Catherine the Great’s keyboard tutor in St. Petersburg), but since Leopold recommended Rutini’s lightweight sonatas to Nannerl, those pieces probably informed Wolfgang’s evolving style, too. That justifies the inclusion of four of them here, played with verve on fortepiano.

— James M. Keller

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UNABRIDGED

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

Ana Castillo is one of the most powerful voices in Chicana literature. She is the

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

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

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

Moderated by

Amy Scholder has been editing and publishing progressive and literary books

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

SATURDAY 25 OCTOBER AT 7:00 PM

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

The Armory for the Arts Theater

Enjoy special insights, lively conversation, hors d’oeuvres, and beverages with Joseph Illick and

General admission: $25 / VIP - preferred seating with Authors’ & Moderator’s After Party: $150

John Andrews, former Director of Academic Programs at the Folger Shakespeare Library

1050 Old Pecos Trail, Santa Fe, New Mexico

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.

PerformanceSantaFe.org | 505 984 8759

presented in association with: sponsored by:

www.lambdaliterary.org

Cast members of Globe Theatre on Tour’s King Lear

performance santa fe thanks thornburg investment management for helping to underwrite this performance.

Partially funded by the City of Santa This project is supported in part by New Mexico Arts, a division of the Department Fe Arts Commission of Cultural Affairs, and by the National and the 1% Lodgers’ Tax. Endowment for the Arts.

PASATIEMPOMAGAZINE.COM

23

LISTEN UP James M. Keller

Airtime he Berlin Philharmonic Wind Quintet provided an abundance of top-drawer playing when it appeared at the Lensic Performing Arts Center on October 12 — no surprise, since it comprises five members of one of the world’s most vaunted orchestras. Introducing the concert, Joseph Illick, the artistic director of Performance Santa Fe (which presented the concert), spoke about how listeners cannot expect precise tonal blend from a wind quintet, since its constituent instruments — flute, oboe, clarinet, French horn, and bassoon — are such disparate species. That is the received wisdom about wind quintets, and I used to believe it too. The challenges of achieving timbral blend are different for a wind quintet than for, say, a string quartet, whose members are essentially playing different sizes of the same instrument; but a similar kind of tonal balance is not off-limits to a wind quintet. I do believe that we hear an inordinate representation of bad wind quintets, whose deficiencies extend to poor blending. I also believe that when we hear quintets in which the instruments fail to jell into sonic unity, it is often because the performers are playing exactly as they would in an orchestra, notwithstanding the very different demands of the situation. The issue also stretches to disparate ideals of instrumental sound as they have evolved in different musical centers. The most problematic instrument in the quintet blend is the oboe, although the horn is more often cited as the culprit (questionably, I think).

I rather doubt that a well-blended sound is possible if a quintet’s oboist produces a gleaming “American tone” — meaning as that instrument is taught in all American conservatories and is heard in practically all American orchestras. The sound German oboists promote is rich and plush by comparison, and the best German wind quintets are accordingly in a far better position to achieve overall tonal blend in chamber settings.

For great spans of the BPWQ’s concert, the instruments were entirely well blended; they achieved a group sound in which no instrument stuck out from the ensemble. That was not always what they chose to do, to be sure. In the fugato section of Mozart’s F-minor Fantasy for Mechanical Organ, given in an arrangement by Michael Hasel (the group’s flutist), setting voices apart from one another was the musical goal, although this stood in contrast to the unanimity of sound in the work’s introductory portions.

Hindemith’s witty Kleine Kammermusik sometimes underscores what the instruments bring to the table as individuals, and the members accordingly took their turns in the spotlight while their colleagues accompanied with ensemble solidarity.

The BPWQ was assisted in two pieces by American pianist Jon Nakamatsu, who proved a worthy colleague in both. Mozart’s Quintet for Piano and Winds

T

24

PASATIEMPO I October 24-30, 2014

Berlin Philharmonic Wind Quintet

Jon Nakamatsu

(the flutist sat this one out) was elegantly rendered. In the principal part of the first movement, the second theme is an undulating idea that prefigures the obbligato wind writing of Così fan tutte. Here, the wind players infused it with irresistible character, building it with a perfectly calibrated crescendo and then backing

off again in a diminuendo — practically a dramatic scene in its own right, yet in the space of a single measure. Nakamatsu delivered Mozart’s scales with grace and pristine clarity. The second movement wandered the allées of Parnassus, and the third revealed unaccustomed emotional involvement. The interpretation and realization were first-rate throughout. The largescale Sextet for Piano and Winds, composed in the late 1880s by Ludwig Thuille, is not a work on the Mozartean level, but wind players nonetheless have reason to be grateful for it. It displays firm craftsmanship, even if the Brahmsian aspirations of its opening never quite reach a payoff. The most remarkable movement is the third, a Gavotte of a macabre persuasion, suggesting a courtier wearing a Halloween mask.

Nowhere was the wind playing more admirable than in the work’s Finale, where the performers’ rapid-fire eighth-notes were matched to uncanny perfection in both rhythm and articulation. The group’s irresistible encore was “Les petits nerveux,” the finale of Jean Françaix’s L’heure du berger (“Happy Hour”), a hilariously frantic depiction of children running amok in a Parisian café.

M

ore wind-oriented chamber music arrived on October 17 in a concert by Serenata of Santa Fe, performing at First Presbyterian Church. The roster consisted of violinist Elena Sopoci, violist Shanti Randall, cellist Sally Guenther, oboist Pamela Epple (the organization’s artistic director), clarinetist Keith Lemmons, hornist Scott Temple, and pianist Debra

Oriol Sans

Pamela Epple

Mozart’s Quintet for Piano and Winds was elegantly rendered. Nakamatsu delivered the scales with grace and pristine clarity.

The interpretation and realization were first-rate throughout.

Ayers. The players seemed reasonably well matched overall, although Temple excelled through his technical assurance and range of tonal color. Opening the program was the Trio for Clarinet, Horn, and Piano by Carl Reinecke, penned around 1905, though its heart is in an earlier era. It is a useful but unmemorable piece, its occasional outings justified almost entirely by its unusual instrumentation. The first trio of the Scherzo movement was infused with a genial swagger, but the overall effect of this performance was reticent, and the players seemed not to have grappled deeply with the finale prior to the concert. Epple and Ayers brought a committed performance to Britten’s Temporal Variations, a peculiar piece that was premiered in 1936, never revived during the composer’s lifetime, and published only posthumously. The theme on which these variations are based is nothing more than two notes in the rising pattern of a minor second. This motif foreshadows the mournful Eighth Symphony that Dmitri Shostakovich would write in 1943. Chalk it up to coincidence. The two composers became friends, but only much later, and there is no way Shostakovich would have known Britten’s variations. Nonetheless, there is something Shostakovichian in the way these

Jason Vieaux

variations traverse an odd landscape of speech-making, military exercises, church music, and dance tunes.

Erno˝ Dohnányi’s Sextet, Op. 37, involved all the players except Epple. It was an ambitious choice, but performers deserve to be commended for stretching themselves to the limit of their abilities. Some of the playing was all over the map (some of the intonation too), but there were admirable expanses as well: for example, the opening pages, where a cosmic quality suggested a combination of Strauss and Spielberg.

T

he Santa Fe Symphony, continuing its search for a new principal conductor, ceded its podium to guest conductor Oriol Sans on October 19 at the Lensic.

The program seemed too long by one piece, that being Arturo Márquez’s Danzón No. 2. That’s not a critique of Márquez’s composition, which has recently become an orchestral standard and here received a spirited reading with real oomph at the end. But it was an unnecessary add-on to a first half that would have been better balanced without it.

The finest playing of the afternoon came in the first piece, Rossini’s William Tell Overture. The opening cello solo was given out with lyrical mastery and ingratiating tone by Joel Becktell, and the quartet of one-on-a-part cellos that backed him up provided an impressive halo of sound. It’s easy for this thrice-familiar piece to lope along on autopilot, but Sans reclaimed it through sensitive interpretative touches that demanded attentive playing and rewarded careful listening. I gather the connoisseurs in the audience did not find it as interesting as I did, since this was the only one of the four pieces on the program they did not reward with a standing

ovation. Yes, we are now up to three per performance, and not just at the Santa Fe Symphony.

Speaking of thrice-familiar pieces, the concerto that followed was Rodrigo’s Concierto de Aranjuez. Guitarist Jason Vieaux dispatched it with flair. The only real reason to hear this piece is for its melancholy slow movement, which had just managed to reach a point of mesmerizing the audience when cellphones went off not once but twice. After intermission, Tchaikovsky’s Symphony No. 4 arrived with its wailing and flailing and breast-beating and manic jubilation. Sans pulled unaccustomed richness out of the strings, which put serious elbow into their playing. Kudos are due to Valerie Potter for her piccolo solo in the Scherzo movement; the piccoloist has to come in cold to toss off this exposed, high-lying passage, and she did so with bull’s-eye precision. The Finale unrolled with muscular vigor, and again Sans injected appealing touches — a stressed upbeat here, an unanticipated phrasing there.

I regret to report that a breach of orchestral etiquette left a sour taste after what had been a commendable concert. Symphony orchestras run with military precision — or at least that’s the idea — and it is the conductor who occupies the rank of general. The conductor’s authority extends through to the end. At their discretion, conductors may sometimes choose to invite individual members of the orchestra to stand for solo “bows,” in recognition of what the conductor considered to be exemplary work in the course of the performance.

These honors are not conferred lightly, and conductors dole them out to the musicians they want in the order they want. As the audience applauded following the Tchaikovsky, Sans did cue some players to stand as individuals. Upon rising, one of them pointed insistently to a colleague, apparently feeling that the colleague was more deserving of the accolade at that moment. It may have reflected a generous impulse, but it was not her decision to make. It was a rude way to acknowledge an honor the conductor chose to bestow, and it implicitly undercut his authority. I trust that Sans received an apology during the ensuing days.

It may seem that I am making a mountain out of a molehill. Nonetheless, orchestral excellence is not achieved apart from orchestral discipline. I am already uneasy with the idea that the Santa Fe Symphony intends to hire not a music director but rather a principal conductor, a position that will carry considerably less authority than a full music directorship would. It will compromise his or her clout in decisions about repertoire and personnel. I imagine that some of the candidates will not find this an appealing balance of power, and I wouldn’t blame them. During this period of courtship, when the orchestra is sizing up potential conductors and vice versa, the candidates must be assured that they will be treated with deference and respect by the musicians they may end up leading. ◀ PASATIEMPOMAGAZINE.COM

25

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26

PASATIEMPO I October 24 - 30, 2014

RANDOM ACTS Gentle into that good night

The 40-member wind ensemble of Concordia Santa Fe offers a concert of music on nocturnal themes, including Frank Ticheli’s Wild Nights! (inspired by an Emily Dickinson poem), David Dzubay’s Wind Says Good Night (based on a popular bedtime book for children), and Michael Gandolfi’s Vientos y Tangos (with an Argentine flavor). Also on the program is James Barnes’ Symphony No. 7 (Symphonic Requiem), composed for the United States Army Band to commemorate the 150th anniversary of the Civil War. The guest conductor is Paul Popiel, director of bands at the University of Kansas. There is no charge for admission, though donations are accepted. The concert begins at 2 p.m. on Sunday, Oct. 26, in the St. Francis Auditorium of the New Mexico Museum of Art, 107 W. Palace Ave. — James M. Keller

THIS WEEK

To see or not to see: Amleto in Albuquerque

Opera die-hards might be willing to make the trek to Albuquerque to catch a 19th-century opera they have assuredly not seen before: Franco Faccio’s Amleto, its libretto freely derived by Arrigo Boito from Shakespeare’s play about the indecisive Dane. It was the first of Boito’s Shakespearean librettos. He would write more famous ones — Otello and Falstaff — for Verdi. Faccio, too, is remembered mostly in connection with Verdi; he conducted the Italian premiere of Aida and the world premiere of Otello. The second and last of Faccio’s operas, Amleto was received tepidly at its premiere in 1865 and was a complete fiasco when it was revived in an amended version in 1871. Nonetheless, it has caught the fancy of Anthony Barrese (pictured), artistic director of Opera Southwest, which is mounting its “modern premiere” using the 1871 revision.

Heading the cast are soprano Abla Hamza as Ofelia and tenor Alex Richardson in the title role, with Barrese conducting.

Performances are Sunday, Oct. 26, at 2 p.m., Oct. 31 at 7:30 p.m., and Nov. 2 at 2 p.m. at the National Hispanic Cultural Center, 1701 Fourth St. S.W., Albuquerque. Tickets ($12-$82, with discounts for groups) are available through www.operasouthwest.org or by calling 505-243-0591. — J.M.K.

Major works in minor keys

The Atrium String Quartet put on an impressive show when it passed this way in February 2013. Formed in 2000 at the St. Petersburg Conservatory and now based in Berlin, the foursome straddled eastern and western traditions of quartet playing, tending assiduously to technical details of ensemble work while infusing pieces by Beethoven, Debussy, and Shostakovich with a level of passion we may associate with Russian music making. The quartet returns to town on Friday, Oct. 24, at 7:30 p.m., in a concert presented jointly by Performance Santa Fe and St. John’s College. This time the programming is unusual in that everything is to be in a minor key: Haydn’s Quartet in B minor (Op. 33, No. 1); Mendelssohn’s late, great Quartet in F minor (Op. 80) and his Capriccio in E minor (Op. 81, No. 3, written four years before his death but published posthumously); and Shostakovich’s Quartet No. 8 in C minor (arguably the apex of his chamber music). The concert takes place in the Great Hall of the Peterson Student Center at St. John’s College, 1160 Camino de Cruz Blanca. For tickets ($45, $22.50 for students; all seating is unreserved), visit www.ticketssantafe.org (505-988-1234). — J.M.K.

The dance is the thing

Rock, blues, hip-hop, and jazz music happen at the Native Music Festival, hosted by the Institute of American Indian Arts, from noon to 6:30 p.m. Sunday, Oct. 26. The free all-ages event is held outdoors (portable chairs are encouraged) in the Dance Circle at IAIA, 83 Avan Nu Po Road. At press time, seven bands were slated to perform: Scatter Their Own from Pine Ridge, South Dakota (pictured); The Plateros of Tohajiilee, New Mexico; Saving Damsels of Albuquerque; The Delbert Anderson Trio from Farmington; InnaState from Santa Fe; Nataanii Means of Chinle, Arizona; and Gallup’s Indigenize. — Paul Weideman

PASATIEMPOMAGAZINE.COM

27

Eileen Blumenthal I For The New Mexican

Eat, pray, undulate

PASATIEMPO I October 24-30, 2014

art so important to Cambodians that restoring it after the Khmer Rouge seemed as urgent to some people as producing food?

The answer lies in a thousand years of Khmer history, during which dance has figured prominently in both ritual and identity. Cambodia’s creation myth credits an apsara (a beautiful celestial dancer) named Mera, as the original mother. During the great Khmer Empire, from the 9th to the early-15th centuries, dancers belonged to the sacred king and temples. Tens of thousands of bas-relief apsaras festoon the colossal temples at Angkor, in the ancient empire’s capital.

Bare-breasted and adorned with crowns, jewels, and diaphanous scarves, these sandstone dancers flex their legs and curl their hands into shapes much like those still seen in contemporary Cambodian ballet.

In the 15th century, Thai invaders sacked Angkor and seized much of the royal wealth, including the sacred dancers. Apsaras became an ornament of

ndas four or five) into one of four groups. Roun faced, petite girls learned neang (female) roles, shaping the most refined gestures to play princesses, goddesses, and the like.

Taller girls played neayrong (male) roles, using a m slightly wider stance and making broader moveThe and less ments. largest girls the pretty ones pically played masked yeak (giant) characters, typ mischief-makers. sva (monkey y) role, rampaging The once by was to also played girls, switched boy dancditional in mid-20th ers the century, spicing the trad with and movement tumbling comedy. onto each Royal Ballet costumes, which are sewn o ed on the for base dancer every performance, are still ones Ang Duong designed in the 19th centu ury. Taken from royal coronation vestments, they featuree brocades shot with golden threads and velvets spangled with he dancers thousands of sequins and beads, making th h, pointed glitter as they move. A gilt crown with a high spire tops most costumes. d in painIn 1979, this image of royal splendor stood ful contrast to the dancers’ situation. After th he Khmer Rouge’s defeat, a few performers who gathered in Phnom Penh pooled their information. For examplle, one of them knew that the celebrated nearong Sam Saakhan and mer Rouge her doctor husband had heeded an early Khm was a trap. for to to Penh. call physicians come Phnom It w Her photo turned up inside the Tuol Sleng to orture and d seeing a extermination center. Someone else reported famous artist beaten bloody and dumped in a river. The awful stories accumulated.

Still, the artists tried to locate other survivors and see what they could put together from the splintters of the heng Phon. dance that remained. Leading the effort was Chh Before the war, he had been a popular clown actor, afterward studying all the roles of the classical dancee. He is the his only person, male or female, to have done this. Besides B he political knowledge of the dance, Chheng Phon had th continued on Page 30

Top and bottom, dancers from the Royal Ballet; images courtesy the Cambodian Royal Ballet

Eileen Blumen nthal

28

In Cambodia, b d ddance is the cultural lifeblood

Thai royalty, with nothing known about the dance in Cambodia for several hundred years. Records resume in the mid-19th century, when the Cambodian king Ang Duong, who was raised in Thailand, apparently re-imported the dance, mixing it with the local forms that had remained and evolved. Ang Duong stocked his harem with some 300 potential dancers and personally took charge of the royal dance. He reportedly softened and slowed the movements, adapted poses from the Angkorean bas-reliefs, and created the costume designs still used today.

From the time of Ang Duong until Cambodia’s Prince Norodom Sihanouk was deposed, with the U.S.’s blessing, in 1970, the “ballet” remained a key symbol of Khmer royalty and identity. Despite several attempts

by French culture ministers (during their colonial rule of “Indochina”) to commandeer the dance, the royal troupe remained a crown jewel. Even after the 1970 coup, the troupe continued, minus some key sponsors, as the “ex-Royal Ballet.”

A far cry from Western ballet, Cambodian classical dance creates its honeyed flow of movements with a body architecture closer to that of India — angled knees and elbows, flexed ankles and toes, and hands that can curve into lotus petals or flower stems. The serene feel of the art belies its ferocious technical demands. Dancers must hyperextend their elbows so their arms can undulate in complete S waves. They must bend a knee and ankle up behind them so acutely that an elbow can rest on the sole of a foot. During royal times, dancers performed on major occasions — including the king’s birthday, cremations, and receptions for important visitors. Cambodians even ascribed otherworldly potency to some dances. For example, Moni Mekhala, which enacts the recurring battle between a water goddess and a storm demon, not only has breathtaking choreography but invokes the rain to come and nourish Cambodia’s rice fields.

Traditionally, Royal Ballet performers were all women. Teachers sorted new trainees (often as young

Eileen n Blumenth hal

W

hen the Royal Ballet of Cambodia performs at the Lensic Performing Arts Center on Thursday, audiences will see sylphs in sumptuous costumes curl and angle their limbs to create gorgeous legato tendrils of gesture. Majestic and ethereal, Cambodia’s famous “ballet” has highlighted the country’s royal events for centuries, even performing rituals to connect mortals with the divine.

But the greatest marvel about this dance is that it exists at all. Thirty-five years ago, it was all but gone — deliberately and brutally annihilated.

In 1975, as the crowning catastrophe of the Indochina wars, the Communist Khmer Rouge (Red Cambodians) seized power. Led by fanatics determined to restart their culture from “Year Zero,” the regime systematically eliminated doctors, lawyers, bureaucrats, teachers, musicians, and dancers. When Vietnamese armies liberated and occupied Cambodia in early 1979, the situation was dire. At least a fifth of the population was dead. The majority of women were widows. Farming had been trashed, along with virtually all other economic and social institutions.

Moreover, Western countries and the United Nations shunned the Vietnamese-imposed government, recognizing instead a regime in exile (which included the Khmer Rouge). Offered little outside assistance, the devastated country was basically abandoned.

For dance, the situation was desperate. Nine-tenths of the performers, teachers, and advanced students were gone. Most were dead. Some who had left before 1975 were living abroad, mainly in France, and understandably loath to return to the foreigner-occupied shambles of their country. The 10 percent still alive in Cambodia were scattered all over, scrambling to find shelter and food, struggling to deal with the trauma they had endured. Restoring the ages-old institution of dance seemed impossible.

Yet now, like a phoenix rising from the ashes, the Royal Ballet is gloriously alive once more. Why is this

Ch hea Samy ad dju usts a dancer’s headdress; top p, a ne eayrong (ma ale role) da ancer in the royall palace, 1988 (the dance er in pro ofile e defe ected in Minn neap polis in 1990)

The Royal Ballet, continued from Page 29

30

PASATIEMPO I October 24-30, 2014

Photos by Eileen Blumenthal

savvy to deal with Vietnamese officials. He quickly got rid of a Vietnamese “advisor” who wanted the performers to wear shoes and use piano music instead of traditional instruments. He obtained the authorities’ full blessing for Cambodian-controlled restoration of the arts. And soon he became the Minister of Culture.

In terms of materials, the dancers had next to nothing: a couple of torn and filthy costumes and a few damaged instruments. Until a French railway union donated bolts of blue cotton cloth, they didn’t even have fabric to make practice sarongs.

But what they most gravely lacked were kru — teachers.

Fortunately, one of the very best female-role teachers, Chea Samy, had survived and was passionate, frail as she was, to get to work. But, as Chheng Phon said privately, no real masters were left alive to carry on the neayrong and yeak roles — “only fourth- or fifth-rank” artists.

After a short time, Proeung Chhieng, an accomplished monkey dancer, set about restoring that role (and eventually became the head of choreographic arts at the school).

The kru selected students, mainly “orphans” — that is, children who had lost at least one parent. Because transportation was nonexistent and food in short supply, they decided to have all the students live at the school, in a not-too-badly damaged building near the palace.

Teachers moved into the miserable wreck of an apartment building fairly close by — with no running water, only as much electricity as they could somehow tap from the poles, and just the furniture they could scavenge from streets or empty houses.

Despite the rudimentary facilities, the School of Fine Arts opened in 1980, with dance practice in the cool of the morning and “general studies” in the afternoon.

A new generation of dancers began to master the basic movements (the so-called Chha Banchos) and then, one by one, some of the old dances. Seamstresses began to replicate the ancient costumes. Before long, the dance study moved to a sort of campus in the north of the city, on the dusty bare ground of a former fuel depot. Gradually, with some help from UNICEF, a few rough buildings and sheds went up — a practice hall, a theater, a long row of offices and classrooms. Some performances took place in the old dance pavilions of the royal palace.

Because of Cambodia’s political isolation, almost nobody outside the country had a clue what was going on — that the dance was coming back to life. In fact, the most frequent accusation by opponents of the occupation government — more frequent than charges about political repression, corruption, and so forth — alleged that the sacred royal dance was being “Vietnamized.” Dance remained the prime symbol of the Cambodian soul.

In 1990, a “Peace Plan” paved the way for opening Cambodia up to the world — and for its royalty to return home. Princess Buppha Devi, the finest dancer of her generation, came back from France to dance, advise, and, finally, oversee the dance — a big psychological and practical boon. With royal sponsorship (and advanced training), the school became a part of the Royal University of Fine Arts.

But relative peace, selective prosperity, and rampant corruption brought a string of new challenges. With United Nations peacekeepers came a surge in prostitution. The neighborhood near the school grew so clogged at night that evening performances became impossible.

(Fortunately, dancers could still use the two pavilions in the royal palace.) Many teachers, unable to live on their $12-per-month government salaries, moonlighted at menial jobs, which siphoned their attention and energy from their students. When the pathetic quarters where they had lived for more than a decade suddenly became valuable real estate, the artists were evicted and relocated, mostly to questionable areas far from Phnom Penh’s center. Finally, the older generation of teachers started to pass away, including Chea Samy. In addition, several more premier dancers left, including some who married American or French citizens and moved away.

Then, a few years ago, in what could have been a coup de grâce, the dance school was sold out from under the artists to be razed for a new shopping center. The dancers had to set up a new school from scratch in a muddy, hardto-reach area several miles from Phnom Penh, on roads that are challenging in the dry season and often flooded during the rains.

Somehow, despite all the difficulties, the school still functions, training new would-be apsaras. And the repertory keeps enlarging. In recent years, beyond just reconstructing what existed before the Khmer Rouge, the Cambodian classical dance has again become dynamic.

Maverick choreographers such as Sophiline Cheam Shapiro, Emmanuéle Phuon, and Chankethya Chey are expanding the old forms and developing new hybrids.

Princess Buppha Devi has been creating new dances within the tradition. Several of her new works are on the Lensic’s program, offering Santa Fe audiences the chance to enjoy the fruits of this latest chapter in the rebirth of Cambodian dance. ◀

details ▼ The Royal Ballet of Cambodia ▼ 7 p.m. Tuesday, Oct. 28 ▼ Lensic Performing Arts Center, 211 W. San Francisco St. ▼ $20-$40, 505-988-1234, www.ticketssantafe.org

Phnom Penh in 1988; above e leftt, Moni Me ekhala dance, with neangg and yea ak roles (the co ompanyy’s s finest dancer, in fro ontt, defe ected sho or tly after this performance); below w, Chea Sam my teaching in 1987; opposite page e, aps sara bas-relie ef fro om Angkor Wat

DINING & COCKTAILS 5 - 10 PM

First person singular I first saw the post-Khmeer Ro ouge dancers in Cambodia in 1987. Belieeving the ubiq quitouus accusatio ons ab broad that occcupatio on officcials had “Vieetnaamized” thhe scraaps of Cambodiaan dance that were leeft, I haad deciided to get into the clo osed counntry somehhow and write a firrsthaand accounnt of what I saaw. After manny montthss of making g contaccts,, I had d linnked d up withh the U.S S.-Indochina Recconcciliaatio on Projjectt and d finallyy made itt in.

Visitting the Scchool of Finee Arts on my seeco ond day in Phnom Penh, I was astonishhed at whaat I saw and d deliighted to havee been so veery wronng. On a dusty cam mpus, inn a still-brrokenn ciity fuull of wreccked old mansions and rustinng piles of appliances, thee dannce was alive. The beest off the perforrmerrs werre exquissite, and dozens of little girlss werre lined d up behind them m, learning. Of co ourse, thhe whole endeavor remained preecaarious,, rellyiing onn a hanndful off teachhers, manny of them elderly and in poor heallth. And d, so far,, theey had produced d juust barrely a critical mass of trained, gifted danceers. Butt it waas exhilarating.

Back in the U.S., I showed d a viideottape to several peoplee, including Harvey Lichtenstein at the Broo oklyn Acad demy of Music. Before long, a complicated chhain of events led to an invitation to thhe Los Angeles Festival in 1990.

Immediateely, I began to put togethher a national tour to piggyback onto the vissit, obtaining founndatio on grants and landing bookings at the Kennedy Centterr, New w York’s Joyce Thheater, and half a dozen other venues.

From m thhe firstt U.S S. performance, all talk of Vietnamization disappeeared. The dancers were a huge hit,, receivinng national media attention.

Buut duuring the courrse of thee tour, five of the best danceers deffeccted d. Thrree were siimply gone one morning g while we weere in St. Paull, Minnnesotaa. Another per-form mer lefft in Massacchussetts, just beforee the lastt, annd mostt important, weeek of per-formances in New York. And d then, affter staying through the last shhow (whhichh could not haave gone on without heer), the finesst daancer Cambodia had produuceed siince thhe Khmer Rouge said goodbye to o heer teachers annd her friends and drove off with the brotheer of a Caambodiaan wom man hired d fo or the touur.

From m there, thhe sttory waxed suurreal. Sm mellling thee blo ood d in thhe water, op pponents of the Phnom Peenhh reegime manag ged to convincee thee State Departtment to inteer viiew the remaiining g artiists individually to see if any more wanted d to defecct. Thhen, with no o takkers from the first round, the Immig gration and Naturalizattionn Serviice demanded and conduuctted a second set of interrview ws justt hours befforee ouur mornning flight ouut of New w York. The artists, many of theem anngry annd sccarred d, alll chosee to go back home.

When we arrived d backk in Cambodia, thee whhole school turned out at the airport, greeting us as retturninng heroees. Buut the loss of five key dancers — including the very best one — devasttated d the dance com mmuunity. “I cultivated a garden for 10 years,” Chheeng Phhon told me, moist-eyeed,, “and it had only one flower.” In her shabby aparrtment, Cheea Samy pored through old photos, pointing ouut alll the piicturees off her now w-llost prize student.

Butt this group of arttissts had overrco ome much worse reversals. And the acccolad des theyy had receeived in thhe U.S. had established their legitimacy and imporrtance. They dovee bacck intto the work, focusing on refining the best remaiiniing g danccers and traiining the next generation. And, finally, against all odds, Cam mbod diaa’ss Royal Ballet lives on.

— Eileen Blumenthal Eileeen Blumeenthhal is a proffessorr of thheatter at Mason Gross School of the Arts, Ruutgerss Universsity. A thheatter criitic andd schollar bassedd in New York, she has been invollvedd in Cambodiann daance forr moore 35 years and is curreently writing a book on the topic.

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31

ART IN

REVIEW

Courtney M. Leonard — Level/Land (through Oct. 26) and Breach: Log 14 (through December), Museum of Contemporary Native Arts, 108 Cathedral Place, 505-983-8900 Most of the work in Level/Land, on view in the Museum of Contemporary Native Arts’ Lloyd Kiva New Gallery (located in the museum store) is informed by Shinnecock artist Courtney M. Leonard’s exploration of word meanings. Each piece is designated by a single-word title, playing off the multiple meanings of words in English.

This show, one of the museum’s two interrelated exhibits of Leonard’s art, includes ceramics, mixedmedia paintings, and jewelry. One particularly handsome installation, Sustenance, is a series of handpainted ceramic vessels set in handcrafted wooden display cases. Its title appears to refer to drinking vessels or libations — perhaps some form of offering.

But for Leonard, who decorates each vessel with maritime imagery, specifically whales, sustenance also refers to our dependence on natural resources; some of the pieces in Level/Land address our misuse of water and the effects of that on ecosystems and marine life.

The Shinnecock are coastal; their nation is situated on Long Island, New York. Level/Land references the tribe’s name, which, according to Leonard, translates to mean “people of the level land.” The artist’s use of whale imagery is a nod to one of her culture’s legacies: in the 19th century, men from the seafaring tribe worked in the fishing and whaling industries.

This show and its companion, Breach: Log 14, attest to Leonard’s deep interest in whale behavior and our relationship with these mammals. Her passion took her aboard a national historic landmark, the whaling vessel Charles W. Morgan. One of the oldest commercial ships in the U.S., it was built in 1841 and was in operation for 80 years. Leonard also embarked on a two-week artist-exchange program in New Zealand before becoming an artist-in-residence at MoCNA earlier this year.

Her figurative mixed-media paintings display gestural, fluid lines that lend them an abstract quality.

Bound shows only the tail of a whale caught in a buoy line. There’s little attempt at realism in her depiction, which exudes a hand-drawn quality that can be seen in the dark scribbling that forms the whale’s tail. A large blue splotch of dripping paint suggests the ocean.

Circular forms and coiled lines are part of the visual lexicon Leonard returns to in other pieces.

Breach: Log 14 consists of an installation with two components — a series of painted panels and, on an opposite wall, a collection of ceramic sperm whale teeth displayed in a lighted recessed case. The painted panels share themes in terms of color and form but otherwise stand as separate compositions. Coiled, linear, and circular forms are consistent from one panel to the next. The ceramic teeth in the installation opposite raise questions about animal parts bought and sold as commodities. They rest on a bed 32

PASATIEMPO I October 24-30, 2014

Courtney M. Leonard: Blanket, 2010, mixed media on canvas; left, Scrimshaw Study 1, 2014, micaceous clay, wood-and-steel base; below, Bound, 2014, mixed media on canvas

of hay that suggests packaging for shipment or a sad reduction to the status of museum artifact — that is the fate of scrimshaw works, engravings that were commonly made from either ivory or the teeth of sperm and other whales.

The hornlike shape of teeth is a form that appears several times in Leonard’s work, most notably in her Scrimshaw Studies —polished clay pieces bearing designs ranging from the abstract to the representational. These sculptures rest atop brass fittings that look like they might have come from antique navigation instruments. Some of her designs in Level/Land are derived from traditional Shinnecock tattoos, but the pottery itself is made from regional micaceous clay.

Leonard grew up in the Hamptons, a neighbor of clothing designer Calvin Klein. Fittingly, a few of her mixed-media paintings use imagery from fashion ads. Rendered as outlines in a style reminiscent of Pop art, the bodies, posed as they might be in a photo spread, have the heads of migratory sea gulls. The reference is to the seasonal flow to the Hamptons of visitors and part-time residents, many of whom show up for the Hampton Classic horse show that coincides with the annual Shinnecock powwow over Labor Day weekend. The paintings are a wry take on an indigenous person’s observations of life in that superlatively upscale region.

At times, as inBound, Leonard’s paintings deal specifically with the environmental consequences of human activities. Blanket, a painting of a suffering

turtle attached to an IV line, makes a less-than-subtle allusion to the calamitous 2010 BP oil spill in the Gulf of Mexico. The work’s background pattern derives from BP’s logo, but it also references, as the title suggests, Native American star blankets and quilting traditions. Leonard is a member of her tribe’s Turtle Clan, making the painting’s central image a familial reference as well. Rather than reading as a condemnation of the London-based company, however, the image aims to evoke healing and aid in disaster — an underscoring, perhaps, of the symbiotic relationship between humans and other animals.

Leonard seems to approach these species with similar reverence and respect, even as she professes through her art some discomfort at the impact of the one on the other. Her approach is often too oblique to be considered true social commentary or activism: she is instead an observer or witness, imbuing her art with a multitude of meanings.

— Michael Abatemarco

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33

MY SPANISH NEW WORLD CINDERELLA

imagined wom en f rom t wo cultures

do

n

Michael Abatemarco I The New Mexican a trip to Spain last year to visit his ailing father, local artist Francisco Benítez made a discovery at the Museo Nacional del Prado in Madrid. In time, the revelation inspired Benítez to research European encounters with indigenous peoples of the New World.

“My father was a Spaniard from Madrid,” Benítez told Pasatiempo. “He lived here with my mom, María Benítez, the dancer, most of his adult life, but he had a hard time adapting. He was a theater person back in Madrid. When he moved to this country he was kind 34

PASATIEMPO I October 24-30, 2014

of the force behind my mom, dealing with the company and managing everybody. But he always had a foot in the door back home. It was a pretty emotional trip. At one point I went to the Prado to see what was up, and there was one room I went through that had all these 18th-century aristocratic portraits of women. I tried to imagine what it was like for these women. Behind their faces was a story. I imagined what their court life was like and what it was like to be living in those times.”

On Thursday, Oct. 30, Benítez’s preoccupation with the historic engagement of the Old and New Worlds

culminates in the multimedia exhibition Doña Inés Lost Her Slipper, a broad-themed fictional exploration of the relationship between Doña Inés, a Spanish aristocrat, and a Native American woman forced into servitude.

The show, on view at the Santa Fe Community College Visual Arts Gallery, includes formal portraits of Doña Inés, rendered in older painting styles that draw heavily on casta painting — a New World genre developed in the 17th and 18th centuries as a way to depict mixed-race peoples — as well as paintings of the maidservant, rendered in more contemporary styles.

s t o l r h s e e p e r p i s l n i a Benítez’s preoccupation with the

historic engagement of Old and New Worlds culminates in this

multimedia exhibition — a broad-themed fictional

exploration of the relationship between a Spanish aristocrat

and a Native American woman forced into servitude.

Through additional artwork such as pastel portraits, photographs, drawings, and video, Benítez tells a broken but compelling tale. The setting is the Americas, where the theme of displacement affects both heroines of this story: Doña Inés has been taken from the rarefied world she knew in Spain; the maidservant has been forcibly removed from her Native culture.

“I started thinking about my connection with Spain, but also about my connection with my Native American culture, because my grandmother on my mother’s side was Chippewa and Oneida. I lived with her for a number of years and went to school on the rez when I was a kid. I would be hanging out with the Indian kids, and then I went to school in Spain. I was going back and forth between two cultures that were diametrically opposed. I was trying to reconcile these two worlds in my head.”

To make his vision manifest, Benítez sought out models, one for each of his two female subjects, leading to a serendipitous encounter. Benítez had an idea in his head of the look he was going for, which came in the person of Leigh Gregoire Scariano, his model for Inés. “I had to find the ‘aristocrat,’ quote unquote.

A friend of mine, the daughter of an artist, had a similar face. She ended up posing as the aristocrat. She could easily be a member of the Hapsburg family.” Finding the right model for the maidservant proved more difficult. Then Clark Baughan, director of the Visual Arts Gallery, mentioned a young woman, Mona Bear, who works on the campus. “I wrote and said, ‘What are you?’ And she said, ‘I’m Menominee.’ And I almost hit the floor because my grandmother, even though she was Chippewa, lived on the Menominee reservation.

I asked the woman what town she was from, and she said Keshena, Wisconsin, and my grandmother was from the same town. It’s a very strange coincidence.

This woman just happens to be in New Mexico, where there are tons of Native people all around. But what are the chances you’re going to find a Menominee?

I got to know her mom, who actually knew members of my family up there.”

Doña Inés Lost Her Slipper is intriguing in its narrative elements as well as its juxtapositions of antiquated and contemporary art forms. Benítez uses various mediums and styles to interpret and convey a sense of identity for both his female characters. A series of black-andwhite photographs of the maidservant, for instance, progresses from detailed portrait to obscure, blurred

Francisco Benítez: State of Mind 12, 2014, oil on canvas; right, Doña Inés in Industrial Landscape, 2014, oil on canvas; opposite page, Doña Inés Among Strange Fruit, 2014, oil on canvas

images of the same face, the latter reflecting a loss of identity. The more formal renderings of Inés, stiff but composed in period dress, tell a similar tale. “In depicting her, I wanted to make some references to historical precedents because there was a strong code then about representation of the aristocracy. A lot of their identity was centered on their name and family history. What gets lost is the individual behind all this stuff.”

One casta-style composition shows Inés posed gracefully by a pond and surrounded by opened fruits.

Along with the sexual connotations they convey, the pieces of fruit bear labels used to categorize mixedrace peoples under Spanish New World rule. The depiction of native peoples, flora, fauna, and foods was a frequently employed illustrative method of furnishing Spaniards back in Europe with details about encounters in the Americas. “The Spanish authorities commissioned artists to do these to send back to Spain so they could know how this new society was being created. They were trying to show a racial hierarchy.

If you were a Spaniard and an Indian, you would be a mestizo. I would be called a castizo because I’m a quarter Native.”

Another likeness of Inés was rendered in pastels, after the dominant portrait-making style in 18th-century France. Some of the paintings of Inés conflate eraappropriate ways of rendering landscapes with modern cityscapes. One in particular, Doña Inés in Industrial Landscape, depicts her in the foreground, surrounded by vegetation, with smokestacks and skyscrapers in the

background. “I was imagining the aristocrat mimicking the pose I see in a lot of these 18th-century portraits where they’re standing with their head to the side, looking at the viewer. I wanted to juxtapose it with this contemporary landscape, which, in my mind, is the manifestation of the meeting of these two worlds.

When Europeans came to this part of the world they set in motion this whole industrial culture we’re still dealing with today. She’s plunged into this almost tropical, savage landscape. She comes from this aristocratic world and is thrown into this wild America. But out of this whole thing comes our modern society, with smokestacks, highways, radioactive waste, and all this stuff. It’s a poetic allusion to that.”

The exhibit’s title refers to an incident depicted in the video component in which the maidservant dreams of freedom. “It’s kind of a reference to Cinderella. She’s this maidservant who had these slippers and for a certain amount of time was allowed to become a princess. If she doesn’t get the slippers back by midnight, she turns back into a maidservant. There’s an image in the video where she steals the slippers from the aristocrat and she runs into the landscape. At one point she removes them, because they’re too much of an inconvenience, and just goes barefoot. It’s a metaphor, again, about the racial and class divide. The slippers are so impractical, like the formal dress. It’s for show, a signifier of the upper class.”

Rather than rely on traditional painting techniques to represent the maidservant, Benítez shows her in a continued on Page 36

PASATIEMPOMAGAZINE.COM

35

VISION COMES FROM WITHIN

“A POWERFUL MOVIE ABOUT FOOTBALL AND PERSEVERANCE. THE WHOLE FAMILY WILL ENJOY!”

Francisco Benítez, continued from Page 35

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series of portraits — some small and some large — made with fluid, gestural brushstrokes. The figurative imagery is abstracted, but it’s clear they depict the same person. As in the photographs, her identity is ill-defined.

But the face in each is expressive, with attention paid to the soulful, penetrating eyes. “The servant class is like this invisible presence. I thought that there’s not a way of really representing her in flesh and blood. There’s no precedent. I was trying to create her identity by imagining her inner life and her struggle. The question becomes: How much does she retain of her identity, and how is she integrated into the household to become like the people there?”

As if to underscore that these two women were both locked in social roles, despite their economic and cultural differences, only one of Benítez’s images presents Dona Inés and her servant together in the same space. In that scenario, one gets the sense that the women might be able to enjoy a more personal, if still unequal, relationship. “Many times, the aristocrats developed much more intimate relationships with their maid staffs. They could confide certain things. When you were with other people in high society, you had to maintain a certain facade. The people helping you in the bedroom, you could tell them your worries and your secrets.” ◀

details ▼ Francisco Benítez: Doña Inés Lost Her Slipper ▼ Opening reception 5 p.m. Thursday, Oct. 30; through Jan. 21, 2015 ▼ Gallery talk with Benítez, 1 p.m. Thursday, Nov. 6.; no charge ▼ Visual Arts Gallery, Santa Fe Community College, 6401 Richards Ave., 505-428-1501

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37

ART IN

REVIEW

Tools, Axle Contemporary, mobille art gallery, 505-670-7612 or 505-670-5 5854 Axle Contemporary, Santa Fe’s ro oving gallery on wheels, invited gues ts to explore the things that make art posssible in the recent exhibit, Tools. The show w’s display of objects, both practical and fanciful, were constructed by 14 New Mexico artists. The smart, fun, and wildly creative concept is another example of th he kinds of intriguing projects Axlee has come to be associated with. Founded in 2010 by artists Matthew Chase-Daaniel and Jerry Wellman, the galley i tself, a converted 1970 Grumman-O Olson Stepvan with a rebuilt engine, exissts as a mechanic’s labor of love.

Though Axle Contemporary’s interior measures only 6 by 10 feet, it still feels surprisingly roomy thanks to a high roof and a stripped-down exhibition space.

The show included tools actually used by artists, as well as novel interpretations of what an artist might pick up to create something. Christy Georg’s Phi Rule (armspan) zigzagged across one of the walls, splayed hither and thither to report random, nonsensical, and highly questionable measurements. Michael Sumner’s Plugdriver may have the ribbed handle and metal shaft of a standard screwdriver, but its top is a metal-pronged plug. What would this tool be used for? Even though its components are familiar, it practically begs to be touched, held, and used — all of which might result in bodily injury.

Though some of these tools could ostensibly serve a purpose, most of them have aims that are obscured or delightfully perverted, like Michael Schippling’s Reverse Scissors, an office supply whose function opposes the handler’s intuition. Bunny Tobias’ Power Tool is a bunch of simple antique-looking implements — screwdrivers, picks, and pestles — bundled together with wire and labeled, on one wooden handle, POWER TOOL. The artist is referencing an electrical or pneumatic tool, but in exhibiting hand tools, she also speaks to the inherent power needed to do the same work by hand, with no mechanical advantage. This work includes time, effort, strength, endurance, and skill. Power Tool’s topper, a tiny cluster of clear crystals, makes this piece all the more bizarre. Tobias’ disassembled group of old tools might well exist to challenge and loosen our assumptions about modern machinery’s cold mechanicality.

38

PASATIEMPO I October 24-30, 2014

Christy Georg: Phi Rule (armspan); right, Bunny Tobias: Power Tool; bottom, Michael Sumner: Plugdriver

Not at all on opposite ends of a spectrum, art and technology instead inspire and advance each other. For multidisciplinary artist and musician Prakash Spex, whose work was included in Tools, “Understanding and mastering your tools is essential to creative expression and form.” But Spex is careful to note that making one’s own tools is crucial to creative development: “Producing your own tools is an important element of the artist’s education and evolution; it shows yet another level of independence.”

Works of art contain multitudes of things: systems within systems born of both ideological and physical impulses. To look at a finished sculpture, painting, mosaic, or tattoo is to witness a construct that is isolated and self-sufficient but also absolutely dependent on its disparate elements. Technology, a natural part of human development, is an extension of our practical and creative goals, a means to an end. Thus Axle Contemporary’s show functioned for its viewers as a sendup to unfettered creativity and as a serious investigation into human industry and innovation.

— Iris McLister

Currently at Axle Contemporary: ‘Wilderness Acts,’ an exhibit (through Nov. 6) observing the 50th anniversary of the Wilderness Act, in collaboration with the Santa Fe Botanical Garden exhibit of the same name (through Nov. 9 at the Leonora Curtin Wetland Preserve in La Cienega). Call the gallery or visit www.axleart.com for more information and daily locations.

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39

MOVING IMAGES

film reviews

Son, can you play me a memory? Nick Cave

Friday and Saturday at 3:30 and 7:45 • Sunday at 4:30 • Mon through Thurs at 3:30 and 7:45

Counting the days 20,000 Days on Earth, documentary/drama, not rated, Jean Cocteau Cinema, 3.5 chiles

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PASATIEMPO I October 24-30, 2014

This quasi-documentary about 24 hours in the life of elusive Australian rocker Nick Cave on his 20,000th day since birth won filmmakers Iain Forsyth and Jane Pollard directing and editing awards at this year’s Sundance Film Festival. While it’s not unscripted, there’s an ease to Cave’s narration in 20,000 Days on Earth as we watch him driving his car, meeting with band mates and a Freudian therapist, delving into his archives to look over memorabilia, and playing to enraptured audiences. It is a simple premise underscored by insights into and revelations about Cave’s creative process, done with an integrity that keeps the film from seeming like a vanity project. That’s not bad for a semifictionalized account of a life, and Forsyth and Pollard paint the film with moody, dark, and intimate tones.

Cave’s descriptions of his working process and the transformative magic of performing on stage are quietly compelling, while the musical numbers are electric and enthralling.

Over the course of this single day, Cave meets up with fellow Bad Seeds members Warren Ellis and Blixa Bargeld and chats with Kylie Minogue, whose duet with Cave, “Where the Wild Roses Grow,” was a standout from his 1996 album Murder Ballads. But the details of conversations are where the film finds much of its strength. When the fifty-seven-year-old musician is asked if he still loves performing, he talks about being transported when he’s onstage. His conversation with therapist Darian Leader shows Cave to be an artist whose past is still informing his present. If Cave is an outsider, it’s not in the world of performance, but he does seem to be more removed from the world of family. When he states at one point that memory is all we have, we sense that Cave has missed out on some things in life but cherishes what’s left.

Seeing the Bad Seeds before a live audience is reason enough to watch.

Their musical numbers play out like Apollonian/Dionysian struggles, with Cave at the piano and orchestral accompaniments that are intensely theatrical. Between these set pieces, Cave appears to be consumed by his passion for writing; the mental cogs never seem to stop turning. His ability to find so much beauty in his intensive inquiries into God, art, and the human condition is inspiring. Cave doesn’t come off as a haunted man so much as one whose identity is wrapped up in a persona that is multilayered and in service of a vision. Scenes of Cave thumbing through old photographs from his personal archive are telling and, perhaps more than any other parts of the film, candid and honest. The line between truth and reality is blissfully blurred in 20,000 Days on Earth, but it makes you wonder, wouldn’t that be true of anyone’s story? We see the Cave he wants us to see.

— Michael Abatemarco

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1:30p - Green Prince 2:00p - Song of The New Earth* 3:30p - Boyhood 4:00p - Sagrada: Mystery of Creation* 6:00p - I Am Eleven* 7:00p - Green Prince 8:00p - Green Prince*

Saturday-Sunday October 25

11:00a - Spirited Away 11:45a - Song of The New Earth* 1:30p - Green Prince 2:00p - Song of The New Earth* 3:30p - Boyhood 4:00p - Sagrada: Mystery of Creation* 6:00p - I Am Eleven* 7:00p - Green Prince 8:00p - Green Prince*

Monday October 27

4:00p - Green Prince* 5:30p - Spirited Away 6:00p - I Am Eleven* 8:00p - Green Prince*

Tuesday-Thursday October 28-30

3:30p - Boyhood 4:00p - Green Prince 6:00p - I Am Eleven* 7:00p - Sagrada: Mystery of Creation 8:00p - Green Prince* *indicates show is in The Studio

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41

MOVING IMAGES chile pages

— compiled by Robert Ker

MEET THE MORMONS This documentary begins by asking random people on the street what they think of those who adhere to the Mormon religion and then goes on to show us the lives of six different Mormon people around the world. They range from the football coach at Annapolis to a humanitarian in Nepal, and — what do you know? — these people are all totally awesome! Rated PG. 78 minutes. Regal Stadium 14, Santa Fe. (Not reviewed)

Jaeden Lieberher and Bill Murray in St. Vincent, at Regal Stadium 14 in Santa Fe and DreamCatcher in Española

opening this week AWAKE: THE LIFE OF YOGANANDA This documentary walks us through the life of Paramahansa Yogananda, the Indian guru who introduced millions of people in the Western world to meditation and yoga through his book Autobiography of a Yogi. The story follows him from his youth in India to his move to America in the 1920s. Not rated. 87 minutes.

The Screen, Santa Fe. (Not reviewed) DEAR WHITE PEOPLE Justin Simien wrote and directed this campus-set comedy about race relations in the Obama era. Geeky outsider Lionel (Tyler James Williams), political activist Sam (Tessa Thompson), appearance-fixated black Barbie wannabe Coco (Teyonah Parris), and athletic go-getter Troy (Brandon P. Bell) are the four characters through whom Simien filters different aspects of the modern black experience.

Rated R. 100 minutes. Regal DeVargas, Santa Fe. (Not reviewed) THE GREEN PRINCE In 1997, Mosab Hassan Yousef — a Palestinian man and son of a Hamas leader — began spying on Hamas and sending the intelligence

42

PASATIEMPO I October 24-30, 2014

back to Israel, reportedly thwarting several suicide bombings. That’s the kind of plot that would make an unbelievable thriller, but this is a documentary, with Yousef and Israeli officials telling their stories.

Rated PG-13. 95 minutes. In English and Hebrew with subtitles. Center for Contemporary Arts, Santa Fe. (Not reviewed) I AM ELEVEN Filmmaker Genevieve Bailey traveled around the world and spoke to eleven-year-olds everywhere in an attempt to uncover commonalities among those who are not quite children and not yet adults. Along the way, she introduces viewers to young people who range from aspiring rappers in Sweden to orphans in India. Not rated. 98 minutes.

Center for Contemporary Arts, Santa Fe. (Not reviewed) JOHN WICK Keanu Reeves appears to channel Nic Cage in this action picture: growing his hair out, tackling a character with an action-hero name, and unleashing outsized one-liners with goofy gusto while gunning down baddies. He plays an ex-hitman, and the story might as well be a country song: his wife dies, his car is stolen, and his dog is killed, so Johnny gets his guns. Rated R. 101 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed)

1,000 TIMES GOOD NIGHT This film’s intense opening sequence makes clear that Rebecca ( Juliette Binoche), a photojournalist covering a terrorist cell in Kabul, is addicted to her profession. After a serious injury suffered during a suicide bombing, she returns to her family to face a disintegrating marriage (to Nikolaj Coster-Waldau, looking like he stepped right out of the pages of GQ) and her estranged daughters, but the call to return to conflict zones is overpowering. This is a compelling drama about tough choices.

Binoche is particularly effective as the driven photographer, torn between love for family and love for her career. While slow at times, the film is anchored by believable performances and several intense sequences of violence that underscore Rebecca’s moral dilemma. Not rated. 117 minutes. The Screen, Santa Fe. (Michael Abatemarco) OUIJA A group of teenagers get together to test out a Ouija board that supposedly had something to do with the death of a young woman. Sure enough, they summon a dark spirit that starts picking them off, particularly when they look in mirrors or through the hole on the board’s planchette. This ain’t no Parker Brothers. Rated PG-13. 89 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española.

(Not reviewed) PERFORMANCE AT THE SCREEN The series of high-definition screenings continues with a showing of Verdi’s Aida from Italy’s Arena di Verona on its 100th anniversary. Hui He, Marco Berti, and Andrea Ulbrich star. 11:15 a.m. Sunday, Oct. 26, only. Not rated. 155 minutes. The Screen, Santa Fe. (Not reviewed) ST. VINCENT Bill Murray continues his late-career run playing irascible eccentrics and melancholic misanthropes with this comedy, in which he plays both of those character types at once. He’s Vincent, a drunken retiree who’s asked by the single mom next door (Melissa McCarthy) to watch her kid ( Jaeden Lieberher). Soon, the boy is learning how to be a man in Vincent’s image, and everyone forms unlikely bonds. Rated PG-13. 102 minutes. Regal DeVargas, Santa Fe; DreamCatcher, Española. (Not reviewed)

20,000 DAYS ON EARTH Iain Forsyth and Jane Pollard’s fictionalized account of 24 hours in the life of Australian rocker and Bad Seeds frontman Nick Cave is an inspiring mix of music and musings on the creative process. Cave’s poetic narration of his 20,000th day on Earth is at turns tender, funny, and moving, particularly when scenes begin to take on a seemingly candid life of their own. Interspersed through the narrative are clips of musical performances that hold audiences spellbound. Rather than playing like a man-behind-the mask exposé, the film shows us only what Cave wants us to see, managing to be revealing and mysterious at the same time. It took away directing and editing awards at this year’s Sundance Film Festival — not bad for a first feature.

Not rated. 97 minutes. Jean Cocteau Cinema, Santa Fe. (Michael Abatemarco) See review, Page 40 23 BLAST Another week, another sorta-based-ontrue-events movie about high-school football. This one is different from the rest: it focuses on a boy (Mark Hapka) who loses his eyesight but doesn’t lose his faith in Jesus and thus continues to play varsity. Actor Dylan Baker makes his directorial debut and also co-stars. Rated PG-13. 98 minutes. Regal DeVargas, Santa Fe. (Not reviewed)

now in theaters ALEXANDER AND THE TERRIBLE, HORRIBLE, NO GOOD, VERY BAD DAY Steve Carell and Jennifer Garner are parents to Alexander (Ed Oxenbould) in this loose adaptation of the picture book of the same name. When the entire family has a bad day all at once, they learn that the terrible, horrible, no good, very bad days make the excellent, incredible, not bad, very good ones that much sweeter. Rated PG. 81 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) ANNABELLE The creepy doll from 2013’s The Conjuring has its own spinoff movie. Annabelle Wallis and Ward Horton play 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) THE BEST OF ME In the latest adaptation of a Nicholas Sparks weepie-romance novel, young Dawson (Luke Bracey) meets Amanda (Liana Liberato), and they fall into deep, profound love. Alas,

Amanda’s daddy doesn’t like the cut of Dawson’s jib or the model of his pickup truck, so the lovers are torn apart. Fast-forward 20 years, and the couple (now played by James Marsden and Michelle Monaghan) reunite. Rated PG-13. 117 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. (Not reviewed) THE BOOK OF LIFE There are many Halloween movies for families, and now the Day of the Dead gets its own mainstream offering, produced by Guillermo del Toro and directed by Jorge Gutierrez. The story centers on a reluctant bullfighter named Manolo (voiced by Diego Luna), who competes with his friend and rival (Channing Tatum) over the woman they both admire (Zoe Saldana) until Manolo is killed. All is not lost, however — he can travel through fantastical worlds to return to her. The visuals, inspired by Mexican folk art, are colorful, imaginative, and highly atypical of current animated films. That and the swift pacing go a long way, but the corny jokes, lame use of modern pop songs, and distracting appearance by rapper-actor Ice Cube get in the way of the filmmakers’ best intentions.

Rated PG. 95 minutes. Screens in 3-D and 2-D at Regal Stadium 14, Santa Fe. Screens in 2-D only at DreamCatcher, Española. (Robert Ker) BOYHOOD Richard Linklater’s extraordinary achievement has been to take a six-year-old named Ellar and Coltrane film him for a few days every year for dozen a years. We watch as the boy grows up and makes his way through childhood’s adventures and discoveries, arriving on the brink of young adulthood as the movie ends. It’s not just that 12 real years pass and Linklater holds the whole thing together. It’s the way it happens, the way he tells the story. Rated R. 166 minutes. Center for Contemporary Arts, Santa Fe. ( Jonathan Richards) THE BOXTROLLS In this feature by some of the creators of ParaNorman and Coraline, Isaac Hempstead-Wright voices a plucky orphan who was raised by trash-collecting trolls. When his adopted family comes under threat from an exterminator (voiced by Ben Kingsley), he has to fight back. The heroes aren’t developed enough for audiences to feel fully invested in the story, but the tone is delightfully macabre, and the world — with its twisting back alleys and toothy scoundrels — reflects the considerable effort that went into building it.

Rated PG. 96 minutes. Screens in 2-D only at Regal Stadium 14, Santa Fe. (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

The Green Prince

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 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) FURY War is hell, and writer-director David Ayer puts us through it in this dense, dark, claustrophobic, sometimes riveting, sometimes trashy adventure. In the waning months of World War II, the Allies are pushing toward Berlin.

Much of the action takes place in an American tank.

Brad Pitt is Wardaddy, a sergeant who is tough as nails except when he’s showing his sensitive side.

The audience surrogate is Norman (Logan Lerman), a clerk-typist suddenly thrust into combat. There’s some fine acting from the core group, filled out

by Shia LaBeouf, Jon Bernthal, and Michael Peña, who mostly rise above the typical war-movie roles continued on Page 44

PASATIEMPOMAGAZINE.COM

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MOVING IMAGES chile pages

continued from Page 43

they’re given. To paraphrase a line in From Here to Eternity, if it’s killin’ you want, it’s killin’ you’ll get, especially in the movie’s over-the-top final scene of against-all-odds heroism and slaughter. Rated R. 134 minutes. Regal Stadium 14, Santa Fe; DreamCatcher, Española. ( Jonathan Richards) GONE GIRL This twisted modern-day noir from David Fincher is based on the bestseller by Gillian Flynn, who penned screenplay, the 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 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) 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 city to defend his father, played by Robert Duvall, a grumpy (of course!) judge who is suspected of

spicy bland

medium

mild

heartburn

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

44

PASATIEMPO I October 24-30, 2014

murder. Will father and son put aside their differences? Vera Farmiga, Vincent D’Onofrio, and Billy Bob Thornton co-star. Rated R. 141 minutes. Regal Stadium 14, Santa Fe. (Not reviewed) 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) 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) 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) 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) 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 Tony-winning 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) 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)

other screenings Center for Contemporary Arts, 505-982-1338 Song of the New Earth; The Ghibli Celebration film series presents Spirited Away (2001).

Jean Cocteau Cinema, 505-466-5528 The Exorcist (1973), Ghostbusters (1984).

Regal Stadium 14, 505-988-2775 Nightcrawler, Saw (2004).

The Screen, 505-473-6494 Exhibition. ◀

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

CCA CINEMATHEQUE AND SCREENING ROOM

Guardians of the Galaxy (PG-13) Fri. to Wed.

7:25 p.m., 10:10 p.m.

1050 Old Pecos Trail, 505-982-1338, www.ccasantafe.org Boyhood (R) Fri. to Thurs. 3:30 p.m.

The Green Prince (PG-13) Fri. to Sun. 1:30 p.m., 7 p.m., 8 p.m. Mon. to Thurs. 4 p.m., 8 p.m.

I Am Eleven (NR) Fri. to Thurs. 6 p.m.

Sagrada:The Mystery of Creation (NR) Fri. to Sun. 4 p.m. Tue. to Thurs. 7 p.m.

Song of the New Earth (NR) Fri. 2 p.m.

Sat. and Sun. 11:45 a.m., 2 p.m.

Spirited Away (PG) Sat. and Sun. 11 a.m.

Mon. 5:30 p.m.

John Wick (R) Fri. to Wed. 12 p.m., 2:25 p.m.,

JEAN COCTEAU CINEMA

THE SCREEN

418 Montezuma Avenue, 505-466-5528, www.jeancocteaucinema.com 20,000 Days on Earth (NR) Fri. and Sat. 8:30 p.m.

Sun. 7 p.m. Tue. 8:30 p.m. Wed. 4:30 p.m.

Thurs. 4:20 p.m., 8:30 p.m.

The Exorcist (R) Fri. and Sat. 11 p.m.

Ghostbusters (PG) Fri. 6:10 p.m. Sat. 2 p.m., 6:10 p.m. Sun. 4:30 p.m. Wed. and Thurs. 2 p.m.

Patema Inverted (NR) Fri. 4 p.m. Sat. 4:10 p.m.

REGAL DEVARGAS

562 N. Guadalupe St., 505-988-2775, www.fandango.com 23 Blast (PG-13) Fri. and Sat. 1:15 p.m., 4:15 p.m., 7:15 p.m., 9:40 p.m. Sun. to Thurs. 1:15 p.m., 4:15 p.m., 7:15 p.m.

Dear White People (R) Fri. and Sat. 1 p.m., 4 p.m., 7 p.m., 9:45 p.m. Sun. to Thurs. 1 p.m., 4 p.m., 7 p.m.

Kill the Messenger (R) Fri. and Sat. 4:20 p.m., 7:20 p.m., 10 p.m. Sun. to Thurs. 4:20 p.m., 7:20 p.m.

Men,Women & Children (R) Fri. to Thurs. 1:20 p.m.

My Old Lady (PG-13) Fri. and Sat. 1:35 p.m., 4:35 p.m., 7:35 p.m., 10:05 p.m. Sun. to Thurs.

1:35 p.m., 4:35 p.m., 7:35 p.m.

Pride (R) Fri. and Sat. 1:05 p.m., 3:50 p.m., 6:50 p.m., 9:35 p.m. Sun. to Thurs. 1:05 p.m., 3:50 p.m., 6:50 p.m.

St.Vincent (PG-13) Fri. and Sat. 1:30 p.m., 4:30 p.m., 7:30 p.m., 9:55 p.m. Sun. to Thurs. 1:30 p.m., 4:30 p.m., 7:30 p.m.

REGAL STADIUM 14

3474 Zafarano Drive, 505-424-6296, www.fandango.com

Alexander and the Terrible, Horrible, No Good,Very Bad Day (PG) Fri. to Wed. 12:35 p.m., 3 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.

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., 3:50 p.m., 7:05 p.m., 10:20 p.m.

4:55 p.m., 7:25 p.m., 10 p.m.

The Judge (R) Fri. to Wed. 12:30 p.m., 3:45 p.m., 7 p.m., 10:15 p.m.

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

Meet the Mormons (PG) Fri. to Wed. 12:40 p.m., 2:55 p.m., 5:10 p.m., 7:30 p.m., 9:40 p.m.

Nightcrawler (R) Thurs. 7 p.m., 9:50 p.m.

Ouija (PG-13) Fri. to Wed. 12:15 p.m., 2:35 p.m., 5 p.m., 7:35 p.m., 10:05 p.m.

Saw 10th Anniversary (R) Thurs. 8 p.m., 10:35 p.m.

Santa Fe University of Art & Design, 1600 St. Michael’s Drive, 505-473-6494, www.thescreensf.com 1,000 Times Good Night (NR) Fri. and Sat. 3:30 p.m., 7:45 p.m. Sun. 4:30 p.m. Mon. to Thurs.

3:30 p.m., 7:45 p.m.

Aida (NR) Sun. 11:15 a.m.

Awake:The Life of Yogananda (NR) Fri. and Sat. 1:30 p.m., 6 p.m. Sun. 2:30 p.m. Mon. to Thurs.

1:30 p.m., 6 p.m.

Exhibition (NR) Sat. 11:45 a.m. Sun. 6:30 p.m.

MITCHELL DREAMCATCHER CINEMA (ESPAÑOLA)

john wick 1:55** 4:40 7:10 fury 1:45/4:45** 4:20 7:25 gone girl 1:40** 4:15 7:15 best of me 1:50** 4:25 6:55 alexander & the terrible, 2:05** 4:35 7:05 horrible, no good, Very bad day st. Vincent 2:15** 4:45 7:20 book of life 2d 2:00** 4:30 7:00 dracula untold 2:30** 5:00 7:35 annabelle 2:25** 4:55 7:15 ouija 2:20** 4:50 7:30 **saturday & sunday only *friday & saturday only times for friday, october 24 - thursday, october 30

9:45* 7:40* 4:40/7:45* 9:30* 9:40* 9:50* 9:30* 10:00* 9:55* 9:55*

“Compelling... enough to make a modern soul look inward.”

– Anita Gates, The New York Times

“engrossing and informative from start to finish.”

– ernest hardy, The ViLLAGe Voice

REVEAL YOUR SELF

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THE SCREEN 1600 St. Michael’s Drive, Santa Fe (505) 473-6494

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. 2:25 p.m., 4:55 p.m., 7:15 p.m., 9:55 p.m.

Sun. 2:25 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. 4:25 p.m., 6:55 p.m., 9:30 p.m. Sat. 1:50 p.m., 4:25 p.m., 6:55 p.m., 9:30 p.m. Sun. 1:50 p.m., 4:25 p.m., 6:55 p.m.

Mon. to Thurs. 4:25 p.m., 6:55 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.

Dracula Untold (PG-13) Fri. 5 p.m., 7:35 p.m., 10 p.m. Sat. 2:30 p.m., 5 p.m., 7:35 p.m., 10 p.m.

Sun. 2:30 p.m., 5 p.m., 7:35 p.m. Mon. to Thurs.

5 p.m., 7:35 p.m.

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

4:20 p.m., 7:25 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., 7:15 p.m.

John Wick (R) Fri. 4:40 p.m., 7:10 p.m., 9:45 p.m.

Sat. 1:55 p.m., 4:40 p.m., 7:10 p.m., 9:45 p.m.

Sun. 1:55 p.m., 4:40 p.m., 7:10 p.m. Mon. to Thurs.

4:40 p.m., 7:10 p.m.

Ouija (PG-13) Fri. 4:50 p.m., 7:30 p.m., 9:55 p.m.

Sat. 2:20 p.m., 4:50 p.m., 7:30 p.m., 9:55 p.m.

Sun. 2:20 p.m., 4:50 p.m., 7:30 p.m. Mon. to Thurs.

4:50 p.m., 7:30 p.m.

St.Vincent (PG-13) Fri. 4:45 p.m., 7:20 p.m., 9:50 p.m. Sat. 2:15 p.m., 4:45 p.m., 7:20 p.m., 9:50 p.m. Sun. 2:15 p.m., 4:45 p.m., 7:20 p.m.

Mon. to Thurs. 4:45 p.m., 7:20 p.m.

Carry Out or Delivery*! *delivery offered between noon and 9:30 pm.

Buy one, get one half off an all Hispanic and American entrees

505-424-8889 4350 Airport Road, Suite 15

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45

RESTAURANT REVIEW Anne Constable I The New Mexican

Rios grande Restaurant Martín 526 Galisteo St., 505-820-0919 www.restaurantmartin.com Lunch Tuesdays-Fridays 11:30 a.m.-2 p.m.; dinner Tuesdays-Sundays 5:30 p.m.-close; brunch Sundays 11:30 a.m.-2 p.m.; closed Mondays Vegetarian options Handicapped accessible Noise level: moderate Full bar Patio dining in season Credit cards & checks

]

The Short Order In the five years since he opened Restaurant Martín, chef Martin Rios has established as a member of the pantheon of upscale dining destinations in the city. For many diners it’s a special-occasion place, and the freshest, highest-quality ingredients and the variety of tastes on every plate are worth the higher prices.

The best seating is on the patio or in the covered annex. Staff members are knowledgeable about the menu, but even they can be tripped up because the chef often makes substitutions based on what’s fresh — or maybe on a whim.

Recommended: squash bisque, roasted lamb rack and braised lamb cheeks, duck breast, crab cakes, panna cotta, and chocolate truffle cake.

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

46

PASATIEMPO I October 24-30, 2014

An online reviewer crowed recently that Restaurant Martín’s chilled pea soup was “worth the 5-hour drive to Santa Fe.” Alas, that dish wasn’t on the menu when our little group dined there on a recent Friday evening. In its place was a more fall-like creamy squash bisque with a bit of a kick. The bowl arrived at the table with shrimp and Parmesan gougères (savory pastry puffs) in the bottom. A server poured the soup at the table. It was entirely satisfying, a meal in itself, but worth five hours in the car? I’m not so sure.

In the five years since chef Martin Rios opened Restaurant Martín in the old hippie hangout called Café Oasis at the intersection of Galisteo Street and Paseo de Peralta, it has become one of the top fine-dining establishments in the city, a good place for a special-occasion dinner or just the splurge you believe you’re due. Rios describes his cuisine as “progressive American.” The overall menu reflects Asian and Southwestern influences as well as his classic French training.

A bit of advice before driving there: give some thought to where you are going to park. We found spots along one side of the building on a Friday night, but in case you’re not so lucky, the restaurant’s website suggests some good alternatives, especially for evenings.

Once inside, parking issues are forgotten. Both the patio, which is filled with umbrella-shaded tables, and the indoor/ outdoor annex are inviting places to spend an evening sipping wine, catching up with friends, and being amazed at what comes out of the kitchen. Everything about the restaurant is assured, confident, and very friendly — and that includes Rios’ wife, Jennifer, the general manager, who chats with guests and even occasionally drives some back to their hotels.

One of my dining companions started with the crispy Berkshire pork belly, which included a caramelized-onionbacon-cheddar biscuit, shiitake mushrooms, radishes, and sour cherries. Another ordered the vegetarian tasting plate entree as an appetizer and raved about the spinach. My duck breast from Indiana-based Maple Leaf Farms was succulent, as good as it gets; it was accompanied by Marcona almonds, button-sized portions of whipped carrots, tiny polenta croutons, turnips, pickled blueberries, and a bourbon-chocolate reduction. It made my head spin.

Jennifer Rios says that her husband is an artist, and indeed the composition of all the plates was artistic, a creative melding of flavors. I think this style would delight the eyes and tummies of many diners, but I found myself wondering if it was all a bit overthought. I would have been happy to forgo the almonds, pickled blueberries, and croutons (although I adore polenta in all its forms). Just give me a colossal portion of those carrots.

One of my guests ordered the lamb, which included a roasted rack along with some seriously melt-in-your-mouth braised cheeks. Her plate also featured grape tomatoes, summer squash, arugula, potato “tiles,” and maitake mushrooms (also known as hen of the woods). A cosmopolitan who has eaten all over the globe, she pronounced the lamb “very, very good.” She also liked the parsnip and roasted garlic puree (with a little apple) and the mushrooms, but she said she could have lived without the tomatoes and squash.

My other guest, a light and discerning eater, said the salmon was moist and perfectly steamed, although she found the accompanying vegetables underseasoned and the foam topping the fish interesting but forgettable.

All the dessert plates are quite complicated as well — and we swooned when they arrived. The yummy bourbon-vanillawhite-chocolate panna cotta came with marinated berries and apricots, pistachio sponge cake, and a scoop of black-tea ice cream. The impeccable bittersweet chocolate truffle cake — rich and perfectly chocolaty — was served with something called cocoa shortbread soil and toasted cinnamon ice cream.

The desserts are served with a small spatula ( Jennifer’s idea), perfect for scraping up every bit of deliciousness on the plates.

At lunch, the menu is focused on soups, salads, and sandwiches. Everyone was apparently hunkered down at home or in the office on the day we visited — we had the dining room mostly to ourselves, except for a local pair discussing politics.

I had been salivating over the idea of a salmon BLT, and it didn’t disappoint. The moist piece of fish with caper-lemon aioli, lettuce, bacon, and avocado on fresh sourdough bread came with salad and fries. My guest chose lump blue crab cakes surrounded by a subtle, well-seasoned, not-too-smoky chipotle-red-pepper puree and a salad of grape tomatoes, shiitake mushrooms, spinach, and applewood-smoked bacon.

We indulged in the bittersweet chocolate truffle cake again; on this occasion it came with drizzles of sweet and salty caramel and a lovely little scoop of caramel ice cream. And, of course, those cute spatulas. ◀

Dinner for three at Restaurant Martín: Butternut squash bisque ....................................$ 13.00 Vegetarian tasting plate .....................................$ 26.00 Pork belly ..........................................................$ 15.00 Duck breast .......................................................$ 32.00 Salmon ...............................................................$ 31.00 Lamb ..................................................................$ 38.00 Panna cotta ........................................................$ 11.00 Truffle cake ........................................................$ 11.00 Cappuccino .......................................................$ 5.00 Coffee ................................................................$ 4.00 Two glasses, Schug sauvignon blanc .................$ 26.00 TOTAL ...............................................................$ 212.00 (before tax and tip) Lunch for two, another visit: Crab cakes .........................................................$ Salmon BLT .......................................................$ Truffle cake ........................................................$ TOTAL ...............................................................$ (before tax and tip)

16.00 15.00 11.00 42.00

Lensic Presents

An award-winning documentary about one man’s quest to make his last act—his burial— a gift to the planet.

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

Pa rt s f i l m e d i n s a n ta f e & G a l i st e o

October 24 | 7 pm | $10 includes post-film Q&a with the directors

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

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PASATIEMPOMAGAZINE.COM

47

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.

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• 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 24-30, 2014

CALENDAR COMPILED BY PAMELA BEACH

FRIDAY 10/24

SITE Santa Fe’s Spread 5.0: Community Nourishing Creativity

Gallery & Museum Openings David Richard Gallery

Santa Fe Farmers Market Pavilion A community dinner that funds New Mexicobased artists and creative initiatives by providing microgrants; doors open at 6:45 p.m.

Fine Art Framers

(See Page 49 for addresses)

544 S. Guadalupe St., 505-983-9555 What, word paintings and multi-media sculpture

by Nancy Dwyer, reception 5-7 p.m., through Dec. 6.

Nightlife

1415 W. Alameda St., 505-982-4397 Divergent Mindscapes, paintings by Leslie Harris and Alexis Palmaffy, reception 5:30-7:30 p.m., through Sunday.

Café Café

Trio Los Primos, 6 p.m., no cover.

¡Chispa! at El Mesón

Three Faces of Jazz, featuring guest guitarist Tony Cesarano, 7:30-10:30 p.m., no cover.

McLarry Fine Art

225 Canyon Rd., 505-988-1161 Year of the Horse, paintings by Xiang Zhang, reception 5-7 p.m., through Nov. 7.

Cowgirl BBQ

Bill Hearne Trio, classic country, 5 p.m.; Mark's Midnight Carnival Show, rock, 8:30 p.m.-close, no cover.

Museum of International Folk Art

706 Camino Lejo, Museum Hill, 505-476-1200 Pottery of the U.S. South: A Living Tradition, stoneware from North Carolina and northern Georgia, reception 5:30-7:30 p.m.

Duel Brewing

Jazz ensemble OrnEtc, with Noah Baumeister, Dan Pearlman, Lee Steck, and Dave Wayne, 6 p.m. no cover.

Santa Fe Time Bank Arts Gallery

El Farol

1219 Luisa St., Suite 1, 505-490-2119 Contemplative Collage: From Symbol to Story, prints on canvas by Dante Jericho, reception 5:30-7:30 p.m.

The Gruve, 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.

Zane Bennett Contemporary Art

La Fiesta Lounge at La Fonda

435 S. Guadalupe St., 505-982-8111 ¡Saludos, Barcelona! 50 Years of Polígrafa Prints, group show; Eros and Thanatos, sculptural work by Michael Petry; reception 5-7 p.m.; through Nov. 22.

C.S. Rockshow, with Don Curry, Pete Springer, and Mark Clark on drums, 8-11 p.m., no cover.

La Posada de Santa Fe Resort and Spa

Classical Music

Nacha Mendez Quartet, 6:30-9:30 p.m., no cover.

Atrium String Quartet

Mine Shaft Tavern

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

Music on Barcelona

Unitarian Universalist Church of Santa Fe, 107 W. Barcelona Rd. Music of Bach and Martinů, 5:30-6:30 p.m., donations accepted.

Ziggy Marley performs at 7:30 p.m. Wednesday at the Santa Fe Commuity Convention Center, 201 W. Marcy St.

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, final weekend.

TGIF recital

Books/Talks

Theater/Dance

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The author discusses Give It to Me and Massacre of the Dreamers, 6 p.m. (See Subtexts, Page 16)

First Presbyterian Church, 208 Grant Ave. Flutist Carol Redman and pianist David Solem, 5:30-6 p.m., donations welcome, 505-982-8544, Ext. 16.

Good Night, Caroline: Farce in One Act

Bryan Fant Theater, Capital High School, 4851 Paseo del Sol Conrad Seiler's 1938 play, 7 p.m., $5 at the door, continues Saturday.

48

PASATIEMPO I October 24-30, 2014

Ana Castillo

Artist talk

Tansey Contemporary, 652 Canyon Rd., 505-995-8513 Painter Patrick McGrath Muñiz discusses his work, 5-7 p.m.

Outdoors Star Party

Cerrillos Hills State Park, about 16 miles south of Santa Fe off NM 14, 505-474-0196 A green-laser tour of stars and constellations, followed by views through telescopes, 6:30 p.m., $5 per vehicle. Meet at the main parking lot, a half mile north of Cerrillos village on County Road 59.

Events 13th Annual Eldorado Arts & Crafts Fall Show

St. John's United Methodist Church of Santa Fe, 1200 Old Pecos Trail More than 40 artists selling paintings, ceramics, jewelry, glass art, and more; 3-7 p.m., eldoart.org, continues Saturday.

Paw & Eric, on the deck, 2 p.m., no cover; classic-rock band The Jakes, 8 p.m., call for cover.

Palace Restaurant and Saloon

Railyard Reunion Band, 10 p.m., call for cover.

Pranzo Italian Grill

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

Second Street Brewery

Folk-rock band The Bus Tapes, 6-9 p.m., no cover.

Second Street Brewery at the Railyard

Alto Street, blues/rock/folk, 7-10 p.m., no cover.

Shadeh

Clear Channel Radio Rock ‘n’ Roll Night, 9 p.m.-4 a.m., no cover.

Skylight

Bella Gigante, gender-bending cabaret, 8 p.m.; The Alchemy Party, with DJs Dynamite Sol and Poetics, 10 p.m.; call for cover.

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

Tiny’s

Singer/songwriter Ben Wright, 5:30-8 p.m.; J.J. & The Hooligans, blues/rock, 8:30 p.m.-close; no cover.

Vanessie

Doug Montgomery, 6-8 p.m.; Branden James, 8 p.m.-close; call for cover.

SATURDAY 10/25 Gallery and Museum Openings Liquid Outpost

211 Old Santa Fe Trail, 505-983-6503 Paintings, Drawings & Photographs, work by Robert Redus, reception 4-6 p.m., through October.

In Concert J.D. McPherson

Skylight Rockabilly singer/songwriter, 7:30 p.m., $16 in advance at holdmyticket.com.

Theater/Dance Good Night, Caroline: Farce in One Act

Bryan Fant Theater, Capital High School, 4851 Paseo del Sol Conrad Seiler's 1938 play, 3:30 and 7 p.m., $5 at the door.

My Faraway Nearest One: Selected Letters of Georgia O'Keeffe and Alfred Stieglitz Sorrel Sky Gallery, 125 W. Palace Ave., 866-878-3555 For Giving Theater presents a staged reading of Volume 1 (1915-1933), with J.D. Garfield, Kirk Ellis, and Debrianna Mansini, 7 p.m.

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, final weekend.

Books/Talks Artist talk

Evoke Contemporary, 550 S. Guadalupe St., 505-995-9902 Alice Leora Briggs discusses her work in the exhibit Asylum, 4-6 p.m.

Exhibit discussion

David Richard Gallery, 544 S. Guadalupe St., 505-983-9555 Sculptor Nancy Dwyer's What, 2 p.m.

Exploring Miguel Covarrubias' Artworks Through Dance and Art Creations

Georgia O'Keeffe Museum, 217 Johnson St. An exhibit talk led by Anabella St. Peter, museum and dance educator, 9:30 a.m., okeeffemuseum.org.

Porcelain in the Modern World

Heidi Loewen Porcelain Gallery, 315 Johnson St., 505-988-2225 A talk by ceramic artist and gallerist Matthew Rowe, 3 p.m.

Ray John de Aragon

Op. Cit. Books, Sanbusco Center, 500 Montezuma Ave., 505-428-0321 The author reads from New Mexico Book of the Undead: Goblin & Ghoul Folklore, 5 p.m.

Remapping the Territory, Our America: A Hispanic History of the United States

Santuario de Nuestra Señora de Guadalupe, 417 Agua Fría St. Book presentation and signing by author Felipe Fernández-Armesto, 2 p.m., followed by a discussion led by state historian Rick Hendricks, email adxabq@cervantes.es for reservations, no charge.

Santa Fe Book Arts Group workshop

Santa Fe Public Library, Oliver La Farge Branch, 1730 Llano St., 505-955-4860 Learn how to make a flag book, 1-3 p.m.; materials supplied, call to register, no charge.

Unabridged: Lambda Literary Authors Series

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

Events 13th Annual Eldorado Arts & Crafts Fall Show

St. John's United Methodist Church of Santa Fe, 1200 Old Pecos Trail More than 40 artists selling paintings, ceramics, jewelry, glass art, wearable art, and more; 9 a.m.-5 p.m., eldoart.org.

Contra dance

Odd Fellows Hall Folk dance with easy walking steps; live music

by Slithy Toves and calls by Katherine Bueler; beginners lesson 7 p.m., dance 7:30 p.m., $9, students $5, 505-820-3535.

Halloween ComicFest

Big Adventure Comics, 801-B Cerrillos Rd., 505-992-8783 Free Halloween-themed comic books for all ages, customers in costume receive a second comic book at no cost and a third one with $10 in purchases, noon-7 p.m.

iPhone-artistry workshop

Community Room, Santa Fe Public Library, Main Branch, 145 Washington Ave. Learn how to photograph landscapes, interiors, architecture, portraiture, and artwork; led by photographer David Hoptman, noon-1:30 p.m., no charge.

Gallerist talk

Santa Fe Botanical Garden Community Day and Halloween celebration

Nature Morte: Contemporary Artists Reinvigorate the Still Life

Three Muses Drawing Extravaganza

Pippin Contemporary, 200 Canyon Rd., 505-795-7476 Embracing the Latest in Technology, with Aleta Pippin, 2:30 p.m.

Zane Bennett Contemporary Art, 435 S. Guadalupe St., 505-982-8111 Artist Michael Petry discusses his book, 1:30 p.m.

715 Camino Lejo, Museum Hill Complimentary candy and prizes, pumpkin-carving contest (bring your masterpiece), free admission for visitors in costumes, 9 a.m.-5 p.m., call 505-471-9103 for details.

Muñoz Waxman Main Gallery, Center for Contemporary Arts, 1050 Old Pecos Trail Bring easels and drawing materials for the figure-drawing session with live models, led by John Tollett and Eric Thomson, 5-9 p.m., $18 includes snacks, email angie@ccasantafe.org to register.

Nightlife

El Farol

Little Leroy and His Pack of Lies, blues/soul, 9 p.m., call for cover.

(See addresses below)

¡Chispa! at El Mesón

Evangelo's

Tierra Sonikete, with J.Q. Whitcomb on trumpet and Joaquin Gallegos on guitar, 7:30-10:30 p.m., no cover.

Led Zeppelin-homage band Moby Dick, 9 p.m.-close, call for cover.

Cowgirl BBQ

La Fiesta Lounge at La Fonda

Santa Fe Chiles Dixie Jazz Band, 2 p.m.; Broomdust Caravan, honky-tonk biker-bar rock 'n' roll, 8:30 p.m.-close; no cover.

C.S. Rockshow, with Don Curry, Pete Springer, and Ron Crowder on drums, 8-11 p.m., no cover.

Check with venues for updates and sp ecial events Agoyo Lounge

at the Inn on the Al Mine Shaft Tavern ameda 303 E. Alameda St. 28 46 NM 14, Madrid, , 505-984-2121 505-473-0743 Anasazi Restauran Mu seum Hill Café t & Bar 113 Washington Av 710 Camino Lejo, Mi e., 505-988-3030 lner Plaza, 505-984-8900 Bishop’s Lodge Ra nch Resort & Spa 1297 Bishops Lodg e Rd., 505-983-6377 Music Room at Garrett’s Desert Inn 311 Old Santa Fe Tra The Blue Rooster il, 505-982-1851 101 W. Marcy St., 50 Odd Fellows Hall 5-206-2318 1125 Cerrillos Rd., Burro Alley Café 505-473-0955 207 W. San Francisc Omira Bar & Grill o St., 505-982-0601 1005 St. Francis Dr Café Café ., 505-780-5483 500 Sandoval St., 50 Palace Restaurant 5-466-1391 & Saloon 142 W. Palace Ave., ¡Chispa! at El Mesó 505-428-0690 n 213 Washington Av Pranzo Italian Grill e., 505-983-6756 540 Montezuma Av Cowgirl BBQ e., 505-984-2645 319 S. Guadalupe St. Santa Fe Bar & Grill , 505-982-2565 187 Paseo de Peral Duel Brewing ta, DeVargas Cente r, 505-982-3033 1228 Parkway Dr., 505-474-5301 Santa Fe Commun El Cañon at Hilton ity Convention Santa Fe Center 100 Sandoval St., 50 5-988-2811 201 W. Marcy St., 50 Eldorado Hotel & 5-955-6705 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 1814 Second St., 50 El Paseo Bar & Grill 5-982-3030 Second Street Brew 208 Galisteo St., 50 er 5-992-2848 1607 Paseo de Peral y at the Railyard Evangelo’s ta, 505-989-3278 Shadeh at Buffalo 200 W. San Francisc Thunder o St., 505-982-9014 Reso rt & Casino High Mayhem Em erging Arts Pojoaque Pueblo, U.S 2811 Siler Lane, 50 . 84/285, 5-438-2047 505-455-5555 Hilltop Bar at The Lodge at Santa Fe Sk ylight 750 N. St. Francis Dr ., 505-992-5800 139 W. San Francisc o St., 505-982-0775 Hotel Santa Fe Sweetwater Harves 1501 Paseo de Peral t Kitchen ta, 505-982-1200 1512-B Pacheco St. , 505-795-7383 Jean Cocteau Cinem a Swiss Bakery Pastr 418 Montezuma Av ies e., 505-466-5528 401 S. Guadalupe St. and Bistro , 505-988-5500 Junction Taberna La Boca 530 S. Guadalupe St. , 505-988-7222 125 Lincoln Ave., 50 5-988-7102 La Boca Tin y’s 72 W. Marcy St., 50 5-982-3433 1005 St. Francis Dr ive, Suite 117, La Casa Sena Cant 505-983-9817 ina 25 E. Palace Ave., 50 5-988-9232 The Underground at Evangelo’s La Fiesta Lounge 200 W. San Francisc at La Fonda o St. 100 E. San Francisc o St., 505-982-5511 Upper Crust Pizza La Posada de Sant a Fe Resort and Sp 329 Old Santa Fe Trail, 505-982-0000 a 330 E. Palace Ave., 505-986-0000 Vanessie Lensic Performing 434 W. San Francisc Arts Center o St., 505-982-9966 211 W. San Francisc o St., 505-988-1234 Veterans of Fo reign Wars Low ‘n’ Slow Lowr 370 Montezuma Av ider Bar e., 505-984-2691 at Hotel Chimayó de Santa Fe Wa rehouse 21 125 Washington Av e., 505-988-4900 1614 Paseo de Peral ta, 505-989-4423 The Matador Zia Dinner 116 W. San Francisc o St. 326 S. Guadalupe St. , 505-988-7008

C L U B S, R O O M S, V E N UES

Swiss Bakery Pastries and Bistro

PASATIEMPOMAGAZINE.COM

49

La Fiesta Lounge at La Fonda

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

Vanessie

Doug Montgomery, 6-8 p.m.; Branden James, 8 p.m.-close; call for cover.

TUESDAY 10/28 In Concert Greensky Bluegrass

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

Theater/Dance Julesworks Follies

Jean Cocteau Cinema The monthly variety show's Halloween edition, 6 p.m., $7 in advance at jeancocteaucinema.com.

Royal Ballet of Cambodia

Evoke Contemporary shows sgraffito drawings by Alice Leora Briggs, 550 S. Guadalupe St.

La Posada de Santa Fe Resort and Spa

Pat Malone Jazz Trio, featuring vocalist Whitney Carroll Malone and bassist Jon Gagan, 6-9 p.m., no cover.

Low ‘n’ Slow Lowrider Bar at Hotel Chimayó de Santa Fe Irish multi-instrumentalist Gerry Carthy, 7:30 p.m.-close, no cover.

Mine Shaft Tavern

Felix y Los Gatos, zydeco/Tex-Mex/swing, on the deck, 2 p.m., no cover; singer/songwriter Sean Ashby, 7 p.m., call for cover.

In Concert Native Music Festival

Dance Circle, Institute of American Indian Arts, 83 Avan Nu Po Rd. Scatter Their Own, rock; The Plateros, blues/rock; Saving Damsels, soul/rock; Delbert Anderson Trio, jazz; and others, noon-6:30 p.m., no charge.

Theater/Dance Some Girl(s)

Railyard Reunion 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, closing night.

Pranzo Italian Grill

Books/Talks

Palace Restaurant and Saloon

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

Elizabeth Billups

Local singer/songwriter Eryn Bent, 6-9 p.m., no cover.

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The photographer discusses Ireland: One Island, No Borders, 3 p.m.

Second Street Brewery at the Railyard

Play+Write+Share

Second Street Brewery

Swing Soleil, Gypsy jazz, 7-10 p.m., no cover.

Shadeh

Hip-hop night, 9 p.m.-4 a.m., no cover.

Skylight

Doubting Thomas, with DJs Erin E and Bacon, techno, 10 p.m.; call for cover.

Sweetwater Harvest Kitchen

Center for Contemporary Arts Living Room and Muñoz Waxman Main Gallery, 1050 Old Pecos Trail Poetry and prose readings by workshop participants, Cut + Paste Society members, and New Mexico Literary Arts members, 2-3:30 p.m., no charge, contact nmliteraryarts@gmail.com to register.

Saturdays with John Serkin on Hawaiian slack-key guitar, 6 p.m., no cover.

Events

Tiny’s

Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd. Honoring lecturer Craig Barnes; María Benítez, Institute for Spanish Arts founder; and educator Njoroge C. Tho-Biaz; 2-4 p.m., sflivingtreasures.org.

Showcase karaoke with Nanci and Cyndy, 8:30 p.m.-close, no cover.

Vanessie

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

Upper Crust Pizza

Local singer/songwriter Dana Smith, 6-9 p.m., no cover.

SUNDAY 10/26 Classical Music Concordia Santa Fe

St. Francis Auditorium, New Mexico Museum of Art, 107 W. Palace Ave. The wind orchestra performs music of Frank Ticheli, David Dzubay, and Michael Gandolfi, 2 p.m., donations accepted, concordiasantafe.org.

50

PASATIEMPO I October 24-30, 2014

Living Treasures fall ceremony

Cameras in the Kitchen: New Mexico History Museum exhibit workshop

113 Lincoln Ave., 505-476-5200 A family-oriented camera-obscura workshop held in conjunction with the exhibit Poetics of Light: Pinhole Photography, 2-4 p.m., by museum admission, bring a coffee can, oatmeal box, or shoebox; all other materials provided.

Nightlife

(See Page 49 for addresses)

Cowgirl BBQ

Anthony Leon & His Grievous Angels, alternative country, noon-3 p.m.; Alto Street, blues/rock/folk, 8 p.m.-close; no cover.

El Farol

The Lensic 7 p.m., $20-$40, discounts available, 505-988-1234, ticketssantafe.org. (See story, Page 28)

Evangelo’s

Books/Talks

La Posada de Santa Fe Resort and Spa

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The author discusses Tribute, 6 p.m.

Mine Shaft Tavern

Council on International Relations lecture

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

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

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

Singer/songwriter Sean Ashby, 3-7 p.m., no cover.

Second Street Brewery at the Railyard

Shiners Club Jazz Band, 1-4 p.m., no cover.

Skylight

The Alchemy Party, with DJs Dynamite Sol and Poetics, 7:30 p.m., call for cover.

Vanessie

Anne Germanacos

Santa Fe Woman’s Club, 1616 Old Santa Fe Trail The Crisis in Ukraine series continues with foreign policy expert Paula Dobriansky, 5:30 p.m., $20, 505-982-4931, sfcir.org.

Nightlife

(See Page 49 for addresses)

¡Chispa! at El Mesón

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

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

Cowgirl BBQ

MONDAY 10/27

El Farol

In Concert

Rock band Steel Toed Slippers, 8 p.m., no cover.

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

Atomic Grass

La Fiesta Lounge at La Fonda

Books/Talks

Mine Shaft Tavern

Jean Cocteau Cinema Bluegrass/gospel and country-music band, 7 p.m., $10 at the door.

Santa Fe Opera Guild illustrated talk

Unitarian Universalist Congregation of Santa Fe, 107 W. Barcelona Rd. Mamma Mia! Now That's Italian, a presentation

by Anthony Barrese, Opera Southwest artistic director, 5:30 p.m., $10, 505-629-1410, Ext. 109.

Southwest Seminars lecture

Hotel Santa Fe Mohawk Stories of Our Natural World and Naked in Eden: A Personal Awakening,

by Steve Fadden of Institute of American Indian Arts and author Robin Easton, 6 p.m., $12 at the door, southwestseminars.org, 505-466-2775.

Nightlife

(See Page 49 for addresses)

Cowgirl BBQ

Cowgirl karaoke, with Michele Leidig, 9 p.m., no cover.

El Farol

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

Bill Hearne celebrates the release of Bill Hearne & Friends/All That's Real, with Don Richmond of The Rifters, 7:30-11 p.m., no cover.

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

Second Street Brewery at the Railyard Open-song night with Ben Wright, 7 p.m., no cover.

Skylight

The World Beat Party, rotating DJs and bands, 9 p.m.; call for cover.

Tiny’s

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

Vanessie

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

WEDNESDAY 10/29 In Concert Ralph Alessi's Baida Quartet

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

Santa Fe and Capital High School's Orchestras

Bryan Fant Theater, Capital High School, 4851 Paseo del Sol Music of Disney soundtracks, including those from the movies Brave and Beauty and the Beast, 7 p.m.

Ziggy Marley

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

Books/Talks

Death and the Maiden

3205 Calle Marie Teatro Paraguas presents a preview performance of the 1991 play by Ariel Dorfman, 7:30 p.m., $15, discounts available, 505-424-1601, Fridays-Sundays through Nov. 16.

King Lear

2014 Brainpower & Brownbags Lecture Series The Lensic

Meem Community Room, Fray Angélico Chavez History Library, 120 Washington Ave. Fred Harvey, Hotel Castaneda and the Future of the Past in Railroad New Mexico,

by Stephen Fried, noon, no charge, 505-476-5200.

Jeffrey A. Lowdermilk

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The author signs copies of Honoring the Doughboys: Following My Grandfather's World War I Diary, 6-8 p.m.

School for Advanced Research lecture

SAR Boardroom, 660 Garcia St., 505-954-7200 The Changing Roles of Ethnicity and Education as Determinants of Fertility: The Case of Kinshasa,

by David Shapiro of Pennsylvania State University, noon-1 p.m., no charge.

Presented by Shakespeare’s Globe Theatre, 7:30 p.m., $13.50-$100, 505-988-1234, ticketssantafe.org. (See story, Page 18)

Quilters

142 E. DeVargas St. Santa Fe Playhouse presents the 1982 musical by Molly Newman and Barbara Damashek, 7:30 p.m., $20, discounts available, 505-988-4262, Thursdays-Sundays through Nov. 16.

Books/Talks Michael Nava

Collected Works Bookstore, 202 Galisteo St., 505-988-4226 The novelist discusses City of Palaces, 6 p.m.

Renesan Institute lecture

¡Chispa! at El Mesón

St. John’s United Methodist Church, 1200 Old Pecos Trail Frankenstein, Martha Simonsen and Ken Simonsen examine Mary Shelley's novel, 1-3 p.m., $10, 505-982-9274, renesan.org.

Cowgirl BBQ

Nightlife

Nightlife

(See Page 49 for addresses) Guitarist Joaquin Gallegos, 7-9 p.m., no cover.

Singer/songwriters Ian McFeron & Alisa Milner, 8 p.m., no cover.

El Farol

El Farol

La Fiesta Lounge at La Fonda

La Boca

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

Palace Restaurant and Saloon

KBAC Radio's pre- and post parties for Ziggy Marley concert, 4:30-6:30 p.m.; Trash Disco with DJ Oona, 8:30 p.m.-close; call for cover.

Skylight

Reggae/World Beat Party, midnight, call for cover.

Tiny’s

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

Vanessie

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

THURSDAY 10/30 Gallery/Museum Openings Santa Fe Community College Visual Arts Gallery

6401 Richards Ave., 505-428-1501 Doña Inés Lost Her Slipper, mixed-media installation by Francisco Benítez, reception 5 p.m., through Jan. 21. (See story, Page 34)

Theater/Dance The Children's Hour

Warehouse 21, 1614 Paseo de Peralta New Mexico School for the Arts Theater Department presents Lillian Hellman's 1931 drama, 7 p.m., $10, discounts available, 505-989-4423, continues Friday and Saturday, Oct. 31-Nov. 1.

Trio Bijou, string jazz ensemble, 6:30 p.m., no cover.

OUT OF TOWN Albuquerque Albuquerque Museum of Art & History

2000 Mountain Rd. N.W., 505-243-7255 Miniatures & More, group show of mixed media; ticketed fundraiser events: Fourth Annual Collectors' Dinner, Friday, Oct. 24; opening gala Saturday, Oct. 25; call 505-842-0111 to purchase tickets, public opening Sunday, Oct. 26, through Dec. 7.

Outpost Performance Space jazz concerts 210 Yale Blvd. S.E. Jacky Terrasson Trio, 7:30 p.m. Friday, Oct. 24, $20-$25; Ralph Alessi's Baida Quartet, 7:30 p.m.

Thursday, Oct. 30, $15-$20; tickets available online at holdmyticket.com.

Juan Estevan Arellano

National Hispanic Cultural Center, 1701 Fourth St. S.W. The author discusses Enduring Acequias: Wisdom of the Land, Knowledge of the Water, 2 p.m. Saturday, Oct. 25, no charge.

The Kosmos, 1715 Fifth St. N.W. Violinist David Felberg pays tribute to Church of Beethoven founder Felix Wurman, music of Bach, Ricci, and Wurman, 10:30 a.m. Sunday, Oct. 26, the spoken-word segment this week is presented by poet Richard Vargas, $15, discounts available, chatterabq.org.

Amleto

National Hispanic Cultural Center, 1701 Fourth St. S.W. Opera Southwest opens its 41st season with Franco Faccio's adaptation of Shakespeare's Hamlet, 2 p.m. Sundays, Oct. 26 and Nov. 2, 7:30 p.m. Friday, Oct. 31, $12-$82, 505-724-4771 or online at operasouthwest.org.

Caravan of Thieves

The Cooperage, 7220 Lomas Blvd. N.E. Theatrical Gypsy-jazz quartet, 7:30 p.m. Sunday, Oct. 26, $17 in advance at holdmyticket.com, $20 day of show, 21+.

Matisyahu

Sunshine Theater, 120 Central Ave. S.W. Reggae rapper and blues artist, 7 p.m. Wednesday, Oct. 29, $30 in advance at holdmyticket.com.

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

Junction

La Posada de Santa Fe Resort and Spa

Zia Diner

Chatter Sunday

¡Chispa! at El Mesón Cowgirl BBQ

Savor, Cuban rhythms, 7:30-11 p.m., no cover.

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

(See Page 49 for addresses)

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

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

Vanessie

Rock band 50 Watt Whale, 8 p.m., no cover.

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

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

La Fiesta Lounge at La Fonda

Savor, Cuban rhythms, 7:30-11 p.m., no cover.

La Posada de Santa Fe Resort and Spa

Pat Malone Jazz Trio, with Kanoa Kaluhiwa on saxophone, Jon Gagan on bass, and Malone on guitar, 6-9 p.m., call for cover.

Lodge Lounge at The Lodge at Santa Fe

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

The Matador

DJ Inky Ink. spinning soul/punk/ska, 8:30 p.m., no cover.

Palace Restaurant and Saloon

Limelight Karoake, 10 p.m., no cover.

Pranzo Italian Grill

Pianist Ron Newman, 6 p.m., call for cover.

Second Street Brewery

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

Skylight

Latin Night, with DJ Danny, 9 p.m.; call for cover.

Swiss Bakery Pastries and Bistro

Guitar duo Wes & Mito, Gypsy Kings-style rhythms, 7:30 p.m.-close, no cover.

Tiny’s

Honky-tonk band The Gunsels, 8 p.m.-close, no cover.

Wheelhouse Art shows paintings by Dirk Kortz, 418 Montezuma Ave.

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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 Botanical Garden

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

Filmmakers Act I Gallery in Taos shows paintings by Mark Horst, 218 Paseo del Norte.

Cerrillos Fourth Annual Encaustic/Wax Exhibition

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.

Corrales Birds of Chicago

Historic Old San Ysidro Church, 996 Old Church Rd. Americana duo, 7:30 p.m. Saturday, Oct. 25, $22, musicincorrales.org.

Las Vegas Historic Las Vegas Art Studio Tour

Las Vegas Arts Council Gallery 140, 140 Bridge St. More than 40 stops along this self-guided tour; paintings, ceramics, jewelry, fiber art, and more; preview exhibit and opening reception 5 p.m.

Friday, Oct. 24, tour runs 10 a.m.-5 p.m. Saturday and Sunday; maps and brochures available at the gallery.

Artesanos Folk Art Market

Our Lady of Sorrows Parish Hall, downtown on the east side of Plaza Park Outdoor show held 9 a.m.-5 p.m. Saturday, Oct. 25.

Madrid Joe West's Theater of Death opening night Engine House Theater, 2846 NM 14, Madrid A series of dark comedies with live music; 8 p.m. Fridays-Sundays Oct. 24-Nov. 9, $20, 505-988-1234, ticketssantafe.org.

Taos 32nd Annual Taos Mountain Balloon Rally

Across from The Taos News office at Albright and Gusdorf roads Dawn patrol 7 a.m., mini-ascension 8:15 a.m., Friday-Sunday Oct. 24-26, visit taosballoonrally.com for full schedule of events, 575-758-9210.

Taos Institute for Glass Arts: 2014 Art Glass Invitational

A monthlong series of exhibitions, lectures, workshops, and demonstrations at local galleries through Nov. 9; visit tiganm.org for details.

52

PASATIEMPO I October 24-30, 2014

Taos Town Hall

400 Camino de la Placita AH, Taos Wilderness, group show of photographs celebrating the 50th anniversary of the Wilderness Act, through Jan. 9.

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.

Historic Structures of Santa Fe

Call for artists working in watercolor and gouache to submit work based on Santa Fe's historic buildings for a June exhibit at the Historic Santa Fe Foundation; entry deadline March 1; visit historicsantafe.org for guidelines and a list of structures.

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.

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.

Librettists/Performers

PASA KIDS

Garden Sprouts

Santa Fe Botanical Garden, 715 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. 24, Main Branch; songs and crafts, 11 a.m. Friday, Oct. 24, Eldorado; children must be accompanied by an adult.

Halloweekend in Los Alamos

Trick-or-Treat on Main Street (4 p.m.) kicks off events held Friday and Saturday, Oct. 24-25, and on Halloween; visit losalamosmainstreet.com for a schedule of events, including a Halloweiner parade, High Flyers Gymnastics, pumpkin-carving, and other fun events.

Santa Fe Botanical Garden Community Day and Halloween celebration

715 Camino Lejo, Museum Hill Complimentary candy and prizes, pumpkin-carving contest (bring your masterpiece), free admission for visitors in costumes, 9 a.m.-5 p.m. Saturday, Oct. 25, call 505-471-9103 for details.

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.

10/25 Santa Fe Botanical Garden Community Day

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.

Wagner Society of Santa Fe: Write Your Own Prize Song contest

Submit an original English version of Walther's Prize Song as it appears in Act III of Wagner's Die Meistersinger von Nürnberg; winner's work to be performed publicly on Dec. 6; submit compositions to and request details from Yoko Arthur at wagnersocietyofsantafe@gmail.com.

UNDER 21

Halloween Dance Party

Black Box Theater, Warehouse 21 Kids and teens event with an all-styles music battle and costume contest (cash prizes), 6:30-10 p.m.

Friday, Oct. 24, no charge for ages 18 and under.

Aaron Ortega's Fifth Annual Life and Death Fest

Concert Hall, Warehouse 21, 1614 Paseo de Peralta A benefit concert for Ronald McDonald House, Cellador, Left to Rot, Carrion Kind, Severkill, and Kreep, 6 p.m. Friday, Oct. 24, $10 at the door, all ages.

Warehouse 21 events

3-7 p.m. Saturday, Oct. 25, hip-hop cultural arts gathering; graffiti and break-dance workshops, MC, DJ, and beat-box competitions; no charge for ages 18 and under; 6-10 p.m. Saturday, Oct. 25, The Best of New Mex 2014 hip-hop concert; E.T. NevaChange, Yung Gims, and Lil Criminal, $5 at the door.

Halloween ComicFest

Big Adventure Comics, 801-B Cerrillos Rd., 505-992-8783 Free Halloween-themed comic books for all ages, customers in costume receive a second comic book at no cost and a third with $10 in purchases, noon-7 p.m. Saturday, Oct. 25.

ARTsmart: Boo at the Barn

ARTbarn Community Studio, 1615 Pacheco St. Open house; 1-4 p.m.; meet-and-greet with staff to learn about art-education classes, and participate in a Halloween mask-making session, no charge, 505-992-2787.

Cameras in the Kitchen: New Mexico History Museum exhibit workshop

113 Lincoln Ave., 505-476-5200 A family-oriented camera-obscura workshop held in conjunction with the exhibit Poetics of Light: Pinhole Photography, 2-4 p.m. Sunday, Oct. 26, by museum admission, bring a coffee can, oatmeal box, or shoebox; all other materials provided.

The Children's Hour

Warehouse 21, 1614 Paseo de Peralta New Mexico School for the Arts Theater Department presents Lillian Hellman's 1931 drama, 7 p.m. Thursday, Oct. 30, $10, discounts available, 505-989-4423, continues ◀ Friday and Saturday, Oct. 31-Nov. 1.

Sacred Body

UPCOMING EVENTS

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

MUSIC

Judy Collins

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

Serenata of Santa Fe

Tinariwen

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.

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.

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.

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, proceeds benefit Assistance Dogs of the West.

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.

Cantu Spiritus Chamber Choir

Immaculate Heart of Mary Chapel, 50 Mount Carmel Rd. Heaven and Earth, Renaissance choral selections, 3 p.m. Sunday, Nov. 16, $20 at the door, students no charge.

The Lensic 7 p.m. Sunday, Nov. 16, $42-$62, 505-988-1234, ticketssantafe.org.

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.

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.

Bob Schneider

Skylight Folk/rock singer/songwriter, 7:30 p.m. Friday, Nov. 21, $22 in advance at holdmyticket.com.

La Santa Cecilia

La Fonda Los Angeles-based band, 8 p.m. Friday, Nov. 21, $20 in advance at holdmyticket.com, proceeds benefit Duel Language Education of New Mexico Endowment Fund and Janet Montoya Schoeppner Memorial Scholarship Fund.

Alexz Johnson

Skylight Canadian singer/songwriter, 7:30 p.m. Monday, Nov. 24, Jared & The Mill opens, $10 in advance at holdmyticket.com.

Jamestown Revival

Skylight Southern-rock duo, 7:30 p.m. Wednesday, Dec. 3, $15 in advance at holdmyticket.com.

Anonymous 4

Cathedral Basilica of St. Frances of Assisi, 131 Cathedral Place Vocal quartet; medieval carols and motets, 7:30 p.m. Tuesday, Dec. 9, $10-$65, 505-988-1234, ticketssantafe.org.

The Lensic Skylight, a 1995 play by British dramatist David Hare, 7 p.m. Tuesday, Nov. 18; Of Mice and Men, John Steinbeck's 1937 drama, 7 p.m.

Wednesday, Nov. 19; DV8 Physical Theatre's production John (contains adult themes), 7 p.m. Tuesday, Dec. 9; $22, 505-988-1234, ticketssantafe.org.

Playwrights Forum

Santa Fe Playhouse, 142 E. DeVargas St. Staged readings including The Hat by Dianna A. Lewis and Best Kept Secrets by Peggy Aultman, Thursday-Sunday, Nov. 20-23, $10 at the door, 505-988-4262.

Wise Fool New Mexico

The Lensic 11th Annual Circus Luminous, local acrobats, aerialists, and clowns, 7 p.m. Friday, 2 and 7 p.m.

Saturday, 4 p.m. Sunday, Nov. 28-30, $10-$30, 505-988-1234, ticketssantafe.org.

HAPPENINGS

OneBeat Albuquerque at the Rail Yards

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

Adriana Bustos

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.

2014 Tony Hillerman Writers Conference

Hilton Santa Fe The 10th anniversary of the conference is celebrated with clips of PBS movies adapted from Hillerman's mysteries, followed by a discussion with director Chris Eyre, author Anne Hillerman, and actor Wes Studi; Thursday-Saturday, Nov. 6-8, register online at wordharvest.com, 505-471-1565.

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 events

The Lensic The In Pursuit of Cultural Freedom series continues with journalist/author Ann Jones and Andrew Bacevich, 7 p.m. Wednesday, Nov. 12; author Gary Shteyngart and poet Mary Karr in discussion as part of the Lannan Literary series, 7 p.m. Wednesday, Dec. 10; $6, discounts available, ticketssantafe.org, 505-988-1234.

Friends of Archaeology holiday party

Hotel Santa Fe Silent auction, archaeology demonstrations, and light buffet, 3-6 p.m. Sunday, Nov. 16, $20 in advance and at the door, 505-982-7799, Ext. 5, nmarchaeology.org, proceeds benefit Museum of New Mexico Office of Archaeological Studies and Museum of New Mexico Foundation.

Notes on Music: Strauss

Eldorado Hotel Joseph Illick's illustrated-talk series continues at 4 p.m. on Sunday, Nov. 16, champagne and waltzing follow, $35, students $17.50, 505-988-1234, ticketssantafe.org.

Patrick Nagatani and Lucy Lippard

Armory for the Arts, 1050 Old Pecos Trail The artist and the author in conversation, 6 p.m. Tuesday, Nov. 18, $10, discounts available, call SITE Santa Fe for tickets, 505-989-1199.

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.

Glow

Santa Fe Botanical Garden, 715 Camino Lejo, Museum Hill A winter-lights event held 5-8 p.m. on selected evenings, 5-9 p.m. Saturdays, Dec. 4-Jan. 3, $5-$8 online and on site, early-bird tickets on sale at reduced rates through Nov. 15, santafebotanicalgarden.org, 505-471-9103.

THEATER/DANCE

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.

The Metropolitan Opera: Live in HD

The Lensic Bizet’s Carmen, 11 a.m. and 6 p.m. Saturday, Nov. 1; Rossini’s Il Barbiere de Siviglia, 11 a.m. and 6 p.m. Saturday, Nov. 22; Wagner's Die Meistersinger von Nürnberg, 10 a.m. Saturday, Dec. 13; $22-$28, 505-988-1234, ticketssantafe.org.

BodyTraffic

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.

Alejandro Escovedo (shown) performs with Peter Buck at Skylight, Nov. 6.

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Saligaaw (it is loud-voiced), mixed media by Da-ka-xeen Mehner; Breach: Log 14, video installation by Courtney M. Leonard; exhibits run through December. Closed Tuesdays; iaia.edu/museum.

Museum of Indian Arts & Culture

710 Camino Lejo, Museum Hill, 505-476-1250 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 Pottery of the U.S. South: A Living Tradition, stoneware Our Lady of Saint John of the Lakes, José Aragón, from North Carolina and northern Georgia, reception ca. 1825, in the New Mexico History Museum exhibit 5:30-7:30 p.m. Friday, Oct. 24 • Between Two Worlds: Painting the Divine: Images of Mary in the New World. 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 Charlotte Jackson Fine Art the museum’s collection, through Jan. 4 • Multiple 554 S. Guadalupe St., 505-989-8688 Visions: A Common Bond, international collection of Selected Works From Fifty Years of Making Art, toys and folk art; internationalfolkart.org; open daily. mixed media by Tony DeLap, through Nov. 17.

AT THE GALLERIES

Evoke Contemporary

550 S. Guadalupe St., 505-995-9902 Asylum, sgraffito drawings and woodcuts

by Alice Leora Briggs, through Sunday, Oct. 26.

Patina Gallery

131 W. Palace Ave., 505-986-3432 Measure of Days, abstract paintings by Daniel Kosharek, through Sunday, Oct. 26.

Verve Gallery of Photography

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

by Ysabel LeMay, through Saturday, Oct. 25.

Wheelhouse Art

418 Montezuma Ave., 505-919-9553 Persistence of Vision, work by Dirk Kortz, through Monday, Oct. 27.

MUSEUMS & ART SPACES Santa Fe Center for Contemporary Arts

1050 Old Pecos Trail, 505-982-1338 New Perspectives, installation by sculptor Chuck Ginnever (Muñoz Waxman Gallery); Messages From the Wounded Healers, paintings by Sam Scott (Spector Ripps Project Space); through Nov. 2. Open Thursdays-Sundays; ccasantafe.org.

Georgia O’Keeffe Museum

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

Museum of Contemporary Native Arts

108 Cathedral Place, 505-983-1777 Level/Land, ceramic and mixed media by Courtney M. Leonard, Lloyd Kiva New Gallery, through October (see review, Page 32) • Rattlebone, paintings and prints by Ric Gendron; The Desert Never Left The City, work by painter Mario Martinez;

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PASATIEMPO I October 24-30, 2014

Museum of Spanish Colonial Art

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

New Mexico History Museum/ Palace of the Governors

113 Lincoln Ave., 505-476-5200 Painting the Divine: Images of Mary in the New World, rare Spanish colonial paintings, through March 29 • Poetics of Light: Pinhole Photography, through March 29 • Water Over Mountain, Channing Huser’s photographic installation • Telling New Mexico: Stories From Then and Now, core exhibit • Santa Fe Found: Fragments of Time, the archaeological and historical roots of Santa Fe; nmhistorymuseum.org; closed Mondays.

New Mexico Museum of Art

107 W. Palace Ave., 505-476-5072 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. Closed Mondays; nmartmuseum.org.

Pablita Velarde Museum of Indian Women in the Arts 213 Cathedral Place, 505-988-8900 Harvesting Traditions, work by ceramicist Kathleen Wall, through Jan. 4. Closed Mondays; pvmiwa.org.

Poeh Cultural Center and Museum

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 weekends.

SITE Santa Fe

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

Open Thursdays-Sundays; sitesantafe.org.

Wheelwright Museum of the American Indian

704 Camino Lejo, Museum Hill, 505-982-4636 Works by Diné photographer Will Wilson, through April 19. Core exhibits include contemporary and historic Native American art. Open daily; wheelwright.org.

Albuquerque Albuquerque Museum of Art & History

Española Bond House Museum and Misión Museum y Convento

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.

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.

2000 Mountain Rd. N.W., 505-243-7255 Miniatures & More, group show of mixed media, opening Sunday, Oct. 26, through Dec. 7 • Gods and Heroes: Masterpieces From the École des Beaux-Arts, Paris, through Jan. 4 • Everybody’s Neighbor: Vivian Vance, family memorabilia and the museum’s photo archives of the former Albuquerque resident, through January • Arte en la Charrería: The Artisanship of Mexican Equestrian Culture, examples of craftsmanship and design distinctive to the charro. Closed Mondays; cabq.gov/culturalservices/albuquerque-museum.

Pecos National Historic Park

Indian Pueblo Cultural Center

Taos

2401 12th St. N.W., 866-855-7902 Our Land, Our Culture, Our Story, historical overview of the Pueblo world, and contemporary artwork and craftsmanship of each of the 19 pueblos.

Weekend Native dance performances; indianpueblo.org.

Maxwell Museum of Anthropology

UNM campus, 1 University Blvd. N.E., 505-277-4405 Archaeology on Ice, exhibit exploring climate change in the Arctic, including tribal artifacts emerging as the ice melts, The museum’s collection includes individual archaeological, ethnological, archival, photographic, and skeletal items. Closed Sundays and Mondays; maxwellmuseum.unm.edu.

National Hispanic Cultural Center

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

Closed Mondays; nationalhispaniccenter.org.

UNM Art Museum

1 University of New Mexico, 505-277-4001 David Maisel/Black Maps: American Landscape and the Apocalyptic Sublime, photographs by Maisel; Beautiful Disintegrating Obstinate Horror Drawing and Other Recent Acquisitions and Selections From the UNM Art Museum’s Permanent Collection; The Gift, woodcut prints by John Tatschl (1906-1982).

Open Tuesday-Saturday; unmartmuseum.org.

Pecos NM 63, 505-757-7241 Exhibits portraying the history of the Pecos Valley; including ruins, traces of the Santa Fe Trail, and artifacts from the Civil War Battle of Glorieta Pass.

Open daily; nps.gov/pecos.

Harwood Museum of Art

238 Ledoux St., 575-758-9826 ¡Orale! Kings and Queens of Cool, a four-part exhibit focusing on Post-Pop and lowbrow art movements, including works by Robert Williams, Gary Baseman, Ron English, and R. Crumb, through Jan. 25. Open daily through November; harwoodmuseum.org.

La Hacienda de los Martinez

708 Hacienda Way, 575-758-1000 A Northern New Mexico-style Spanish colonial “great house”built in 1804 by Severino Martinez; taoshistoricmuseums.org; open daily through October.

Millicent Rogers Museum

1504 Millicent Rogers Rd., 575-758-2462 Looking at Taos Pueblo: Albert Martinez, Juan Mirabal, and Albert Lujan, paintings, through January • Fred Harvey and the Making of the American West, objects drawn from the Harvey family, through January. Historical collections of Native American jewelry and paintings; Hispanic textiles, metalwork, and sculpture; and contemporary jewelry. Open daily through October; millicentrogers.org.

Taos Art Museum at Fechin House

227 Paseo del Pueblo Norte, 575-758-2690 Housed in the studio and home that artist Nicolai Fechin built for his family between 1927 and 1933.

Closed Mondays; taosartmuseum.org.

Nancy Dwyer: Everybody’s Angry 2013, oil paint on papier-mâché David Richard Gallery 544 S. Guadalupe St. 505-983-9555 What is an exhibit of word paintings and multimedia sculpture by Nancy Dwyer.

The artist uses words as a basis for form in works that examine social inequities. The show opens Friday, Oct. 24, with a 5 p.m reception. Dwyer, along with New Mexico Museum of Art special projects curator Merry Scully and art historian Libby Lumpkin, discusses her work at the gallery at 2 p.m. Saturday, Oct. 25.

The event is part of Art Matters Santa Fe, a series of exhibitions and art-related discussions geared toward collectors and art connoisseurs, and there is no charge to attend.

What runs through Dec. 6.

Christo: Wrapped Fountain 2009, collage lithograph Zane Bennett Contemporary Art, 435 S. Guadalupe St., 505-982-8111 Two exhibitions open concurrently at Zane Bennett. ¡Saludos, Barcelona! 50 Years of Polígrafa Prints is a selection of works made at the renowned Polígrafa Obra Gráfica workshop in Spain and includes works on paper by Christo, Lynda Benglis, and Ed Ruscha, among others. Eros and Thanatos is a show of performance art and new sculptural works from Michael Petry’s Libation series. The reception for both shows is at 5 p.m. on Friday, Oct. 24. At 1:30 p.m. on Saturday, Oct. 25, Petry signs copies of his new book, Nature Morte: Contemporary Artists Reinvigorate the Still-Life Tradition, and presents his performance-art piece Libation to Eros. Both exhibits are on view through Nov. 22.

Mark White: Blue Waves I 2014, oil on panel Mark White Fine Art, 414 Canyon Road, 505-982-2073 Known for his kinetic sculptures, Mark White recently returned to painting after more than a decade. His works in oils are expressionistic representations of landscapes and abstracted forms derived from nature. “My creation process is serendipitous, following a certain line of experimentation without clinging to a known hypothesis,” he writes. “This process guides my art in many directions, including work with engraved patina paintings as well as wind- and water-driven kinetic sculptures.” An exhibition of new paintings and sculpture by the artist is on view through October.

A P E E K AT W H AT’S S H OW I N G A R O U N D TOW N Vernon Owens: Jug 2010, wood-fired, salt-glazed stoneware with ash runs Museum of Internaational Folk Art, 706 Camino Lejo, 505-476-1200 Pottery of the t U.S. South: A Living Tradition, guest-curated by folklorist Karen Duuffy, displays stoneware by several Southern U.S. families who have kept their regional pottery-making traditions alive. The show includees examples of 19th-century pieces as well as works by more than 400 contemporary potters such as Vernon Owens, Sid Luck, and Buurlon Craig. There is a 5:30 p.m. reception on Friday, Oct. 24, that includes a performance of Southern-style music by Round Moountain, a two-person folk orchestra, and is free of charge.

Ligia Bouton: Tea and Table Tilting 2014, multimedia installation Peters Projects, 1011 Paseo de Peralta, 505-954-5800 The Sixth Sense, an exhibition exploring the otherworldly in art, continues through Dec. 21. The show includes Eric Garduño’s sculptural translations of drawn forms; Ligia Bouton’s Tea and Table Tilting, a multimedia installation that investigates imagined versus real events from documentation of Victorian-era séances; Farrell Brickhouse’s ambiguous impasto-style figurative paintings; Matt McClune’s luminescent acrylic reliefs; and Jason Middlebrook’s wood-plank sculptures, inspired by the aboriginal art of Australia.

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PASATIEMPO I October 24 - 30, 2014

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